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5. 2010 HSC Notes from the Marking Centre — Textiles and Design

2010 HSC Notes from the Marking Centre — Textiles and Design

Contents

• Introduction
• Major textiles project
• Written examination
• Section II
• Section III

Introduction

This document has been produced for the teachers and candidates of the Stage 6 course in Textiles and Design. It contains comments on candidate responses to the 2010 Higher School Certificate Textiles and Design examination, indicating the quality of the responses and highlighting their relative strengths and weaknesses.

This document should be read along with the relevant syllabus, the 2010 Higher School Certificate examination, the marking guidelines and other support documents which have been developed by the Board of Studies to assist in the teaching and learning of Textiles and Design.

General comments

Teachers and candidates should be aware that examiners may ask questions that address the syllabus outcomes in a manner that requires candidates to respond by integrating their knowledge, understanding and skills developed through studying the course.

Candidates need to be familiar with the Board's Glossary of Key Words which contains some terms commonly used in examination questions. However, candidates should also be aware that not all questions will start with or contain one of the key words from the glossary. Questions such as 'how?', 'why?' or 'to what extent?' may be asked or verbs may be used which are not included in the glossary, such as 'design', 'translate' or 'list'.

Candidates need to be aware that the marks allocated to the question and the answer space (where this is provided on the examination paper) are guides to the length of the required response. A longer response will not in itself lead to higher marks. Writing in excess of the space allocated may reduce the time available for answering other questions.

Major textiles project

General comments

Candidates demonstrated a variety of skills and approaches over all five focus areas in the Textiles and Design projects. Apparel and Costume were the most popular focus areas, followed by Textile Arts, Furnishings and Non Apparel.

Most candidates submitted textile item/s and supporting documentation for an identified focus area, and clearly explained the relationship of their work to that focus area. There was a range of creative and innovative items completed to a high standard, accompanied by supporting documentation that was contemporary in presentation. A range of concepts and themes using textiles was explored across the focus areas and included cultural and historical influences, current issues, personal identity and popular culture. For the majority of projects, candidates had considered the textile materials and the end use of the items when selecting the most appropriate manufacturing techniques.

A number of candidates achieved full marks by creating simple well-constructed items that demonstrated highly proficient skills and creativity, without extravagance and excessive use of time or budget. These candidates also made direct/obvious links between their Design Inspiration, the Visual Design Development and the Textile Item.

An increasing number of candidates used traditional textile techniques in a creative and contemporary manner; for example, smocking and hand embroidery.

Some candidates need to give greater attention to specific seam and hem finishes used, to ensure they are appropriate to the fabric. Zipper insertion should be appropriate to the zipper used and the fabric choice. Fasteners such as hook and eyes or press studs should be used as appropriate to complete the item/s to a high standard of manufacture.

Some projects are still contravening specifications in Board of Studies document, Assessment and Reporting in Textiles and Design Stage 6, p 9, regarding presentation. Projects should not be framed under glass or rigid plastic sheeting, as the expertise and proficiency of a candidate's skills in manufacture cannot be assessed adequately if it is inaccessible under glass or rigid plastic.

All textile items need to be finished. Some projects were submitted with incomplete work. A number of projects had pins fastening incomplete sections. Some projects used recycled materials, aluminium cans, exposed wire ends and electronic components, which are considered non-textile materials, and potentially dangerous during the marking process. Supervising teachers should refer to the list specified in the ACE Manual, section 9.3.15 Textiles and Design Major Textiles Project.

A small number of projects were oversize and overweight and were not able to be safely and reasonably handled by one person. Textile items do not need to be submitted on a mannequin for display.

All processes and manufacturing techniques that are outsourced for the Textiles and Design Major Textiles Project, such as scanning, computer generated images, quilting, pleating and printing, should be fully acknowledged in the supporting documentation. All components of the Major Textiles Project must be certified, on the appropriate form provided by the Board, as the original work of the candidate (see ACE Manual, section 9.3.4).

Supporting documentation must adhere strictly to the page limits and be presented as either the standard size A3 or A4 as stipulated in the Assessment and Reporting in Textiles and Design Stage 6, p 10. Additional pages for a title page, photos, reference material or evaluations are not required. Some supporting documentation such as printed text on vellum overlays, metallic paper and other shiny surfaces was difficult to read. Fonts should be clear and easily read in a size equivalent to Times New Roman 12. Candidates are reminded that marks are awarded for the quality of the response and not decorative detail. All pages should be contained in a folder or securely tied together.

There has been an overall improvement in the Manufacturing Specifications section, and candidates are addressing the criteria more closely. It is acceptable for candidates to use computer technology to assist them in the presentation of their design work.

