design grade 10

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Tis is a sample module for viewing purposes only.

o purchase a copy of this title [email protected]


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DESIGN GRADE 10

Copyright Future Managers

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DESIGN GRADE 10


B o o

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Future Managers 2010

All rights reserved. No part of this book may be reproduced in any form, electronic, mechanical,photocopying, or otherwise, without prior permission of the copyright owner.

ISBN 978-1-920 20361-0

First published 2009

Revised Edition 2011

To copy any part of this publication, you may contact DALRO for information and copyright clearance.

Any unauthorised copying could lead to civil liability and/or criminal sanctions.

Telephone : 086 12 DALRO (from within South Africa); +27 (0)11 712-8000Telefax : +27 (0)11 403-9094Postal Address : P O Box 31627, Braamfontein, 2017, South Africawww.dalro.co.za

Published byFuture Managers (Pty) LtdPO Box 13194, Mowbray, 7705 Tel 021 462 3572Fax 021 462 3681E-mail: [email protected]: www.futuremanagers.net


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Module 2 Term two Communicating visually throughdesign: The history and development of visualcommunication and information design Page1. Introduction 133

2. Symbols, icons and visual literacy 134

3. What is printmaking? 170

4. Typography 173

5. The world of communication design 175

6. Gestalt theory 185

7. Logos, corporate ID, advertising, branding 191

8. Design in a business context 219

9. Case studies 231

10. Practical projects 23911. Drawing programme 245

Module 3 Term three Can design benet society? Page

1. Introduction to ancient Greek design 251

2. Pompeii glossary 256

3. Introduction to Pompeii: The world of design in a historical context 259

4. Pompeii: Hand-crafted design versus contemporary/ machine-produced design: differences and similarities 265

ontents

Module 1 Term one What is design? Page1. Introduction: What is design? 3

2. Introducing the four main categories in the creative industry 27

3. Introducing the elements of design 46

4. Introducing drawing materials 74

5. Introducing the principles of design 83


7. Practical projects 121

8. Drawing programme 128


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Module 3 continued Page

5. Introduction to Gothic, Renaissance and Baroque design 273

6. Practical projects 277



Module 4 Term four Product Design and Usability

1. Introduction to product design 291

2. Ergonomics 293

3. The Industrial Revolution 294

4. The Arts and Crafts movement 295

5. Case study: William Morris 296

6. The universal principles of design: Usability 303


8. Final practical project 315


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Design education is not only going to develop design-ers or the uture but this subject can also develop anew generation o young people who understand whatgood design is. Afer all, you should decide what youlike and what you dont like. So it really depends onhow the product looks and i it really works well andprovides you with what you need. For instance, i youhave a choice you wont buy a cell phone that looksugly and doesnt work properly. Tere ore, you as theconsumer play a very important role. Each businessinvestigates their customers likes and dislikes so thatthey can design or them. I the customer does nothave an understanding o good design, they will notbe bothered with better products and, in turn, thebusiness will not be orced to grow and develop bet-

ter products. You as the consumer will be thatbusiness target market.

Although not all o you will eventually ollowa career path in design, you will be equippedwith vital li e skills that you can use in all yourother subjects, your private lives and one dayin your place o work no matter which careerpath you eventually choose. Te skills that youwill learn through taking design as a subjectwill teach you how to solve problems, how toinvestigate and gather in ormation, how to becreative and innovative, how to become an en-trepreneur, how to communicate your ideassuccess ully and you will learn more aboutpeople and their behaviour (the different tar-get markets you will design or), just to men-tion a ew o the benets. So at the end o theday it does not really matter which career pathyou will ollow, but I know that you will agreethat it would be pretty cool to already have allthese skills in place so that you can improveyoursel and become better at what you do inthe uture.

Most people do not understand what design is. Teythink design is something or rich people, that it isexpensive and just used to make things pretty butthey orget that design can also be used to solve pro-blems and provide or people who really need careand assistance on a daily basis. Design really canmake a difference in peoples lives. People also dontunderstand that specic products can actually add tothe economy o our country, employ and help a lot opeople. Creative thinking can also help to develop a

more sustainable world that consist out o more re-sponsible consumers, businessess and environments.Tere are always a more sustainable option or everydicision we make. Architecture and engineering are

also examples o design but there are people whodont think this is true.We all know that science and technology havealways been identied as high priorities in our educa-tion system the answer to a better uture. A loto people dont think that design, technology andscience can work success ully together; and theyshould i we really want to make a difference anddesign top-quality products that we can export toother countries. Design should be an important part.I you think about it, all processes in technology andscience should be driven by the design process wherepeople use skills like creative thinking, innovativeand original ideas and problem-solving skills. In act,a strong relationship between design, technology,science and mathematics can only develop you intoa better student and will denitely make a differencelater in your li e.

Design is there ore denitely not a subject that shouldonly be taken by students who cannot do mathema-tics or science. Tis subject is not a sof option andcan really challenge all kinds o learners. Tis isnot an easy option and can prepare you or urtherstudies in engineering, architecture, industrialdesign and other related studies. Even the automobileindustry (designing o cars) includes a lot o creativityand design.

Te beauty o the subject o design is that it allowsor all learners to be success ul, no matter what your

culture or even physical disabilities are. It will alldepend on the individual learner and what you de-cide to make o this opportunity.

Since design impacts on our daily lives and improvesour li e standards on a daily basis, it has been provento orm a very important part o all cultures in acivilized society. We can there ore say with con-

dence: design is not a luxury! It is a necessity!

We always re er to South A rica as a land o possibili-ties. Lets grab these possibilities with open arms andgrow all opportunities into realities. Let us give youthe power through creativity to make the differencein years to come so that we can all work together tobuild a better South A rica or all.

Sun StassenCreative Consultant and Design Activist


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MODULE 1: TERM 1 Introducing the world of design

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Introducing the world of design

Contents 1. Introduction: What is design?

2. Introducing the four main categories of the creative industry

3. Introducing the elements of design

4. Introducing drawing materials

5. Introducing the principles of design

6. Design in a business context: TRENDS

7. Practical projects

8. Drawing programme


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1. Introduction

What is design?

Although many products and examples o good design could be classied as luxury items, or example,

extravagant jewellery, clothes and expensive cars, the human species has always, ever since the Stone

Age until the present day, expressed certain basic needs in order to survive, communicate, travel, and

eed, not to mention basic medical care and protection against the elements.

No culture or country can just exist without even the very basics thatthe Creative Industries provide.Design is therefore not a luxury but rather a necessity that reacts onbasic human needs.Sun Stassen, Creative Consultant and Design Activist

Design is everywhere its the stuff that surrounds us. It is estimated that the average person interactswith about 150 items of design by breakfast from the toothpaste tube to the box containing the corn- akes! Its easy to see why everything in the man-made world has been designed, rom the houses we livein and the clothes we wear, to the modes o transport we use. And so design touches on every aspect oour lives, which makes it an important discipline. design is that skill or acility that improves the quality o li e. Designers are optimists. Tey arere ormers. Designers re-image the world we live in. Ravi Naidoo Design Overview Woolworths, Making the Difference Through Design Daily resource manual

Design is not necessarily about art, but rather about creatingwealth through the effective use o creativity. Woolworths, Making the Difference Through Design Daily resource manual

A better world through creativity

How does one keep milk cold in the desert, put a rooover peoples heads, turn a magazine into a mirror,distribute night light to the remotest ends o the earth? Answer all ve o these questions with the same solu-tion. Simple: Trough creativity.

