AQA GCSE Textiles Technology Coursework Guide - Student Name: ..
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Textiles Technology
AQA GCSE
Coursework Guide
Student Name: ……………………………………………..
Coursework 2011
This coursework booklet contains much of the information you will need to
complete your folder to a high standard. Please use it throughout the next
year and tick off the pages you’ve completed, make notes in it, reminders to
yourself of things you might include etc.
Use it alongside your own text book and the text books kept in the class-
room. If you have any problems or there is anything you don’t understand –
ASK!
Bring the booklet to every lesson with your folder. Below is a time
table for the remainder of this term. It is very important that you keep up
to date, on average it means completing one A3 sheet per week. Good luck!
Week Lesson Content / Work to be completed
Beginning
16th May Introduction of GCSE coursework
Design brief and Task analysis
23rd May Plan Research
30th May HALF TERM – Research
19th April Research
6th June Research
13th June Analysis of Research and Design Specification
20th June Initial Designs
27th June Developing Ideas
4th July Evaluation of Designs against the Design spec.
11th July Final Design, Development plan.
18th July Buying a paper pattern if necessary and research
of suitable fabrics
DESIGN AND TECHNOLOGY: TEXTILES TECHNOLOGY
PROJECT WORK
This project work is the coursework for your GCSE. It covers 60% of your GCSE marks and gives
you the opportunity to show your ability to design and make a high quality product in answer to
a specific design brief. The controlled assessment is split into two parts, designing (folder) is 20% of
the grade, Making is 40% of the grade.
Your project will involve a lot of work. 45 hours in total in class time, plus you will need to put in
time at home on your folder work. It is therefore important that you choose to make a product
you are interested in. You must plan and organize your time wisely during lessons and for home
works.
You will provide all necessary fabrics/components for the project. If you have a problem or do not
understand something don’t wait for it to get worse, speak to your teacher. Your work will be
assessed as you go along by your teacher and suggestions given to you on how to improve your
interim grade. It is important to keep to the recommended assessment deadlines for each section
of your coursework.
CHOICE OF PROJECT
Your teacher will talk to you about the project and give you advice. It is important that you choose your brief carefully. You
will need to ask yourself many questions –
Which sort of textiles do I like designing and making most? Fashion items or furnishings?
Which products am I good at making? Choose something you can make well
Cost – you will be designing and making the same product for some weeks. What will your parents want you to make
and what can they afford – they will be providing your fabrics and components.
Which target group do you find most interesting to design for? E.g. Children, teenagers, men, women, the elderly etc.
Is there plenty of information available to enable me to research thoroughly?
Presentation
Your project must be prepared on plain A3 paper. The examiners have requested NO
BLACK PAPER, GLITTER OR CARD. Each page should have the same lettering, font and
border. It should be used in the same orientation (landscape or portrait), Keep this simple.
Use ICT to improve your presentation and to gain further marks.
Additional marks will be awarded for neat presentation, clearly drawn designs and correct
spelling, grammar and punctuation. Your folder should contain well produced drawings,
sketches, diagrams, photographs and notes where appropriate.
Your design work should be neat and well organised. Present your project as clearly as you
can, but remember – it is supposed to be a working document that you can update as you
progress. It should show all of your analysis, thinking and decisions.
Your project should provide a record for development of ideas as the design brief is solved.
Include everything you use when designing or making decisions, such as questionnaires, mod-
els, result of testing and samples. Many marks can be gained if you explain what you are do-
ing throughout.
Some templates are available for you to use in CENTRAL RESOURCES – TECHNOLOGY –
TEXTILES – GCSE COURSEWORK. You should customise these to match the style of the rest of
your folder, e.g. changing the font, borders, colours etc.
GCSE TEXTILES TECHNOLOGY
CONTROLLED ASSESSMENT TASKS
The following are the AQA set tasks for GCSE Design and Technology: Textiles Technology. You should
pick one of these tasks as your design brief for your controlled assessment coursework.
