AQA GCSE design and technology : textiles technology

289 Pages·2011·14.17 MB·English

by  Rose Sinclair

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British Library Cataloguing in Publication Data
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ISBN: 978 1 444 123 722
First Edition Published 2011
This Edition Published 2011
Impression number 10 9 8 7 6 5 4 3 2 1
Year 2016, 2015, 2014, 2013, 2012, 2011
Copyright © 2011 Rose Sinclair and Hermione Lewis
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Bryan Williams
series editor:
Rose Sinclair
Hermione Lewis
iii
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Contents
Chapter 1 Designing skills 1
Chapter 2 Making skills 38
Chapter 3 Values 69
Chapter 4 Fibres and fabrics 76
Chapter 5 Finishing processes 120
Chapter 6 Components 147
Chapter 7 Product analysis 155
Chapter 8 Social, cultural, moral, health and safety 179
and environment issues
Chapter 9 Processes and m anufacture 216
Chapter 10 Production planning 237
Chapter 11 ICT 252
Index 273
Acknowledgements
Rose Sinclair would like to thank her husband Audley Sinclair for all his support and continued encouragement. Thanks are
also due to the following schools for allowing their students’ coursework to feature in the book: Langley School for Girls,
Bromley, Kent; Feversham College, Bradford; and St. Paul’s School for Girls, Birmingham. Rose would also like to thank the
following teachers for their insight, help and support: Helen Jedlinska, Tracey Goodyear, Lesley Pollacko and Katie Miles.
Also thanks to the editors at Hodder, Stephen Halder and Gemma Parsons, who helped it all happen.
Hermione Lewis would like to thank Sabira Alim, Caitlin Comins, Vinothni Cumarasamy, Chloe Ogbonna-Marks, Georgia
Haigh, Mohini Patel and Ella Thorold for use of student work; and Graham Stapleton, Principal of Graveney School for his
support during a challenging period.
The authors and publishers would like to thank the following for use of photographs in this volume:
Figure 1.17 CandyBoxPhoto – Fotolia; Figure 1.25 anne kyyrö quinn; Figure 2.2 © Anthony Hatley/Alamy; Figure 3.1
Lidove noviny/Tomas Hajek/isifa/Getty Images; Figure 3.2 © Rob Crandall/The Image Works/www.topfoto.co.uk; Figure 3.3
Paul Chesley/Stone/Getty Images; Figure 3.4 Galina Barskaya – Fotolia; Figure 3.5 Public Record Office/HIP/www.topfoto.
co.uk; Figure 4.12 The Woolmark logo is a registered trade mark of The Woolmark Company, which is owned by Australian
Wool Innovation and indicates high quality of wool products. The Woolmark is an assurance by the manufacturer that a
product is made of pure new wool. End products carrying these symbols have been tested by The Woolmark Company for
compliance with its fibre content and performance specifications (Woolmark indicates 100%). The Woolmark is one of the
most recognised symbols globally and represents the world’s largest fibre quality assurance scheme; Figure 4.13 ;
Figure 4.14 weberfoto – Fotolia; Figure 4.19 © V&A Images; Figure 4.24 © RubberBall Selects/Alamy; Figure 4.31 © Alan
Gallery/Alamy; Figure 4.43 © ra-photos/iStockphoto.com; Figure 5.1 Society of Dyers and Colourists; Figure 5.5 © Peter
Alvey/Alamy; Figure 5.7 ITAR TASS/Bandphoto/UPPA/Photoshot; Figure 5.9 Fuse/Getty Images; Figure 5.12 reproduced with
kind permission from Jayne March and Sarah Fox; Figure 5.13 Greentree – Fotolia; Figure 5.14 © Edwin Remsberg/Alamy;
Figure 5.18 Andrzej Fryda – Fotolia; Figure 5.19 © Micha Adamczyk/iStockphoto.com; Figure 6.2 Photos reproduced with
kind permission from Jayne March and Sarah Fox; Figure 6.3 Photos reproduced with kind permission from Jayne March
and Sarah Fox; Figure 6.4 Photos reproduced with kind permission from Jayne March and Sarah Fox; Figure 6.5 Photos
reproduced with kind permission from Jayne March and Sarah Fox; Figure 6.7a © Petre Milevski/iStockphoto.com; Figure
6.7b © Sean Locke/iStockphoto.com; Figure 6.8 YURY MARYUNIN – Fotolia; Figure 6.9 Simplicity; Figure 7.2 Donna Wilson;
Figure 7.4 Cool Hunting Figure 7.5 © Diana Hirsch/iStockphoto.com; Figure 8.1 NASA; Figure 8.2 Crispian Woodgate/Daily
Mail/Rex Features; Figure 8.3 Tony Kyriacou/Rex Features; Figure 8.5 EU Ecolabel; Figure 8.6 Fairtrade Foundation; Figure 8.7
© Colin Underhill/Alamy; Figure 8.9 Ray Tang/Rex Features; Figure 8.10 Trading Standards; Figure 8.14 Intertek; Figure 8.15
© thumb/iStockphoto.com; Figure 8.17 Contains public sector information published by the Health and Safety Executive and
licensed under the Open Government Licence v1.0; Figure 9.8 Photos reproduced with kind permission from Jayne March
and Sarah Fox; Figure 9.9 Photos reproduced with kind permission from Jayne March and Sarah Fox; Figure 9.10 ‘Birds &
Flowers’ artwork by Helen Amy Murray. Digitally pri nted and hand sculpted silk. Photographed by Michael Duerinck for Vogue
Magazine, 2005; Figure 9.11 Photos reproduced with kind permission from Jayne March and Sarah Fox; Figure 9.12 Photos
reproduced with kind permission from Jayne March and Sarah Fox; Figure 9.13 BERNINA of America, Inc.; Figure 9.14
BERNINA of America, Inc.; Figure 9.15 Silver Viscount; Figure 9.16 Jose Manuel Gelpi – Fotolia; Figure 9.17 Dorling
Kindersley/Getty Images; Figure 9.18 Photos reproduced with kind permission from Jayne March and Sarah Fox; Figure 9.19
Photos reproduced with kind permission from Jayne March and Sarah Fox; Figure 9.20 Photos reproduced with kind
permission from Jayne March and Sarah Fox; Figure 9.21 Photos reproduced with kind permission from Jayne March and
Sarah Fox; Figure 9.22 ABACA/Press Association Images; Figure 10.2 © Victoria Chukalina/iStockphoto.com; Figure 10.3
© Haze McElhenny/iStockphoto.com; Figure 10.5 Gareth Davies/Getty Images; Figure 11.2 Cotton Incorporated; Figure 11.3
Pantone® and other Pantone trademarks are the property of, and are used with permission of, Pantone LLC © Pantone LLC
2011. All rights reserved; Figure 11.5 Survey Monkey; Figure 11.8 Webspiration; Figure 11.11 Alan Ward – Fotolia; Figure
11.12 Bernina My Label images © Bernina International AG, www.bernina.co.uk; Figure 11.13 PHILIPPE PLAILLY/SCIENCE
PHOTO LIBRARY; Figure 11.15 ITAR TASS/Bandphoto/UPPA/Photoshot; Figure 11.18 © Youssouf Cader/iStockphoto.com.
Every effort has been made to trace and acknowledge the ownership of copyright. The publishers will be glad to make suitable
arrangements for copyright holders whom it has not been possible to contact.
chapter 1
Designing skills
1.1 Investigating the design opportunity/context
Learning objectives
By the end of this section, you should have a key understanding of:
cchow to investigate the design opportunity and/or context
ccthe place of research in the design process
cchow to use mood boards as part of your design thinking skills
cchow to defi ne your specifi cation and criteria.
Project planning skills
Key points
The time allocated to complete your project is
ccAnalytical skills
45 hours. Therefore, it is essential that you
ccCommunication skills
plan your project to know how long each
ccCreative skills
section will take. In the fashion and textiles
ccValues
industry, designers use specialist product data
management (PDM; see page 266), which allows
Introduction them to plan all aspects of a design project.
For your own work, you may use either mind-