It is through creativity that Nigerian teacher Moham-

med Bah Abba came upon his earthenware pot-in-pot

cooling device that has revolutionised lives in semi-desert

areas. Rajan Harinarain also tapped into creativity whenhe ormed the oldaway house in response to the housing

shortage. Again, creativity was at the helm when Hanan

Yanny realised that an outdated magazine is not a waste

product but raw material or jewellery and new products;

and Dave Irvine Halliday realised that combining LEDs

with a solar-powered battery was a viable light source in

even the most remote area.

Creativity can make a better world. Tis is the proposition that Design Indaba demands across theCreative Industries rom graphic design, advertis-ing and ashion to industrial design, architecture,craf and new media. Design Indaba 2008

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Design a -ects almost every as-pect o ourlives

Lets have a different look at design. Lets think, eat,

drink, sleep and talk design! Did you know that

design affects our environment and structures ourlives; that it protects us and gives us com ort? It also

provides us with entertainment and communicates

social issues and awareness campaigns. Furthermore,

design also develops, introduces and advertises new

products so that we can make in ormed choices.

It is because o design that you and I can communi-

cate who we are through our own identity and style.We determine our identities through the choices

we make, the clothes we wear, our choice o music,

hairstyle, and choice o shoes and jewellery, just to

mention a ew. In the same way, a business or brand

has its own identity and look and eel or style. We

call this a corporate ID or identity.

Te creative industries play a valuable role andpeople who use their creativity, innovation,

conceptual and problem-solving skills to develop

top-quality products provide us with what we need

on a daily basis. In other words, design provides and

adds great value to services, systems, processes and

environmental sectors.

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Creativity can makea better world

Design education candevelop discerning

consumers and top-qualityentrepreneurs

and creators o products,services, systems, processes

and environments

Design denition: to create a detailed plan o a structure o something, ocusingon the appearance, convenience andefficient unctioning o nal design; tomake something in a skil ul way; toinvent something or a particular purpose;a drawing or graphical representation withthe purpose to indicate unction or howto assemble or make it; to communicate,

order and make in ormation accessible; todevelop a product, system, process, serviceor environment.


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Activities for learners

Activity 1

Exercise

Find a picture o an interior (pre erably without any human, animal or organic objects) and a black

kokipen. Te picture could come rom an interior magazine or any other resource brought to class by you

or your teacher.

Use the kokipen to black out everything in the picture that could be classied as design or has been

created by a designer.

Activity 2Can you recall and make a list o al l the objects and products o design you use in the rst hour o your day? Lets havea closer look and explore how design touches our everyday lives. All these objects had to be designed by someone,and rom time to t ime also redesigned to match our constantly changing li estyles, trends, new technology and evenbasic human needs.

Exercise - Line drawing

Collect all the items you use during the rst hour o your day. O course, it wont be possible to collecteverything because o their size. Organise these objects in order o use. Tis way you can create a visual storyline othe rst hour o your day.

Now take one A4-size paper and care ully do a l ine drawing o each object, one object per page.

You may use either a pencil or a pen (a 2B or 4B pencil wil l be best but you can also use a HB pencil).

Practise the ollowing:a) Care ully look at your object rom different angles and then decide rom which angle you want to draw it.

b) Now, look at the blank space you have on the A4 piece o paper and care ully plan how andwhere you will start your drawing. It is ne i you eventually realise that your object will not t ontothe page.Complete the drawing and try again with the next object. You will keep improving i you keep trying.

c) Slow down; do not rush this drawing otherwise you wont develop vital observational skills. ry to spend at least 3 minutes on each drawing. Drawing a comb might not take as long as drawing a shoe or a hairdryer.

Al depends on how simplistic or complicated the object is.d) ry to spand more time looking at the object while drawing, than at the paper you are drawing on.

e) While you observe all the details o your object, also take note o how the light alls on the object and where you nd shady darker areas. Now try to manipulate your control over the use o the pencil/pen/drawing

tool. Release pressure on your pencil/pen when you draw a part o the object that has a lot o light and seemsto be lighter and brighter in colour. Te opposite is true when you do a line drawing o a darker shady area.Increase the pressure on your drawing tool so that you can draw a darker line to indicate where theshady areas are.

) Sensitive line drawings as described in e) are vital or urther development o your drawing skills.Make sure that you master this!

g) Dont draw what you think the object looks like. Really draw the shape and other details that yousee in ront o you. ake your time. Tis is not something that should be rushed.

h) ry and ll the A4 page. Do not draw a miniature version o your object.

Afer you have completed all the line drawings o your objects, place all your A4 drawings in chronological order ortimeline and tel l the story o the rst hour o your day. Well done, you have now created your own visual storyboard.Note that every single drawing will count towards your drawing mark.See examples o line drawings on pages 5355.


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Activity 4

Design education can develop discerning consumers and top-quality entrepreneursand creators o products, services, systems, processes and environments.Sun Stassen, Creative Consultant and Design Activist

ExerciseFind visual examples or have a class discussion to support the above statement and explain the value odesign in the sectors o :a. products d. processesb. services e. environments.c. systems

Activity 5Using the same lists provided in activities three and our, let us have a closer look at the pictures (pictures1 33) on pages 4 8

Care ully look at the pictures and classi y each using the lists provided in the two activities. Ten indicateyour classication and circle it on the grid provided on the next page.

Did you know...that one of the leading pool cleaning devices in America, product Aquanuau sold underthe trade name Poolvac, was originally designed by four South Africans, JN Rauben-heimer, AP Wessels, D Rief and H Schlitzer in 1984? (SA Company: Aquanaut (Pty) Ltd).

This is just one example of many South African products that have been bought out by American interests.(Design of system which provides a service)Publication: Thirty Years of South African Design Excellence. See details on page 336 if you want to haveyour own copy.

Did you know...that the Hysucat hydrofoil support system for catamarans was designed by a South African, Dr KG Hoppe? This system consists of hydrofoils that span the tunnel betweenthe two hulls of a catamaran to add greater stability creating a smooth and gentle ridethrough waves. This system has made phenomenal inroads in the international marketespecially in the luxury private yacht market. The prototype, a 5,6m catamaran, designedby the Bureau of Mechanical Engineering at the University of Stellenbosch, was ready in1983 and has undergone water trials that were highly successful.(Design for water sport and transport)Publication: Thirty Years of South African Design Excellence. See details on page 336 if you want to haveyour own copy.

Activity 3Design ... a. affects our environment andb. structures our lives,c. protects us andd. gives us com ort,

e. provides us with entertainment,. communicates social issues and awareness campaigns,g. develops, introduces and advertises new products so that we can make in ormed choices, andh. develops an identity

ExerciseFind and collect pictures or provide other visuals like photographs or drawings to support the abovestatement. ry to nd as many different examples as possible and discuss your ndings with your peers.


