Textiles and Design 2018 HSC exam pack

Students should:

• adhere to the requirements of the supporting documentation in terms of FONT SIZE and PAGE LIMITS for each of the four sections
• adhere to the requirements of the textile item(s) in terms of the SIZE and relative WEIGHT of the item and its packaging
• ensure that the style and colour of the font in the supporting documentation are clear, legible and distinct from the background (avoid condensing the font or reducing the spacing)
• ensure that pins and other sharp objects are removed from the textile item(s)
• use sewing and decorative techniques, rather than gluing or painting, to display evidence of textile construction
• acknowledge any outsourcing or external assistance – for example, designer, fashion school, or outsourcing of techniques such as digital printing of fabric.

In better responses, students were able to:

• create a textile item(s) that clearly relates to the intended end use, with attention to both aesthetic and functional features
• complete all aspects of the textile item(s)
• demonstrate a high level of proficiency in the techniques and manufacture of the item(s)
• create textile item(s) with a level of creativity or innovation, a degree of difficulty and a degree of proficiency using a number of quality techniques and a variety of unique and innovative fabrics.

Areas for students to improve:

• creating items with a textile end use that uses textile techniques rather than gluing or painting.

Students should:

• identify major source(s) of inspiration and give details, rather than providing too many sources of inspiration
• adhere to font size and page limits.

In better responses, students were able to:

• clearly identify and explain the relationship of the design inspiration to one focus area, and the relationship of the inspiration to the end-use application of the textile item(s)
• demonstrate a thorough understanding of the design inspiration and the visual presentation by including detailed annotations
• analyse the inspiration of historical/cultural/contemporary factors specifically relevant to their textile item(s).

Students should:

• relate elements and principles of design to the end use of the intended textile item(s)
• link the visual imagery representation of ideas to the inspiration and textile item(s)
• present sketches that identify construction and decorative techniques appropriate to the design development process
• present sketches with a visual flow of ideas from initial design to final design development.

In better responses, students were able to:

• link the inspiration and the development of design ideas for the item(s)
• produce high-quality, labelled sketches/drawings that show a direct link between the inspiration and the developed design ideas
• write a detailed analysis of the aesthetic and functional design features of their final design
• identify the strengths and weaknesses of their developed designs
• create a visual flow of the design development that clearly presents the progression of design ideas and concepts in a sequential manner.

Students should:

• identify the use of a commercial pattern and the modifications made, or any outsourcing or commercially produced components of the textile item(s) – for example, commercial quilting or fabric printing
• draw or computer-generate accurate, labelled production drawings of item(s) showing all appropriate measurements
• draw or computer-generate pattern pieces, rather than submitting photocopies of commercial pattern instruction sheets
• present detailed cutting instructions
• present a sequential and logical outline of the order of construction, rather than submitting a detailed set of instructions on how to make the item(s)
• present clearly labelled and correctly identified fabric swatches
• include a product label with all information relevant to the textile item(s)
• include an accurate cost table with a total cost.

In better responses, students were able to:

• provide an accurate written description of the textile item(s)
• present high-quality production drawings to scale and in proportion with appropriate views, along with accurate measurements and labelling
• provide accurate drawings of pattern pieces to scale with appropriate labelling, such as grain line, number to cut and other relevant markings
• indicate the modification of pattern pieces to achieve the design of item(s)
• use a key to explain pattern markings and indicate the scale of the pattern shapes and production drawings.

Students should:

• provide evidence of experiments, including actual samples of techniques relevant to the textile item(s) rather than scans or photographs of evidence
• include information relating to the properties of fibre, yarn and fabric that are relevant to the item(s)
• use experimentation to justify the selection of materials, equipment and techniques used for the item(s)
• include testing and experiments relevant to the materials, equipment and techniques used to complete the item(s).

In better responses, students were able to:

• demonstrate relevant and extensive experimentation for the materials, equipment and most significant techniques used in the production of the textile item(s)
• provide control samples and actual evidence samples of appropriate experimentation from all stages of the manufacturing process to justify the use of materials, equipment and manufacturing processes
• include relevant information to justify the selection of fibre, yarn and fabric for the textile item(s) produced.

Students should:

• ensure that exam questions are not rewritten as part of the response
• use the space provided as a guide for the length of the response
• use an extra exam booklet if necessary, rather than writing on the side of the page
• provide specific textile and design examples
• use textile and design terminology appropriate to the question.

Question 11

In better responses, students were able to:

• identify TWO fibres, not fabrics (a)
• outline an understanding of the two fibres, for example, organic cotton and the type of pollution prevented by each of them (a)
• identify types of pollution resulting from fibre production, such as cotton growing and synthetic production (a)
• relate product pricing to the specific stage of maturity and the impacts of a range of factors, such as competition, trends, brand loyalty, promotions, popularity and social media (b).

Areas for students to improve include:

• identifying types of pollution resulting from fibre production, especially cotton growing and synthetic production (a)
• describing a change in fibre production, rather than a new fibre (a)
• relating price to the maturity phase in the life cycle, rather than the decline phase (b).

Question 12

In better responses, students were able to:

• refer to embroidery as decorative stitching creating a raised effect (a)
• refer to appliqué as cut shapes of fabric secured onto a background fabric with either heat and bond, machine stitching or hand stitching (a)
• name a suitable contemporary designer, such as the designer behind a brand/label name (b)
• describe in detail the techniques and characteristics of the named designer’s work (b)
• give a specific example of an item or garment that the designer has produced in their collection (b)
• for the named culture, demonstrate knowledge of religious practices and their influence on textile design using specific examples (c).

Areas for students to improve include:

• relating design inspiration to an example of a contemporary designer’s work (b)
• distinguishing between religious practices and other factors affecting textile design in a culture (c)
• providing a relevant example of textile design (c).

Question 13

In better responses, students were able to:

• demonstrate awareness of how a specific finish improves fabric performance (a)
• identify how the finish was applied and worked, and how this technique enhances the product (a)
• identify the properties of nylon/elastomeric yarn and relate these to the functions of swimwear (b)
• demonstrate understanding of a recent innovation in textile machinery and how it has directly benefited consumers in a number of ways (c).

Areas for students to improve include:

• addressing how a specific finish works and how it improves performance (a)
• relating the properties of nylon/elastomeric yarn to the main features of swimwear, such as fit, movement, comfort, low absorbency and chlorine resistance (b)
• relating recent innovations to benefits to the consumer, rather than the manufacturer (c).

Question 14

In better responses, students were able to:

• provide the characteristics and features of dyeing at the fibre, yarn and fabric stages
• state specific advantages and disadvantages at each stage, for example, dyeing at the fabric stage allows for a quicker response to fashion changes.

Areas for students to improve include:

• providing information relevant to the question, rather than listing the principle of dyeing
• including environmental sustainability in the description of specific advantages and disadvantages of dying at the fibre, yarn and fabric stages.

Question 15

In better responses, students were able to:

• describe in detail the properties of microfibre, multifilament yarn and warp knit fabric
• relate those properties to the performance requirements of the shoe
• justify the manufacturer’s choice of fibre, yarn and fabric
• describe a wide range of performance criteria for a shoe.

Areas for students to improve include to:

• demonstrating extensive knowledge of microfibre structure, rather than listing general properties
• demonstrating extensive knowledge of multifilament structure, rather than listing general properties
• demonstrating extensive knowledge of warp knit structure, rather than listing general properties
• drawing relationships between the properties of microfibres, multifilament yarn, warp knit fabric and the performance requirements of a shoe.