Textile item/s

In better textile items, candidates:

• created textile item/s clearly related to the intended end-use with attention to both aesthetic and functional features
• ensured that all aspects of the item were complete
• demonstrated high level of proficiency in the techniques and manufacture of the item/s.

In weaker textile items, candidates:

• showed little relevance of the item/s to end purpose, often with inappropriate design features to the end use
• showed little or no innovation/creativity in fabric, design or construction methods
• used basic techniques, style features and/or poor choice of fabrics in the construction of the item/s
• contained sections of manufactured items with incomplete sections.

Supporting documentation

General comments

Many excellent examples of supporting documentation included well-labelled sketches and drawings (some computed generated), inspiring and relevant annotated collages and appropriate samples. Candidates used a combination of relevant themes, colour schemes, readable fonts and presentation techniques. Most candidates adhered to size and page limit requirements and used a variety of communication techniques.

Consideration should be given to the font size, text style and background when developing the supporting documentation. Some candidates' work was very difficult to read. Many candidates spent time decorating boxes and folders which do not contribute to the mark of the project.

Presentation of the support documentation should follow the order and headings used in the marking guidelines.

Design inspiration

In better responses, candidates:

• clearly identified and explained the relationship of the design inspiration to one focus area
• clearly linked and showed a thorough understanding of the design inspiration and the visual imagery/collage
• related a direct link to the historical/cultural/contemporary inspiration factors.

In weaker responses, candidates:

• used a table format for their information but did not justify their relationship to the inspiration in detail
• presented the visual imagery/collage without a link to the inspiration or textile item
• identified numerous sources of inspiration with insufficient detail to justify.

Visual design development

In better responses, candidates:

• included labelled high-quality sketches/drawings which showed a direct link from their inspiration to their developing design ideas
• described in detail the aesthetic and functional design features of their final design
• identified the strengths and weaknesses of their developing designs
• described the inspiration and showed the development of design ideas for the item/s
• created a visual flow of the design development which clearly presented the development of design ideas and concepts sequentially and in a thorough and logical way.

In weaker responses, candidates:

• presented sketches which were often poorly or not labelled
• presented sketches which did not necessarily relate to the focus area selected or reflect the inspiration
• listed aesthetic or functional design features without relating to the end use of the intended textile item
• produced sketches that lacked a visual flow of ideas from initial to final design development.

Manufacturing specification

In better responses, candidates:

• provided a detailed and accurate written description of the textile item
• included high-quality production drawings with front and back view with appropriate measurements and labelling, and in scale
• provided clear pattern pieces to scale with appropriate labelling eg grainline, number to cut and other relevant markings
• included a key to explain pattern markings or refer to the scale of the pattern shapes or production drawings
• presented clearly labelled fabric swatches
• included a product label with all relevant information to the textile item
• included a sequential and logical order of construction.

In weaker responses, candidates:

• provided limited detail in the written description of the textile item
• did not indicate the use of a commercial pattern or the modifications made, and failed to identify out-sourcing
• included production drawings of an elementary standard without relevant labelling or measurements
• included poorly drawn pattern pieces, which lacked the required information
• included some fabric swatches, often without any labelling
• included a product label with some basic information
• did not include a key to explain pattern markings or refer to the scale of the pattern shapes or production drawings.

Investigation, experimentation and evaluation

This area continues to be the weakest, with documentation often incomplete, limited or with no justification of the use of materials, equipment and manufacturing processes. Additionally, evidence of experimentation and evaluation of the properties and performance of fabric, yarn and fibre sometimes lacked detail in each section or did not relate to the end use of the Textile Item.

In better responses, candidates:

• provided relevant experiments for the most significant techniques used in the textile item/s
• provided clear evidence of current and extensive experimentation in materials, equipment and manufacturing processes which lead to modifications to design/processes
• clearly justified the use of fibre, yarn and fabric to the textile item/s.

In weaker responses, candidates:

• included experiments not relevant or of limited importance to the textile item/s
• lacked evidence of experimentation or included samples of techniques not relevant to the textile item/s
• often reiterated information from texts and failed to understand or relate the properties of fibre, yarn and fabric to the end use of their textile item/s
• often included a personal evaluation of their textile item/s.

Written examination

Section II

Question 11 – Australian textile, clothing, footwear and allied industries

1. In better responses, candidates provided a clear link between the demand for UV protection and the manufacturing use of SPF rated fabrics and garments with style modifications which provide more cover for the body, such as high necklines.
   