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Because good design is about the ability to commu-nicate a message, concept or idea success ully in a visual way, it is vital that you develop conceptual

skills. You must know how to manipulate and applythe design elements like line, colour, texture, shapeand tone so that they can success ully communicatethe mood, look and eel, style or character that will

be the most attractive, relevant and use ul to yourtarget market. Tis sounds very abstract and it is.At this early stage o your studies in design, youmight nd yoursel even con used and that is okay.We never promised that design was going to be easy.Te only thing we can promise you is that it is a loto un.

Conceptual skills are extremely difficult to explain

but once you understand and can apply them success-ully, you can become a brilliant designer. Lets see i

we can help you to get to grips with some o the basicsso that you can develop your conceptual skills.

How can you start to develop conceptual skillsand why is it so importanti you want to become agood designer?

PictureNo. Activity 3 (see page 9) Activity 4 (see page 10)

1 a b c d e f g h a b c d e




5 a b c d e f g h a b c d e6 a b c d e f g h a b c d e





























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We all use expressive words like abstract nouns or

adjectives, or example, bold, extravagant, cool, unky,

classical, sleek, etc. to describe an experience or even a

product. And what about emotions like anger, passion,

love and excitement? How would you communicate

any o these emotions through a design i you are only

restricted to the use o colour, line, texture, shape or tone?No words and no obvious shapes that people usually

associate with these emotions may be used. In other

words, i you have to express the eelings and emotions

o being in love, you are not allowed to express these

through the use o the obvious like a red heart or a love

cupid. You may only use textures, shape, colour, line and

tone to express the abstract quality o being in love.

Another way to explain this is to look at different pro-

ducts or objects. ry to write down words that you think

describe the look and eel o each product or object.

Ask yoursel : is that object or product cool, unky or

bold? Does its character or style contribute to the way

you react to the product? Is it the shape, the colour, line

or the texture?As a young designer you need to be able to rst

identi y and understand the characteristics and style

o a product. We certainly dont all like the same stuff

and i you can manage to understand this and most

importantly the reasons why, it will also give you more

insight into the likes and dislikes o the target market

those different products will appeal to.


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Step twoThe project brief - The Ice Breaker

Design and make a three-dimentional structure that will communicate ONE o the above emotions that youhave listed. Your 3D structure may not be a literal interpretation. For instance, you may not use a cupid orheart to communicate love nor may you use a st or a kni e to communicate anger. You may only use colour,shape and texture to communicate the emotion. No words may be used. It is the success ul combination othe design elements (line, colour, texture and shape) and your choice o materials that will determine howsuccess ul you are.

Draw a variety of options for the 3D structure and discuss them with your peers and your teacherbe ore you make your nal choice.

Once you have made your nal choice, carefully plan your method and order of construction andlist the materials you will need.

Te production process:Te production o the 3D structure needs to be care ully documented in your design workbook. You mayalso use sketches and inspiring photographs or other resources as part o your documentation.In conclusion, nally give your masterpiece a title and exhibit it with the work o your peers. Discuss andcompare technical skills, materials used and the success o your piece.

Lets see if you can put your conceptual skills into practice

Activity 6

Te ollowing project can be used to measure your level o competency in terms o conceptual skills, your

understanding o a 3D and 2D shape, creative use o a variety o materials, technical skills and your ability

to communicate through the manipulation o line, texture, shape and colour.

Step oneDesign process:

Do the ollowing in your design workbook.

1. Select ve different emotions/abstract nouns and write them down.

2. Opposite each emotion write or draw what you think communicates and emphasises each emotion:

colours

shapes textures, like smooth, woolly, velvety, glossy, etc.

materials, like sandpaper, nails, wood, wire, plastic, etc.

EMOTIONS COLOURS TEXTURES SHAPES/FORM MATERIALS

1.

2.

3.

4.

5.


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Sel -assessmentTick the appropriate block

CHECKLIS Low Medium High

How do you rate this projects level o difficulty? How do you rate your own conceptual abilities? How do you rate your technical abilities? How do you rate your problem-solving skills? How do you rate your innovative abilities and origina lity? How do you rate your time-management skills? How do you rate your creative use o materials? Rate your documentation abilities and design workbook Rate your own success

A good designer has a strong work ethic, is astrategic planner and someone who is hungry

or knowledge and continues to learn

Did you know...that the Buttery Backpack frame was designed by a South African, E Byrne in

1976? You might not know this but before 1976 the frames of backpacks had straighthorizontal bars across the shoulders and hips that denitely did not contribute tocomfort. You can imagine how the Buttery design, which has the same prole asthe human spine, improved the user quality and comfort of its bearer. The frame

was also made out of aluminium that added to the lightweight quality of the back-pack. A horizontal strip of padding was also added so that the weight of the packcan take strain off the back and rather place it on the hips. About 200 000 frameshave since been produced, mainly exported to Europe. The same company wasalso responsible for designing the rst stitch-less sleeping bags.(Company: Sit n Sun Products (Pty) Ltd, later known as Three Spears Africa (Pty) Ltd)

(Design for sport and recreation; choice of materials and ergonomics play a vital role)

Publication: Thirty Years of South African Design Excellence. See details on page 336 if you want to haveyour own copy.


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Activity 7: Essay writing

1. Give a title to the above 3D structure.

2. Identi y the mood or look and eel o this piece.

3. Use abstract nouns to describe what you see and eel.

4. Identi y the materials used and method o construction. Motivate your answer.

5. In line with your given title, motivate the choice and use o materials, shape,

colour, texture and line.

6. What do you think o this 3D piece? Motivate your answer.

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A champion designer has a strong work ethic , perseverance , isdisciplined , is self-motivated , leads byexample , is a problem solver , is a stra-tegic planner , is a conceptual and cre-ative thinker , is innovative and thinks outof the box, is an effective communicator of ideas and able to deliver within strictdeadlines , is someone who can work wellwith others , is socially and environmen-tally responsible , designs to improve the

life standards of others , developsperceptual skills and sensory aware-ness , is reective reviews and revis-es ideas and solutions is someone whostrives to develop high-quality products ,understands the importance of a strongbusiness structure , is someone who canidentify with a variety of target markets ,is someone who is hungry for knowledge and continues to learn .

Take all the key words and place it in a place where you can constantly remind yourself todevelop and work towards developing thesequalities.

Some qualities oa good designer


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1. Design brief content, process, end use,purpose and functions, target market denedand presented by client.

2. Design schedule ask client the details oftimeframe given to you; identify time neededfor each section of design; plan and imple-ment a timeline which clearly indicates goalsthroughout project so that deadline is met.

3. Design context identify then investigatedesign problem; process led by ndinganswers for what, where, to whom, why andhow.

4. Design ideas collect, analyse, investigate,

explore, experiment, conceptualise makinguse of a variety of methods like brainstorming,sketching, documenting.

5. Appropriate materials, production tech-

niques and sample/prototype throughexperimentation and evaluation identify thebest materials and production process toensure the best success rate of your designproduct; produce a variety of proposed pro-totypes/design ideas or concepts.

6. Evaluation test and evaluate design ideasand/or prototypes, make suggestions andimprovements in order to identify the bestdesign solution.

7. Final production strategise timeline anddetails of your production process and pro-duce your product, system, service or envi-

ronment within the time given by the client.

For your own credibility as a designer it is vital todeliver on time.