Many young people choose to express their individuality through the clothes they wear and the
accessories they use. Alternative, offbeat, unusual, out of the ordinary, crazy style fashion, the ‘in
thing’, the rage, a new trend and hip are all words that inspire our nations up and coming fashion
designers!
DESIGN TASK 1
Current trend forecasts show that the Japanese Street style is set to influence fashion in the near
future. This trend lends itself to the creation of garments which make use of recycled textile prod-
ucts, materials and components. You have been commissioned by a popular High Street store to
design a fashion garment or accessory which reflects this influence.
DESIGN TASK 2
Design and make a fashion garment or accessory suitable for the 18-23 year age range taking
your inspiration from either ‘The age of Punk’ or the ‘Swinging Sixties’. If the product is successful it
will form part of a limited range to be sold at Music Festivals throughout the country.
Designers have a responsibility to design products that address environmental issues. It has become
fashionable to design sustainable textile products, using recycled second hand products, re using
fabrics and components as well as fabrics from other industrial sources e.g. Hessian from rice sacks.
The use of organic cotton, biodegradable fibres/fabrics has become a strong feature in the sale of
many high street brands. Fair trade textile products are becoming increasingly available and their
sale helps to support developing countries.
DESIGN TASK 1
‘People Tree’ is a company which supplies textile products for consumers who care about the envi-
ronment and also wish to support international Fair Trade. You have been asked to design a new
range of home furnishing products inspired by the cultural influences of a developing country.
Make up at least one item from your range.
DESIGN TASK 2
Design and make a promotional fashion garment, accessory or decorative product for the window
display of a high street Oxfam shop. The product should be made from recycled, donated textiles.
Traditionally children’s clothing and fabric toys were well made and treasured and often handed
down to other children in the family. This practice saved money and was good for the environment.
DESIGN TASK 1
Innovative and unique children’s learning toys are very popular gifts. An exclusive craft shop has
commissioned you to produce a range of original designs to appeal to their customers. Design and
make a textile product that will be an educational toy for the 0-5 year age range.
DESIGN TASK 2
You have been commissioned by a national supermarket chain to design a range of boys or girls
clothes for the 5-8 year age range. They are keen to promote the current trend forecast. Design a
range for the summer collection and make up one product.
Technological advances in both textiles fabric manufacture and electronics technology have seen an increase in the number of multi-functional, interactive textile products on the market. DESIGN TASK 1 A designer of uniforms has recognised a gap in the market for school uniform products that of- fer a child protection in the dark. Design and make a ‘Sew and be seen’ uniform product that incorporates either or both reflective ‘glow in the dark’ fabrics and a special sound or light fea- ture. DESIGN TASK 2 The popular store ‘Pets at Home’ have asked you to design a product for a pet, such as a dog, cat or horse that would be practical for the animal, appealing to the pet owner and offer pro- tection from the dangers that night time brings. Popular tourist attractions such as Wildlife Sanctuaries, Art Galleries, Farms, National Gardens and Museums often promote their exhibits by selling limited range gifts in their craft shops. Tex- tile products are always a popular feature. DESIGN TASK 1 A manufacturing company which supplies gift shops around the British Isles has commissioned you to design a range of textiles, decorative products. Design and make one of the products from the range that would be a best seller with visiting tourists. DESIGN TASK 2 You have been asked by a national Art Gallery to design a range of fashion accessories or home interior products inspired by the work of a featuring artist e.g. Gustav Klimt. Make up one item from your range with appeal to the gallery gift shop visitors. Different cultures of the world provide textile designers with a wealth of inspiration. Whether it is through their artists, fashion designers, special occasions, music, festivals or seasonal celebra- tions they all provide pattern, colour and texture essential to the development of inspirational textile products. DESIGN TASK 1 A popular high street store has commissioned you to design a fashion garment or accessory to wear at a special occasion event. Your design is to be inspired by the colours, spirit, and pat- tern offered by another culture. DESIGN TASK 2 Many young people are keen to go to university. Student accommodation is often very basic and without the home comforts they are used to. A charity shop on a University campus has invited you to design a range of textile products that would prove popular with students. The shop is keen to promote decorative products that have been inspired by other cultures and make use of recycled fabrics. Make at least one product that could be sold at the University shop.