The focus of Criterion one – investigating mapping software or spreadsheet software,
the design context – is on your design, such as Microsoft® Excel® to produce a Gantt
research and analysis skills; that is the ability chart, or a simple fl ow chart. You can refer back
to sort through a wide range of written and to the time plan when you complete each task
visual information. Your relevant fi ndings to remind yourself that you should spend the
will be summarised and will assist you to majority of your time working on the areas worth
make key decisions on how to develop your the most marks. Planning your time will help you
design ideas in Criterion two. It is essential to properly evaluate the overall project in stages.
at each stage of your research to clearly
communicate what you did, how you did
Knowledge link
it and why you did it, to help you write
For more information on product
your design specifi cation at the end of this
planning, see Chapter 10.
section.
For Criterion one you will be awarded a
maximum of eight marks. This section of your
design folder should be a total of fi ve pages
and should be carried out in four hours.
1
AQA Design and Technology for GCSE: textiles technology
UUFigure 1.1 A student’s example of a simple planning chart, illustrating how they planned their project
The design task (brief) assessment task, you are given an open brief(s)
by the examination board that can be adapted to
The design brief outlines the requirements
fit the context.
specified by the client. In the controlled

UUFigure 1.2 An example of an AQA controlled assessment context and design task
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Designing skills
UUFigure 1.3 Student’s adapted design brief
Why use a design brief?
Key terms
Designers use the design brief to give them a
Analysis – a method of studying
clear understanding of their client’s requirements.
the nature of something or of
The design brief allows you to focus your
determining its essential features and their
research skills on particular areas within the relations.
design process.
Design – the process of creatively developing
The value of design journals a concept or idea.
(paper-based sketchbooks, Design task (brief) – a short statement
explaining what is going to be designed
new media – electronic
and made.
ebooks, e.g. Flickr, Vimeo)
Research can be collected in many different ccto identify clearly all the design needs
forms (digitally or from magazines, for example). required.
The sketchbook is important because it
Methods to use to analyse your task are:
means you can have all the visual and written
information you have collected at your fingertips. ccmind-mapping.
It is a fantastic reference tool to bring your idea cca spider diagram
to life. cca list of bullet points
cca short piece of written work.
Analysing a design task (brief) Make sure you have a clear understanding of the
task before you go any further.
The key ways to analyse a brief are:
ccto highlight key words, terms and phrases
and make sure you understand them
3