LEVEL 1Identi y / receive

LEVEL 2Plan

LEVEL 3Gain enough knowledge

LEVEL 4

Experiment and select best options

LEVEL 5Prototype and improvements

LEVEL 6Production and presentation

Investigate different approachesGenerate ideas to solve problems

Investigate variety o methods

Produce samples/prototypes

Evaluate and sug-gest improvements

Plan productionprocess

Produce product; system;service; environment

Investigate context o designproblem

Identi y needIdenti y problemIdenti y opportunity

Reect onend result

Select best idea/solution

Investigate appropriate materialsand production techniques

Collect, analyse, organise,interpret, acknowledge relevant in o

Brie rom client

Schedule design process

Te DesignProcessTe design process is o vital importance. Not just the

awareness o it but certainly the execution thereo .

During the design process a designer allows himsel /

hersel time to interpret and understand the given brie ,

ollowed by stages o exploration, identication, experi-mentation, investigation, conceptualisation, analysis

and evaluation. It is also important that the designer is a

good organiser so that all the research and in ormation

collected is documented in an orderly manner. I a

designer does not ollow or implement the design

process he/she wil l not have collected enough in orma-

tion and will not have achieved enough understanding

o the brie , the client, the prole o potential consumers

and their needs, nor would they have given themselves

enough time to explore and experiment so that they can

identi y the best practice or materials and manu ac-

turing process or the project at hand. In short, without

the design process the project would ail and the design-

er would more than likely lose the client and in the long

run their business.

Familiarise yoursel with the ollowing pointers and

make sure that the design process is always a priority

and without ail part o every project you do


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Design and creativity play a vital role in the early

developmental stages o every child. Tis is a act that

is not even debatable. Although toys and games are

huge money-spinners, it is the educational value and

qualities added to the early development o a child

that make this industry so valuable. Most parents

want the best or their child. Pre-school develop-

ment is seen as vital to prepare children or school.

During these early stages and at different age groups,

a child needs exposure to very specic activities in

order to develop, or example, their motor skills,

numeric and literacy skills, coordination skills and

role-playing skills, just to mention a ew. Te world

is already so competitive. Parents and experts believe

that they need to prepare children so that they can

develop their ull potential. oys and games are used

to teach the child how to ocus, to think creatively,

to problem-solve and be innovative, to strategise and

to develop their imagination. Tese are all li e skills

that we want toddlers to develop so that they can bebetter equipped when they eventually go to school.

It is also a act that these skills will equip them or

success in all subjects.

We say learning is more effective through play. In

the medical eld, toys and games are continuously

used and are seen to be most effective when used

with children with learning difficulties and otherdevelopmental problems. Game playing can also be

used to rehabilitate patients with different needs.

Examples of educational toys for pre-schoolers

We should continue to oster the developmento every child and use creativity and design as avaluable tool to do so. Tese skills could greatly

improve learning in all subjects

Te impact odesign andcreativity in theearly develop-mental stages

Did you know...every day more money is printed forMonopoly than the U.S. Treasury?


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Playing cardsDid you know...

Each king in a deck o playing cards represents a great king rom history.

See i you can spot their differences and similarities in the visual examples below.

Spades King David

Hearts Charlemagne

Clubs Alexander the Great

Diamonds Julius Caesar


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Psychologists, doctors, and many other experts in

the eld o child development will agree on the im-

portance o toys as a tool to enhance developmental

skills. What we nd very interesting are the tools that

are used to develop these skills. Tese toys or games

all had to be designed by someone so that these much

needed and specic skills could be developed.

Tis industry is a very good example o how design

is being used or social and skills development.

Despite the act that so many people agree on the

importance o early development, using tools and

products that are designed or this purpose, it is an

ongoing struggle to convince people about the im-

portance o design and the value it can add to ur-

ther development. It is also a struggle to convince

some that creativity and the design subject or career

path is an intellectual activity that includes innova-

tion and problem-solving skills. We should continue

to oster the development o every child and use cre-

ativity and design as a valuable tool to do so. Tese

skills could greatly improve learning in all subjects.


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Remember the design process is alwaysbe ore the production process!

Do your research and nd out everything youcan that is o relevance to the age group you haveselected.Identi y different ways to collect this in ormation.

Decide what your ocus will be: choose any deve-lopmental skill as listed previously. You maychoose more than one. It will all depend on theage group and the skills needed at that specicage.

Consider your research and make a variety osketches so that you can make the best choice oryour nal design. For eedback, discuss with your

riends and teacher be ore you make your nalchoice.

Select suitable materials to construct your nal

product. Although you might not have learnedabout logo design yet, why not nd a suitablename or your product. Remember that all yourchoices, even the look o the letter type in a name,will play a role in the look and eel o your nalproduct.

Developmental skills for lifeLiteracy or language skills , which can includelearning how to talk, spell and read, or just recog-nising and naming simple shapes, animals, plantsor soundsNumeracy skills, learn to identi y numbers, howto add, subtract, multiply or divideRole playing, which could include a number osituations or environmentsCoordination, which could include ball coordi-nation or balanceMotor skills are actions that involve and devlopthe movement o muscles in the body

Activity 8

Tis can be a lot o un! Let us see i you can thinko your own creative ideas to help the developmento a young child. You may ocus on any age group,but it is vital that you understand that the age groupyou choose will thus also be your target market. Youthere ore need to rst investigate that age group sothat you know or whom you are designing and whattheir specic needs, likes and dislikes are.

Choose your target market. Ten choose any developmental skills rom the ollowing list that youwant to incorporate into your own original design.

How about a logo or your product and adding

instructions on how to use it?

I you are bold enough, you can even attempt to

design the logo or your product and include the

instructions on the use o your product, toy or

game. Depending on the age group, these instruc-

tions can include the rules o a board game or how

to build and construct something, which could

then also include a line drawing, graphical repre-

sentation or technical drawing that will visuallycommunicate the method o construction.

How do you know i you have been success ul?

Sel -assessment and reectionIt is important to know i your product is success-

ul. Te best way to nd out is to use your target

market and let them play or interact with your

product. You might nd that you need to make a

ew changes; make the adjustments be ore hand-

ing in your nal product.

Write a report on your ndings and rate thesuccess o your product.


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The Automobile Stylist

As a stylist, shebelieves that everyline has a unction

An interior designer or the automobile industry. Responsible orexterior and interior colour choices as well as the choices o texture,line, shapes, materials, etc. or the interior.

Oona Scheepers , a local girl rom Prieska, a small country townin SA, who originally studied Graphic Design, currently ndshersel in the ascinating world o automobiles. As a stylist, shebelieves that every line has a unction, a rule that has provento be the golden one that she lives and designs by. In the verycompetitive industry o automobiles, she is competing with thebest that the world has to offer and nds hersel in very goodcompany.

She has played an important role in the design o the ollowingproducts: Porsche Carrera G , Cayenne and Cayman, as well asthe Audi R8, A5 and A4 and the recent Audi show cars.

Te ollowing three designers are examples youmight not have considered to be involved in design

be ore. While reading through the text, make a listo how you think these designers, and design as such,have an impact on different environments and howthey are changing peoples lives on a daily basis.

Question: What materials,

shapes, line and colours would

you select to communicate that a

car is sporty, progressive and so-

phisticated? An example of what

an automobile stylist has to con-

sider. Also note that they have to

make these choices many years

before the product is on the

market and thus have to predict

colours, textures, shapes andlines that will not be outdated by

the time the product is released.