AQA MARK SCHEME
This is the mark scheme that is used when marking your coursework. It explains how many marks are
available for each section and what you have to show to get them. Aim for the highest marks possible!
Tick off each one as you finish them.
AQA DESIGN AND TECHNOLOGY TEXTILES book, Unit 1 Coursework p130.
Criterion 1
7– 8 marks
• Discrimination shown when selecting and acquiring relevant research that will promote originality in
designing
• Excellent understanding and analysis of the design context
• Detailed analysis of relevant existing products or systems undertaken related to design intentions
• Comprehensive analysis of relevant and focussed research undertaken
• Clear and specific design criteria identified, reflecting the analysis undertaken
• Target market identified and the intended consumer/user profiled
5 – 6 marks
• Good understanding and analysis of the design context
• Good analysis of relevant products or systems undertaken
• Good analysis of relevant research and context
• Design criteria which reflects the analysis undertaken
• Target market for product has been identified
3 – 4 marks
• Basic understanding and analysis of the design context
• Some analysis of related products or systems undertaken
• Made a superficial analysis of most of the research material and the context
• Design criteria reflects most of the analysis undertaken
• Some consideration has been taken of the likely consumer/user
0 – 2 marks
• Limited understanding or analysis of design context
• Minimal analysis of other products or systems undertaken
• Provided little evidence of research and analysis of context
• Design criteria is very general and is lacking in any detail
• Limited understanding of the target market/user evident
Criterion 2
26 – 32 marks
• Imaginative and innovative ideas have been developed, demonstrating creativity, flair and original-
ity. Further developments made to take account of ongoing research
• A coherent and appropriate design strategy, with clear evidence of a planned approach, adopted
throughout
• The implications of a wide range of issues including social, moral, environmental and sustainability,
are taken into consideration and inform the development of the design proposals
• Excellent development work through experimentation with a wide variety of techniques and model-
ling (including CAD where appropriate) in order to produce a final design solution
• Appropriate materials/ingredients and components selected with full regard to their working proper-
ties
• Fully detailed and justified product/manufacturing specification taking full account of the analysis
undertaken
19–25 marks
Imaginative ideas demonstrating a degree of creativity, which are further developed to take account
of ongoing research
An appropriate design strategy, with evidence of planning, adopted for most aspects
...continued...
• Development of design proposals take into account the main aspects relating to a variety of so- cial, moral, environmental and sustainability issues • Good development work achieved through working with a variety of techniques and modelling (including CAD where appropriate) • Appropriate materials/ingredients and components selected with regard to their working proper- ties • Product/manufacturing specification is complete and reflects key aspects of the analysis under- taken 12–18 marks • Design ideas show some degree of creativity and further development • An appropriate design strategy, with some evidence of planning, adopted for some aspects • Developments of design solutions are influenced to some extent by factors relating to social, moral, environmental and sustainability issues • Adequate development work achieved through working with a range of techniques and model- ling (including CAD where appropriate) • Materials/ingredients and components selected with some regard to their working properties • Product/manufacturing specification reflects most aspects of the analysis 6–11 marks • Ideas show some variation in approach or concept • A limited design strategy, with some evidence of planning, is evident • Some consideration taken of social, moral, environmental and sustainability issue in development of design solutions • Development work is lacking in detail but makes reference to a number of techniques and mod- elling (including CAD where appropriate) • Materials/ingredients and components selected with limited regard to their working properties • Limited product/manufacturing specification which reflects most obvious features of analysis 0–5 marks • Ideas are lacking in imagination with minimal development or further research • Little evidence of a logical approach being adopted, with no indication of planning • Development work shows little consideration of social, moral, environmental and sustainability issues • Basic development work undertaken using a limited range of techniques • Materials/ingredients and components selected with little regard to their working properties • Produced a simple product/manufacturing specification which is general in nature Criterion 3 26–32 marks • Final outcome(s) shows a high level of making/modelling/finishing skills and accuracy • Selected and used appropriate tools, materials and/or technologies including, where appropri- ate, CAM correctly, skilfully and safely • Worked independently to produce a rigorous and demanding outcome • Quality controls are evident throughout the project and it is clear how accuracy has been achieved. • The outcome has the potential to be commercially viable and is suitable for the target market 19–25 marks • Final outcome shows very good level of making/modelling/finishing skills • Selected and used appropriate tools, materials and/or technologies including, where appropri- ate, CAM correctly and safely • Outcome demonstrates a high level of demand • Quality control checks applied in the manufacture of the product • The outcome is suitable for the target market and could be commercially viable with further development ...continued...