   In weaker responses, candidates identified style modifications of garments such as high necklines and long sleeves but provided little link to Australian clothing manufacture and need for sun protection factor.
2. In better responses, candidates provided examples of legislation, such as the Waste Avoidance and Resource Recovery Act 2001, Pesticides Act 1999 and Ozone Protection Act 1989 and showed the relationship between the government legislation (Acts) and the reduced impact on the environment.
   
   In weaker responses, candidates provided limited information on a process or a change in resource use that has had an effect on the environment.

Question 12 – Design

1. In better responses, candidates nominated a designer, and then clearly identified two relevant sources of inspiration for the nominated designer.
   
   In weaker responses, candidates nominated a designer and stated one source of inspiration for the design.
2. In better responses, candidates named current trends and clearly analysed how the designer has influenced these trends. Candidates indicated the influence of the designer on other designers or by setting trends that were followed.
   
   In weaker responses, candidates gave descriptions of the items designed or made very general statements about features of the designer's work becoming a trend.
3. In better responses, candidates demonstrated a comprehensive understanding of how geographical and resource availability influenced the traditional textile products/textile art forms of a specific culture. Links to design/production method were clearly made and explained in detail.
   
   In weaker responses, candidates outlined either an influence of geographical location or resources, or described a type of textile production method or an art form of the chosen culture.

Question 13 – Properties and performance of textiles

1. In better responses, candidates outlined the process of digital printing as one which is designed, generated or scanned into a computer. The image is then sent to an inkjet printer which prints the digitised image onto the pre-prepared fabric. The finished print is then cured.
   
   In weaker responses, candidates indicated only that a machine can print a picture onto fabric.
2. In better responses, candidates gave comprehensive answers outlining the appropriate advantages and disadvantages of digital printing in fabric design, including advantages such as clear image, intricate colour combinations, unlimited choice of designs, no wastage of dyes, and no pollution from run-off which in turn is better for the environment, and disadvantages such as change of skills requires workers in the industry to undergo training and development to be able to operate the technology and the high cost of installation of machines to a business.
   
   In weaker responses, candidates listed one advantage or disadvantage of any type of printing method. These responses also tended to often have inaccurate information intertwined with one correct point.
3. In better responses, candidates defined that washable webs were created using fibres laid out as a web and were either heat set, bonded or mechanically punched together. Candidates listed the characteristics of washable webs and gave examples of products created from washable webs and linked the product with the method of manufacture, characteristics and the increase of products available in the marketplace.
   
   In weaker responses, candidates did not demonstrate an understanding of washable webs and their specific characteristics. Candidates named disposable products such as single-use hospital gowns/masks, head coverings or 'solvy', and gave inappropriate examples such as the use of washable webs for lingerie, hosiery and swimwear as a possible end use for washable webs.

Section III

Question 14 – Design

1. In better responses, candidates identified an historical design development and focus area and indicated the main features of the development. Popular examples included an outline of how swimwear began as a replica of day wear through to the development of knitting machines with tubular designs that allowed for more form-fitting designs, to those worn by competitive swimmers.
   
   In weaker responses, candidates named a design development but provided only limited information, such as swimwear once covered the whole body whereas now women wear a one piece or bikini.
2. In better responses, candidates identified and related in detail how the development of a number of societal influences brought about historical design development in the focus area. Relevant examples of influences on swimwear included modesty, developing technology, impact of world events such as the Great Depression and war, changing role of women in society, influence of celebrities and media, and women's liberation.
   
   In weaker responses, candidates named one or two societal influences in very general terms. In weaker responses, candidates often did not indicate how society influenced the design development but rather just stated the changes.
   
   Candidates are reminded that parts (a) and (b) must be answered separately. Many candidates responded with the same information in parts (a) and (b) or described the design developments and societal influences together in part (b) without answering part (a).

Question 15 – Properties and performance of textiles

1. In better responses, candidates named a fibre, a yarn and a fabric and provided example/s of textile end uses and justified the end uses through an explanation of specific properties and their impact.
   
   In weaker responses, candidates used basic terminology and provided incomplete answers with only a fibre, yarn or fabric mentioned or end use named. These responses generally showed little knowledge of yarn structures.
2. In the better responses, candidates clearly related in detail two finishes that impacted on the end uses of fabrics, how the finish was applied to the specific fabric, details of the purpose of the finish, how effectively the finish worked and the end uses for the fabric. Candidates showed a thorough understanding of fire-retardant finishes and soil-resistant finishes. The candidates then provided a variety of implications relating to specific end-use applications.
   
   In weaker responses, candidates lacked detail and tended to list two finishes and broad end uses or inappropriate end uses. Candidates confused sewing and decorative finishes with the finishes applied to enhance fabric performance and their specific end use.

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