Interestingexamples

Read more about Oona Scheepers and her interesting career:

Video:Oona Scheepers shares her venture into the automotive design industry while shevisited SA to launch the new Volkswagen Polo. As a lead designer for rst Porsche,then Audi and nally Volkswagen, she explains the deeper details of this industry.

http://issuu.com/designinformation/docs/design_education_no_3/14?

http://www.designindaba.com/speaker/presentation/oona-scheepers-2008


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The Industrial Designer

Using his creativity, this designer is making adifference in peoples lives

ucker Viemeister is an Industrial Designer. I you

look at his impressive career that includes 32 U.S. utility

patents, you cant help but understand why Business

Week calls him a design Guru. He is also the ounder

o Smart Design, where he helped to design the widely

acclaimed OXO GoodGrips universal kitchen tools.

oday it is vital or all designers to become even more

responsible in the choices they make. Tese choices could

include materials used, attention to ergonomics, methodo production and execution o the original concept,

and the constant awareness o the need to limit waste

products, just to mention a ew. Tese choices could

hugely impact on the environment and social responsi-

bility issues. In the world o product/industrial design,

every designer strives to develop that ultimate product

that they can patent and make lots o money with.

What is interesting about ucker Viemeister is the wayhe incorporates and combines the un element with be-

ing responsible in a business and cultural context.

Originally the OXO GoodGrips were inspired by the

difficulty people with arthritis have in holding kitchen

appliances. Having explored this problem, he re-

designed the handles and developed a variety o good

grips that ultimately provided more com ort not only orpeople with arthritis but or all its users.

Garlic press

OXO GoodGrips logo

Peeler

oday it is vital or all designersto become even more responsiblein the choices they make

http://en.wikipedia.org/wiki/Tucker_Viemeister

http://ww w.oxo.com/s-21-good-grips.aspx

http://smartdesignworldwide.com


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Te man who pioneered the way in whichwe communicate and do business today.

Bill Moggridge , a co- ounder o IDEO, was one o

the rst to incorporate human actors into the design

o hard and sofware. His company, IDEO, plays a

vital role in providing guidance and assistance to

other companies who would like to innovate through

the design o their products, systems, services,

environments and through digital experiences.

Can you imagine how great the demand is or this

company? I you think about a global demand o a

huge variety o products that constantly satis y our

ever-demanding human needs, its no wonder IDEO

have offices in London, New York, Shanghai, Munich

and Chicago, to mention just a ew.

Tis phenomenal designer was also the rst todesign the laptop computer. Would you consider this

designers contribution to human demands a drop in

the ocean or a universal phenomenon? We think it is

denitely the latter.

Te laptop computer is just another great example

o power generated through design, innovation and

creativity.

Another Industrial Designer

First laptop

Video: Lecture by Bill Moggridge

Bill Moggridge talks about Service Design:

Sharing design knowledge this is the way Bill Moggridgethinks of sustainability, health and well being, social in-novation and the rest

Can we use design to make life more interesting? ChrisWaugh answers this question in the area of designing forwell being:

The company IDEO:

History of the laptop:

David Kelley talks about human-centred design:

http://en.wikipedia.org/wiki/Bill_Moggridge

http://en.wikipedia.org/wiki/IDEO

http://en.wikipedia.org/wiki/Laptop

http://www.ted.com/talks/david_kelley_on_human_centered_design.html

http://www.ideo.com/

http://www.designinginteractions.com/bill

http://www.youtube.com/watch?v=kVkQYvN4_HA

http://youtu.be/wwiae9-c0K0

http://youtu.be/xeI2Baq6XaY

http://youtu.be/rvqcS6-7tNc


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* More examples in the WoolworthsMaking the Difference Through Design Daily resource manual

Visual Communication/In ormation/Graphic Design

Sur ace Design(2 dimensional)Product Design (3 dimensional)

Enviro mental Design

2. Introducing the four main categories of thecreative industry

It is their job to make products look good because asRaymond Loewy, an inuential industrial designer, said:

Ugliness doesnt sell

Denition of industrial design

Industrial designers are a cross between a mechanical engineer and an artist. Tey study both unction andorm, and the connection between product and the user. Tey there ore have to identi y and ull needs,

wants and expectations.

Industrial design is the pro essional service o creating and developing concepts and specications that op-timise the unction, value and appearance o products and systems or the mutual benet o both user andmanu acturer.

One o the many accepted denitions o design originates rom Carnegie Mellons School o Design: Designis the process o taking something rom its existing state and moving it to a pre erred state.Inventors and engineers think o the idea and make it work. Industrial designers are concerned with thelook, eel and usability o the object. Only afer industrial designers make an object sa e, attractive and unc-tional is it mass produced by actory workers and machines.

Remember the changes brought about by the Industrial Revolution in the making o unctional objects (themove rom individual artisans and crafspeople to mass production). Te career o industrial design cameabout as a result o these changes. Mass-produced goods needed to have mass appeal to sell in large quanti-ties. Artists were needed to design products that would appeal to many people.Almost every actory-made object has been designed or planned by an industrial designer.

Tese designers: make detailed drawings of 3D objects to show sizes, shapes and textures of the product. specify the materials and will o en also make models or prototypes of the product for testing. try to anticipate all the ways a person might use or misuse the object. are artists.


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includes, but is not limited to, sectors such as advertising design, animation, digital design, lm and video, graphic design, brand communication design, illustration, in ormation design, packaging design

and applied photography. ake note o the different styles o type used on each example o product, brand

or logo in this section and just generally around you. You will note that typography plays a vital role in brand

identication. Imagine changing Coca Colas type to the style used on the Marmite bottle on the opposite

page. Changing type can have a huge impact on the brand and is usually a very risky business. I a well-

known brand decides to make such drastic changes, it is usually highly calculated and based on the results

o intense impact studies. You will learn more about typography in Module 2.

isuCommuncatioDesig

Visual Communication/Information/Graphic Design

Logo/Brand design

Packaging design Information design

www.carrolboyes.co.zahttp://issuu.com/designinformation/docs/design_15_v3/254?

www.monkeybiz.co.zahttp://issuu.com/designinformation/docs/design_ed_1/94?

Carrol Boyes

How big is Barbie? Article on Monkeybiz


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Did you know...that Coca-Cola was originally green?

-n n

Information Design

Tastic packaging design: designed byGarth Walker from Orange Juice Design

http://en.wikipedia.org/wiki/Coca-Colahttp://www.designindaba.com/news-snippet/design-scale-di2011

David Butler is currently the man responsible for leading the global design vision and strategy of Coca Cola.Have a look at the following link:


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www.ijusi.co.za

i-jusi published in 1997 designed by Garth Walker:


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An animated short cal led Jungle Beat, designed for Sunrise Productions by Rowan van Tonder

Did you know...that the Snake Board (skateboard) was invented and designed by South Africandesigner trio R Clausen, B Clausen and G Clausen of Clausen Plastics (Pty) Ltdin 1993? Anyone who belongs to the skateboard culture will know that a SnakeBoard is a skateboard with a difference! The choice of the correct materials, toprovide strength under extreme stress and still provide the sportsman with all their

needs, was vital. Zytel ST901, a V-shape cut insensitive nylon, is a light-weightmaterial with outstanding impact, stress crack and shock resistance qualities withenough exibility. The Snake Board can reach a speed of 18 km per hour on aat surface and an astonishing 35 km per hour downhill.(Design for specic needs for sporting goods)

Publication: Thirty years of South African Design Excellence. See details on page 336 if you want to haveyour own copy.