12–18 marks • Final outcome shows good level of making/modelling/finishing skills • Used appropriate materials, components, equipment and processes correctly and safely (including CAM) • Parts of outcome show high levels of demand • Applied quality control checks broadly but superficially • The outcome requires further development in order to be suitable for the target market 6–11 marks • Final outcome is largely complete and represents a basic level of making/modelling/ finishing skills • Used materials, components and equipment correctly and safely (including CAM if appropriate) • Some aspects of outcome are demanding • Some evidence of limited quality control applied throughout the process • The outcome has some weaknesses which limit its suitability for the target market 0–5 marks • Final outcome is incomplete or represents an undemanding level of making/modelling/ finishing skills • Used materials, components and equipment safely under close supervision • Worked with some assistance to produce outcome of limited demand • There is limited evidence of any quality control and levels of accuracy are minimal • The outcome has significant weaknesses which limit its suitability for the target market Criterion 4 9–12 marks • Detailed testing and evaluation as appropriate throughout the designing and making process taking account of client/user or third party opinion • All aspects of the final outcome have been tested against the design criteria and/or the product/ manufacturing specification • Evaluate and justify the need for modifications to the product and consideration given as to how the out- come might need to be modified for commercial production 6–8 marks • Appropriate testing and evaluation of product evident throughout the designing and making process • Most aspects of the final outcome have been tested against the design criteria and/or the product/ manufacturing specification • Evaluate and justify the needs for improvements or modifications to the product 3–5 marks • Evidence of some testing and evaluation leading to the production of the final outcome • Some evidence of testing against the design criteria and/or the product/manufacturing specification • Some improvements or modifications to product suggested 0–2 marks • Minimal testing and evaluation throughout the designing and making process • Limited or no testing of final outcome against the design criteria and/or the product/ manufacturing specifi- cation • Limited mention of some improvements or modifications that could be made to the product Criterion 5 5–6 marks • Design folder is focussed, concise and relevant and demonstrates an appropriate selection of material for in- clusion • All decisions communicated in a clear and coherent manner with appropriate use of technical language • The text is legible, easily understood and shows a good grasp of grammar, punctuation and spelling 3–4 marks • Design folder shows some skill in choice of material for inclusion but includes some irrelevant content • Most decisions communicated with some clarity and with some use of technical language • There are a small number of errors in grammar, punctuation and spelling 0–2 marks • Design folder shows excessive duplication of information and a lack of brevity and focus resulting in irrelevant content • Ideas and decisions communicated at a simplistic level with a limited grasp of the concepts involved and a limited use of technical vocabulary • Numerous errors in grammar, punctuation and spelling
Example Contents
The chart below is just one possible route through your coursework. It shows some of the things you
might expect to see in a controlled assessment task piece of coursework. It is only an example.
