Textiles and Design 2022 HSC exam pack

Students should:

• ensure the Major Textiles Project Cover Sheet is completed and placed in the front of the folio on a separate page
• acknowledge any outsourcing or external assistance on the Cover Sheet, for example, designer, fashion school, outsourcing of techniques such as digital printing of fabric
• 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 the style and colour of font in the supporting documentation is clear, legible and distinct from the background
• proofread the folio to correct spelling and formatting errors
• ensure that all pages are visible, and no forms or photographs should cover other folio content
• ensure that if a graphics manipulation program is used to create their folio, the font size is correct
• use sewing and decorative techniques rather than glue or painting to display evidence of textile construction
• include actual samples of experiments and investigation where possible.

In better responses, students were able to:

• focus on the quality of the project rather than attempting lots of decorative techniques
• create a textile item(s) that clearly relates to the intended end use, with attention to both aesthetic and functional features
• demonstrate a high level of proficiency in both the techniques used and manufacture of the item(s)
• create a textile item(s) which demonstrates creativity/innovation, degree of difficulty, proficiency using a number of quality techniques and the use of a variety of unique and innovative fabrics.

Areas for students to improve include:

• ensuring creative techniques have a direct link to the overall purpose
• creating an item(s) with a textile end use that incorporates textile techniques rather than gluing and/or painting
• ensuring all pins and needles are removed from textile item(s) prior to submission
• ensuring the item(s) is functional and able to be used for its intended purpose, for example, appropriate closures or means of hanging for a wall hanging.

Students should:

• nominate the focus area they have worked in and clearly explain the relationship of specific aspects of design inspiration to this area
• select and present only relevant images and samples of inspiration.

In better responses, students were able to:

• identify a major source(s) of inspiration and explain in detail the relationship to the product made within a specified focus area
• justify in detail their creative and innovative design ideas with communication using both prose and annotated images
• analyse cultural, historical and contemporary factors in depth, explaining the relationship to their design ideas.

Areas for students to improve:

• relating relevant inspiration to the product made within a nominated focus area
• linking the design ideas to a focus area rather than defining the focus area
• analysing the influence of cultural, historical or contemporary factors on their design ideas rather than simply presenting research
• annotating the inspiration clearly and analytically.

Students should:

• include rendered sketches labelled in detail with standard size text
• link design ideas to the design inspiration
• include front and back views on the final design, and where necessary, in the design development to show how the design has evolved.

In better responses, students were able to:

• explain the development of design ideas, using high quality labelled sketches in a logical and sequential manner which include design features, construction and decorative techniques and colours and fabrics
• analyse strengths and weaknesses of each design to support the development of the final design, including its end use
• analyse the functional and aesthetic aspects of the final design using elements and principles of design, relating these to the products end use.

Areas for students to improve:

• linking design ideas to the inspiration identified without repeating the analysis from the design inspiration section
• completing sketches to an appropriate size that effectively visualises all the design features
• labelling all the design features on the final design in detail, taking care to use the prescribed font size when using computerised drawing programs.

Students should:

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

In better responses, students were able to:

• provide an accurate and detailed written description of the textile item(s)
• present high quality production drawings to scale and in proportion with appropriate views, accurate measurements and labelling
• provide accurate drawings of pattern pieces to scale with all appropriate labelling
• clearly indicate pattern modifications.

Areas for students to improve:

• clearly indicating pattern modifications and explain pattern markings
• including accurately labelled fabric swatches in this section of the folio
• completing high quality production drawings to scale, that indicate all construction details and pattern markings
• ensuring that care labelling relates to the end use of the item and complies with Australian guidelines.

Students should:

• provide evidence of experiments, including the actual samples of techniques relevant to the textile item(s) rather than scans or photographs of evidence
• analyse the properties of fibre, yarn and fabric that are relevant to the items end use, rather than including research on how the fibres, yarns and fabrics were manufactured
• use experimentation to analyse and justify the selection of materials, equipment and manufacturing techniques.

In better responses, students were able to:

• demonstrate relevant and extensive experimentation for the materials, equipment and most significant manufacturing techniques used in the production of the textile item(s)
• provide control samples and actual samples of results from appropriate experimentation to justify the use of materials, equipment and manufacturing processes and modification to the item
• select fabrics for materials experimentation that are feasible for the item(s) being made
• include relevant information to justify the selection of fibre, yam and fabric for the textile item(s) produced.

Areas for students to improve:

• completing the experiments on the actual fabrics being used
• selecting experiments that relate to the end use of the item, and detail how the experiment led to modifications in fabric selection, manufacturing or design.
• evaluating the research on fibre, yarn and fabrics used in relation to the end use of the textile item(s) made
• experimenting with equipment to justify and modify selection rather than simply including a list or table.