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Surface design (2 dimensional)

(usually two-dimensional) ocuses on sectors and applications such as appliqu, embroidery, beadwork, mural

design, stained glass, tapestry, textile design, weaving, ceramics like tiles, graffiti, mosaic, gif wrap design,

wallpaper design, bre design, ashion.

Note: any sur ace design may be developed into a product.


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P r o d u c

t

D e s i g n

( 3 d i m e n s i o n a l )


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A good designer is someone who understandsthe importance o a strong business structure

and strives to develop high-quality products


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Product design (3 dimensional)

Below: A quirky andplayful light sourcedesigned by sculptorBrett Murray

( unctional or decorative and usually three-dimen-

sional) can include industries and applications such

as basketry, beadwork, carving and wood turning,

ceramics, ashion and costume design, industrial

design, jewellery design, paperwork, puppetry,

wirework, urniture and glass blowing/design,

constructed textiles, tableware.


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The design of boats creates transport as well as other recreational means for many people

Examples of jewellery design done by high school students

Designed by Nena Kotze

Designed byMichael Albertyn

Designed by Michael Albertyn


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Fashion products on show at the annual International Design Indaba in Cape Town

http://www.designindaba.com/expo

http://vimeo.com/11807772


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EnvironDesign

A good designer is socially andenvironmentally responsible

and designs to improve the li e

standards o others

A good designer is socially andenvironmentally responsible

and designs to improve the li e

standards o others


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ental

A public sculpture adds great value, style andatmosphere to our environment The Teatro foyer at Monte Casino

The interior of the Teatro at Monte Casino

Huge decorative oats, mostly made from waste materials andfound objects, designed for the Rio Carnival in Brazil


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What do bulletproof vests, re escapes,windshield wipers, and laser printers all

have in common?

All were invented by women.

Environmental designincludes industries like architectural design, urban and

landscape design, display, event or exhibition design,

interior design, theatre and set design, interior decorating.

The above picture of Cape Town is a good example to show how design inu-ences and structures our environment. One can clearly identify the layout ofthe city, urban planning, architecture and even some of the layout of trans-port like the roads and railway lines.

http://www.creativecapetown.net

http://www.capetown2014.co.za

http://www.creativecapetown.net/design-in-the-central-city

Design in the central city:


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Theatre and set design, costumes, props, choreography and musicare part of the creative industry that provides us with entertainmentand culture.

Architecture and civil engineering s tructures


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Huge decorative oats designed for the Rio Carnival in Brazil


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Elementso design 3. Introducing the Elements of designLets have a look at what all this uss is about and how you, as a young designer, can learn to become the best

you can be. Te complete understanding o the ollowing elements and design principles are vital or the

success o any design.

Elements of design: your design ingredients

Line/dotShape and orm

exture

Colour

onal value

Without these elements a design is no more than a blank page. Te design processis how you choose to structure, make or create and combine the above elements.Tis will determine your level o success.

But be ore you can achieve this, you have to understand and explore all possibilities, how each o these elements can be used and manipulated andeventually be used to visually communicate your idea, concept, style ormessage.

Dened as the result o the action madeby an instrument such as, or example, a

pen, pencil, crayon or stick

So what does your handwriting, two dots on a blank

page and a communication tool have in common?

Te answer is line. Remember that any line origi-

nally starts with a dot and through using continuous

dots, one can create the illusion o a line.

A single line can reect a specic quality, charac-ter or texture. It can be wavy, straight and heavy or

light, to mention just a ew. It all depends on how

the line is manipulated by you and the care that is

taken to execute it. Tis can be achieved by varying

the pressure you apply on your drawing tool (pencil

or pen).

I you can master the different qualities o linethrough the care ul and sensitive use o , or instance,

a pencil, you will seriously equip yoursel with a

power ul communication tool.

LINE


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Let us take you back to the beginning o civilization. Be ore the existence o the universal alphabet, linewas used as a means o communication between people. At rst the mark or line was probably very uncon-trolled, much the same as when we as young toddlers discovered that we can make a mark with a at crayonon exactly every thing we were not supposed to. As we developed urther, we learned to combine a variety olines so that we could draw shapes. Ten came our awareness o symbols and we learned to draw characters,letters and numbers.

Although many o us are not equipped to understand all languages, many symbols can be classied as a universal language understood by all, no matter their culture or literacy skills. At this point, we can clearly dis-tinguish between the power o the written word and the power o visual language like that o a symbol and the visual message it carries. Use the 4 examples below and write down the message you think each communicate.*Also see module two on Te history o symbols and visual communication

Different qualities you can achieve with line

LINE LINEcontrolled spontaneousmark-making loosene bold varied crispoutline expressiveuid linear

Different qualities o line

Line can express emotions and states o mind through, or instance, its character, direction and movement:Horizontal lines can express a calm and rest ul eeling.Vertical lines can suggest spirituality.Diagonal lines can suggest movement and speed.Horizontal and vertical line s in combination can represent stability and solidity.Deep curved lines can suggest turbulence.Sof curved lines can suggest com ort, sa ety, relaxation.Descriptive lines/outlines or contour lines dene edges and suggest shapes.Sensitive contour lines can even suggest weight, volume and orm.Hatching and crosshatching o individual lines creates shadows and tonal values that suggest the 3D

quality o a orm. Increasing the number o lines will create a darker tone.Repetition o line develops a decorative element to a design and can there ore also suggest rhythm andmovement.

Did you know...that your handwriting is an example of controlled line?

Activity 10Exercise

ake an A4 or A3 piece o paper and divide the paper into 10 equal blocks.Use each block and draw all the line qualities discussed above. You may use any drawing tool but make sure thatyou understand exactly how you want to manipulate this tool to show all the line qualities. For instance, you willcertainly draw the quality o a deep curved line that can also suggest turbulence differently than the quality o the

sof curved lines that can suggest com ort, sa ety and relaxation. ry it. Tis is not going to be an easy activity, butyou will learn a lot about how ar you can push your drawing tools and at the same time you wil l continue to developyour drawing, conceptional and observational skil ls.

1.

2.

3. 4.


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Lines are all around us. We nd line in nature, in shadows, buildings and even when we look at urban layout

(the way a city or town is laid out), we will nd a lot o line. Even the way we sometimes repeat the same object

can create a linear display or a pattern. Many designers make use o line to decorate the sur ace o their objects.

Line is also used to create perspectives. Architects, interior and industrial designers use many perspective

drawings to indicate the depth o a space or surroundings, or a linear perspective o a3-dimensional shape .

In this way, we can use line on a 2-dimensional sur ace like a piece o paper and create a 3-dimensionalperspective so that the viewer experiences a 3-dimensional shape even without the use o shading.

A two-point linear perspective is a drawing with two vanishing points, while a one-point perspective only

has one vanishing point in the composition.

A vanishing point is used in a linear perspective and suggests a point on the horizon where parallel lines

meet in the distance. In general a linear perspective drawing can project 3D quality and depth. Objects that

are urther away are smaller while those closer to you are bigger.

Some classications o line

1. Expressive/emotional line communicates emotions and expressions o the artist or the subject matter.

It can also be spontaneous and can tell you a lot about a persons state o mind. It can be loose, gestural

and show a lot o energy.

2. Structural line adds a descriptive quality that suggests sur ace quality o an object as well as volume,

especially in the case o a 3D object.

3. Calligraphic line or calligraphy is the art o decorative writing. Originally, it was also re erred to as

signatory line, as it was associated with the individual signature or style o writing used by monks

many years ago, when they were responsible to commit the word o God to paper. Te monks added

a very decorative style to the lettering. Later this style o writing became known as Gothic, which

was the original orm o European calligraphy as we know it today. In general calligraphic lines are

characterised by elegance and owing qualities as one would nd in handwritten script.

4. Construction lines are used when you need to accurately show perspective and proportion in a

drawing or constructing something at a later stage. o be able to do this correctly, you just need to

imagine that the object you want to sketch is made o glass, visualising the hidden edges o the objectso that you can draw them too. Lightly pencilling in the whole orm, including lines you cannot see,

will help you accurately show perspective and proportion.

Do you think this drawing is an example o expressive/

emotional line use? Motivate your answer.

A single line can reect a specicquality, character or texture


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Written in Belgium, this picture is anexample of a monks calligraphy in aLatin-language Bible of 1407 AD. Todayit is on display in Malmesbury Abbey,Wiltshire, England.

Two-point perspectivedrawing. See if you can

establish the positions ofthe two vanishing points.

In this product, madefrom using wire andbeads, it is very easyto see the direction ofline and how it can beused to project shape,surface and 3D qualitiesof an object on a 2Dsurface.


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Line used in theman-made world

1. 2. 3.

6.5.4.

7. 8.

Look around you and see howmany lines you observe in yourimmediate surroundings. Try toask yourself what function eachline fulls. Is the line acting as

decoration, or is the directionof the line maybe creating anillusion? Also, see if you can

identify the character or emo-tion that the line is reecting.Does it communicate a feeling

of calmness or is it rather morebold and aggressive?


51


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Line found in nature

10. 11. 12.

13.

9.


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Activity 11Exercise

a) Lets see i you can describe the lines in the pictures on the previous two pages (51 52). Write down the number o each picture (1 13) and see i you can describe the lines: the eelings or

emotions you think each line communicates, the lines unction, and characteristics. Share your inter-pretation with your riends and see what they think.

b) Contour drawing Be ore we start, what exactly is a contour drawing and why is it important or you to learn this i you do Design

and not Art? o become a good designer you real ly need to develop and sharpen your observational skills andattention to detail. So one can say in this case that it is certainly more about learning the habit o observing andhaving the correct mindset,

which in the uture will stand you in good stead in reaching your ull potential and eventually help you excel inyour uture career. Tis is also a vital part o developing your drawing skil ls, which is as important to developthan any o your other skills. Dont think or a moment that because you do Design and not Art you wontneed good drawing skills. o get into any design or architectural school you rst need to show off your drawingskills and hand in a port olio that should include a number o quality sketches. Te decision makers make a loto your potential and abilities by simply looking at the quality o your drawings. Tis could mean thedifference between enrolling into a design or architectural school or not.

A contour drawing is also known as a continuous-line drawing. In other words, once you have placed your drawingtool on the paper you are not allowed to pick it up until you have completed your drawing. You are going to sketch thecontour o your object, in this case a green pepper, by drawing continuous lines that result in a drawing that is con-torted and or abstracted. In other words your drawing is not meant to look like the real thing. It is more importantthat you ollow the rules. You might think that drawing the contour o your object means to draw only the outline.It is important to note that any 3D object do not only consist o an outer shape or outline. Tere are actually manyshapes within a shape and a contour drawing is supposed to also convey the length, width, thickness and depth othe object; in other words the body and weight o the object. When you draw the contour o a 2D shape, you aredrawing the outline o a at shape, as there is no body to draw! Have a look at the two examples.

Lets see how you do with your own contour drawing. Study the examples on this and the next two pages and you willrealise that these were all done by using a continuous line. Te exercise itsel is more important than the end result.

ake a green pepper or any other vegetable or ruit, such as a butternut, tomato, orange or apple. We still pre er thegreen pepper. It has a very interesting shape, detail and a variety o texture on the sur ace, both inside and out. Cutit in hal . Keep your A4 piece o paper and your drawing tool ready. Place the two green pepper halves in ront o youand start investigating by looking, and observe all the different shapes, line, detail and maybe even repetitive patternscreated by the pips.

Make sure that you have placed yourhalves in an interesting composition in

ront o you and start drawing. Remem-ber, a contour drawing is a continuous-line drawing and you are not allowed topick up your pencil or pen once you havestarted to draw. It is more important toslow down and really look at what youare drawing than to worry about whatyour drawing looks like. So try to avoidlooking at your drawing. One way o developing your general drawing ski lls is tocontinue doing contour drawings.

Tis will also teach you to draw what youreally see and not what you think you see.


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Drawings done by students from Stellenberg High School


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MC Escher, 1957 woodcuts

Looking at the design onthe lef, which do you thinkis the negative or positiveshape? Do you think it is theblack or the white?

Positive and negative shapesA positive shape is the real shape or object while the negative shape

re ers to the space or background that surrounds the real shape.While studying design, it is vital to understand and master the effectiveuse o negative and positive space. Sometimes it can even be difficult to

differentiate between the two.

Let us have a look at the designer M.C. Eschers examples on the ol-lowing pages. Tese examples show an intricate illusion through the

reversal o the positive and negative spaces.

2D shape 3D form 2D shape 3D form

Some geometric shapes and orms:

SHAPES AND FORMS

When you close a line in other words, when thebeginning and the end o the line meet and connect you are creating a two-dimensional shape. A shapecan also re er to the outline o an object and canonly have width and length. Sometimes you cancreate a shape without an outline. Tis happens, orinstance, when you apply a dot o colour (in this caserepresenting a circular shape) without the presenceo an outline. When a shape (2D and at) is developedinto a 3D object, width, length, sur ace and volume areadded and the shape is now re erred to as a orm. Anobject or orm (three-dimensional) occupies a spaceand can be man-made , like a tap or a chair, or it canhave organic/natural qualities like the orms onewould nd in nature, or instance, the sof curves o arose, a lea or the shape o a stone or shell. Ten one canalso re er to a ree orm, which is any irregular shape,

usually ound in sculpture or decorations, created byuid (a line that just ows) curving lines.

Any orm or shape has basic qualities, or instance,it can be 2D (a plane/two-dimensional shape) or

3D (three-dimensional orm) and can be organic orgeometric (also re erred to as inorganic ). A orm ismore descriptive and re ers to the whole object and not just the outline. A orm also makes us experience thequalities o a 3D object in its totality weight, shape,texture, height, width and depth. Tink o holding andhandling a 3D object in your hand, like a shell.

o be able to project a 3D object on a at sur ace (likepaper), we need to use tone ( rom light to dark orbright to dull) or perspective drawings so that wecan create the 3D illusion o an actual 3D object orspace on a at sur ace.