Students should:

• read the question carefully to ensure that they do not miss important components of the question
• have a clear understanding of key words in the question and recognise the intent of the question and its requirements
• develop a plan for an extended response to assist with the logical sequencing of information
• engage with any stimulus material provided and refer to it in the response
• study a contemporary designer where all factors that impact success and failure can be addressed in detail
• study a culture where all cultural influences related to textile production and art forms can be addressed in depth
• communicate ideas and information clearly and comprehensively in written, visual and graphic forms
• review their response to ensure that it addresses the question requirements.

Question 11

In better responses, students were able to:

• sketch in general terms how one factor can impact the sale price of a textile (a)
• make a link between the cost of materials, quality, brand name, or demand for the item and the price, and explain whether the price is lowered or increased as a result (b)
• identify and outline two specific examples of strategies that textile manufacturers use to reduce environmental impact, such as using eco fabrics and opting for use of sustainable energy sources in textile manufacturing (b)
• relate a specific current distribution issue to its impact on the Australian Textile Industry, for example, the recent pandemic caused distribution delays for textile products ordered online due to staff shortages impacting packing and transportation (c).

Areas for students to improve include:

• understanding how the sale price of a textile is determined
• selecting strategies that relate to textile manufacturing when outlining environmental impact
• selecting a distribution issue rather than any current issue that impacts the Australian Textile Industry.

Question 12

In better responses, students were able to:

• identify that a checked fabric, identical on both sides, would be most accurately produced by using yarns that have been dyed different colours before weaving (a)
• explain in detail how the chosen colouration method would produce a fabric that is checked and identical on both sides (a)
• describe advantages and disadvantages of the colouration method chosen (a)
• name a contemporary designer and discuss the relationship of their work to current trends (b)
• explain with specific examples how their chosen designer responds to current trends or sets trends (b).

Areas for students to improve include:

• determining colouration methods used to produce different design effects on fabric
• understanding advantages and disadvantages of colouration methods
• outlining the work of a contemporary designer rather than a company or store
• linking the work of a designer to current trends, relating to how they follow or set trends, rather than simply outlining the inspiration used by the designer.

Question 13

In better responses, students were able to:

• identify a regenerated fibre and relate a range of its properties to the end use of a summer shirt (a)
• demonstrate understanding of the functional requirements of a summer shirt (a)
• recognise the properties of microfibres such as how good wicking ability enhances a fabric used in athletic wear (b)
• identify specific textile examples of computer-aided manufacture (CAM), such as automated cutters (c)
• discuss the issues, both positive and negative, relating to the use of computer-aided manufacture (CAM) with examples.

Areas for students to improve include:

• demonstrating knowledge of fibre classification
• determining appropriate functional properties of a summer shirt, for example, cool to wear, breathable and absorbent which makes it suitable to wear in hot weather
• recognising that the properties of microfibre can enhance the performance of athletic wear rather than discussing the stretch nature of a knitted athletic fabric
• identifying specific examples of the use of computer-aided manufacture (CAM) in textile manufacture, and show understanding of the difference between computer-aided design (CAD) and computer-aided manufacture (CAM)
• understanding the impact of computer-aided manufacture (CAM) on textile production in relation to factors, such as, accuracy, speed, environment and employment, considering both positive and negative impacts.

Question 14

In better responses, students were able to:

• engage with the stimulus in the question by relating modern adaptations of a textile production method or textile art to the traditional techniques of a culture
• compare the traditional methods of textile production to the modern adaptations by explaining similarities and differences
• provide examples of how the inspiration could be used in a new range of textile items.

Areas for students to improve include:

• describing a range of traditional production methods and/or textile art forms of the chosen culture
• describing how contemporary designers are influenced by traditional methods in current designs, such as, apparel, textile art and home furnishings.

Question 15

In better responses, students were able to:

• explain in detail the properties of the fibre and fabric structure of the two bags
• comprehensively explain how the properties of cotton and polyester are obtained from their molecular and morphological structure
• demonstrate comprehensive knowledge of the properties of woven and non-woven fabrics, including their strengths and weaknesses
• compare the two bags in relation to their end use performance and care by discussing their similarities and differences.

Areas for students to improve include:

• explaining the properties of cotton and polyester that would be required for the end use of a bag, rather than just listing general properties of the fibres
• developing their knowledge of the properties of non-woven fabrics and being able to relate these to the end use of a non-woven fabric used for bags, rather than other non-woven fabrics such as interfacing
• improving their ability to compare textile items by relating to similarities and differences rather than making a judgement on the best bag
• describing the care of each bag such as, washing requirements, dimensional stability, ability to mend, long term durability and disposal.