Ten you also need to understand the meaning anduse o the terms gurative and non-gurative (alsore erred to as abstract shapes/ orm). A gurative

orm or shape symbolises or projects, or instance,the human or animal orm/shape. Non-gurative issimilar in meaning to abstract. It is a shape or ormthat does not represent anything specic and is notrecognisable within our standard rame o re erence.

A sphe re is another example of a circle as a 3D form. This is alsoan example of a symmetrical balanced form. If you cut it in halfyou will nd that both halves are exactly the same. A symmetricalbalanced circle can also be referred to as an example of radialbalance. Radial symmetry is when forms are exactly the same allaround a central point, no matter if you cut it ho rizontally or verti-cally. The centre of the form is acting as the focal po int.


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MC Escher, 1957 woodcuts


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MC Escher, Symmetry drawings

Did you know...that the Freeplay Self-powered Lantern was designed by South African design-ers B Qually, E Rijkheer, R Mulder and J Hutchinson from Syzygy in 1998? Thisenvironmentally-friendly, long-life and cost-effective design/product works withoutany batteries. A wind-up lantern differs from the rest in its class because it canalso store the energy, to be used at a later stage. Devices that usually need elec-tricity or batteries, like a walkman and some mobile phones, can also draw powerfrom the stored energy. This product used to be manufactured in SA and wasexported to the USA, UK, Canada, Europe and of course Africa.(Design for development; solving problems like lack of electricity in rural and under developed communities;socially and environmentally responsible product)

http://dddxyz.com

http://www.freeplayenergy.com

Freeplay selfpower lantern


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Although

we have all tried to draw aper ect circle by hand and sometimes even

get close to doing so, it is really hard to draw per ectgeometric/inorganic shapes like a square, circle or triangle

without the assistance o man-made tools like a ruler or a compass.As soon as we identi y any irregularity and variation o shape , we tend

to re er to it as natural or hand-made orms.

Te ascinating thing is that, as soon as we care ully observe the beauti ul patternson the wings o a buttery, the details on a colour ul caterpillar, or investigate a

snowake under a microscope, we begin to realise that even nature has

many examples o intricate geometric shapes.

Tis is an invitation to you to become more involved and aware o yourenvironment and experience what un it is to observe the detail in natureand other objects around you. You will quickly nd out why we say thatmost designers use shapes, orms and decorative moti s or elements they

nd in nature as their inspiration or a nal design, product or object.All related orms that project in some way or another the

shape, movement, appearance or unction o a livingorganism can be classied as biomorphic

shapes / orms.

Most designers use shapes and decorative moti s orelements they nd in nature as their inspiration or a

nal design, product or object


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Bios means li e, Mimicry means imitate. Biomimicry is the practice o learning rom and then emulating nat-ural orms, processes and ecosystems to solve human problems and create more sustainable designs. Its studyinga lea to invent a better solar cell, the humpback whales n to invent more effective wind turbines, or an electriceel to make a better battery. Organisms and ecosystems ace the same challenges that we humans do, but theymeet those challenges in an inherently sustainable way. Whatever the design challenge, the odds are high thatone or more o the worlds 30 million creatures have not only aced the same challenge, but has evolved effectivestrategies to solve it. For designers, architects, engineers and innovators o all stripes, the answer to the questionWhat would nature do here? is a revelation. Teres not one new idea, but millions; ideas evolved in context,

tested over eons and proven to be sa e or this generation and the next. Mimicking these earth-savvy designs canhelp humans leap rog to technologies that sip energy, shave material use, reject toxins, and work as a system tocreate conditions conducive to li e.

Bill McDonoughs buildings unction like trees, capturing water and energy and cleaning them, being adaptable tochanging conditions, and creating conditions conducive to li e. See examples 3 and 4 below. Gecko tape - mimics the way geckos attach to sur aces using tiny hairs that electrostatically attach to the sur aceusing Van der Waals orces. No need or toxic glues. Can be used to attach wallpaper to walls, or to attach partstogether in larger products - such as cell phones, laptops or cars. Tis way, the component parts can be taken apartat the end o their use ul li e and recycled. I theyre stuck together using glues, this is not possible.See examples 1and 2 below.

http://www.ted.com/talks/lang/eng/janine_benyus_biomimicry_in_action.html

Janine Benyus: Biomimicry in action

Here are some images and explanations you can use as examples:

BIOMIMICRY

What is biomimicry? When designers and engineers learn from the best nature has to offer, we stand a better chance of designingproducts and services that are more sustainable and environmentally friendly. Claire Janisch of biomimicrySA(South Africa) explains what this term actually means and how designers, inventors and engineers learn fromthe best examples nature has to offer, so that they can develop and produce quality products and systemsthat are inspired by a design that stood the test of time over centuries.

1.4.

3.2.


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Fans and other rotational devices are a major part o the human built environment, and a major componento our total energy usage. Although weve been building such devices in one orm or another since at least100 BC, until now weve never built them as nature does. Naturally owing uids, gases and heat ollowa common geometric pattern that differs in shape rom conventional human-made rotors. Nature moveswater and air using a logarithmic or exponentially growing spiral, as commonly seen in seashells. Tis pattern shows up everywhere in nature: in the pat-

tern o swirling galaxies in outer space, in the shape othe cochlea o our inner ears, in plant shapes and wher-ever uids moves naturally. Inspired by the way naturemoves water and air, PAX Scientic Inc. applied this

undamental geometry to the shape o human-made ro-tary devices or the rst time, in ans, mixers, propellers,turbines and pumps. Depending on the application, theresulting designs reduce energy usage by a staggering10 85% over conventional rotors, and noise by up to75%. Very sustainable and environmentally riendly.

https://sites.google.com/site/biomimicrysa

www.thepaxgroup.comwww.biomimicryinstitute.org www.biomimicry.net

Learning from nature how to create ow without friction can be very sustainable:

Biomimicry SA website:

Te random-looking bumps on the humpback whales ip-pers have inspired a breakthrough in aerodynamic designthat seems like nothing less than a revolution in uid dy-namics. Rather like a school bus per orming pirouettes un-

der water, a humpback whale ( Megaptera novaeangliae) 12 15m long and weighing nearly 40 tons swims in circlestight enough to produce nets o bubbles only 1.5 m acrosswhile corralling and catching krill, its shrimp-like prey. Itturns out that the whales surprising dexterity is due mainlyto its ippers, which have large, irregular-looking bumpscalled tubercules across their leading edges. Whereas sheetso water owing over smooth ippers break up into myriadturbulent vortices as they cross the ipper, sheets o waterpassing through a humpbacks tubercules maintain evenchannels o ast-moving water, allowing humpbacks to

keep their grip on the water at sharper angles and turntighter corners, even at low speeds. Wind tunnel tests omodel humpback ns with and without tubercules havedemonstrated that the aerodynamic improvements tubercu-les make an 8% improvement in lif and a 32% reduction indrag, as well as allowing or a 40% increase in angle o at-tack over smooth ippers be ore stalling. A company calledWhalePower is applying the lessons learned rom humpbackwhales to the design o wind turbines to increase their effi-ciency, while this natural technology also has enormous po-tential to improve the sa ety and per ormance o airplanes,

ans and more.

Learning from humpback whales how to create efcient wind power canbe very s

design grade 10

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