1 Design Brief, Analysis of task, Research plan, Identify
target market / consumer profile 4 Emphasis on being
2 Existing designs, product analysis, disassembly tasks, relevant, concise
comparative shop and analytical.
3 Inspirational – mood boards and trend forecasts,
designers, historical / cultural
4 Analysis research, Specifications, design criteria
5 Initial Ideas
6 Coloured ideas evaluated 32 Emphasis on crea-
tivity, flair, imagi-
7 Development work planned including written ex-
nation. Making
planation
use of all modern
8 Presentation of final ideas, Designing for sustainabil- technologies avail-
ity, environmental, social, moral considerations able. Emphasis on
9 Disassembly of a similar product designing for sus-
10 Colour ways, pattern / decorative work – investi- tainability.
gating and experimenting
11 Style, shape, construction techniques. Modelling /
prototyping, modifications. The template / pattern
construction
12 Fabric and component choices – working properties,
costing and other development work
13 Plans for making. Manufacturing / product specifi-
cation including flow diagrams, working drawings
14 Production records including quality control and risk Emphasis on chal-
assessments 32 lenge, quality and
15 Diary of making supported with photographs achievability in
16 Paper patterns / templates, prototype mock up the time avail-
samples able. Use of ICT.
17 Testing against the specifications
18 Public survey to canvas opinion, fashion shows, user 12 Emphasis on thor-
trials, video footage showing their product in use ough testing and
19 Comparing against a commercial product evaluating in or-
der to recommend
20 Product analysis report offering improvement and modifications.
modification suggestions
Communication criteria is awarded throughout 6
Criterion 1: Investigating the design context
Design Brief
Word process or write your design brief. You may find it useful to write a
small conclusion on each page of your
Research Plan research and dev elopement.
Produce a chart of the research you plan to
do. You could include the following: For example,
Fabric and colours
Inspiration from theme/designer/occasion The things I have found out are...
Decorative techniques
The decisions I have made are...
User requirements
Environmental, social, moral and sustainability My clients opinion is...
issues
This has inspired me by...
TASK ANALYSIS
You may include in this: Possible problems I might face...
Who the products for In industry they...
Why they need it
What it is used for This will help me meet my brief and
Where they will buy it specification by... (once you have
Why there is a gap in the market written it obviously!)
What else you may need to consider when de-
signing and making the product.Criterion 1: Investigating the design context
Questionnaire
In order to produce a successful product that fits your brief, you need to consider the opinion of your
clients and your target market and gather as much information from them as possible. This can be in
the form of a questionnaire where you need to find out the following:
Their age, appearance, lifestyle, hobbies, influences e.g. music, celebrities.
Favourite shops, colours, styles, fabrics, decoration (be specific and give them options).
Which value issues are important to them? Do they have any specific needs?
What is in their house/wardrobe, how much can they afford?
Your THEME—research
into your theme you have
chosen. E.g. A wall hanging
based on the Chinese cul-
ture—what colours, shapes,
fabrics, features, images
are associated with that
theme/culture? How can
you make sure your de-
signs represent your theme
appropriately?
To get a higher grade you
could also research your
clients favourite designer
or shop using the following:
What is the designers
signature style? Exam-
ples of their work.
What is it your client
likes about this designer?
Are they influenced by
value issues?
What is the designers
target market?
What is the shops signa-
ture style? What do they
sell?
What is it your client
likes about the products
the shops sell?
Are the products influ-
ences by value issues?
E.g. fairtrade
CONCLUSION—Don’t
forget to write a conclusion
of the information you
have gathered through
each stage of your re-
search. Comment on how it
has helped you, what you
have learnt and how it will
affect your designs and development.Criterion 1: Investigating the design context
DISASSEMBLY
Points to cover:
Take photographs – front/back, any detail on the product.
Sketch front and back views, showing all seams, darts etc.
Draw the pattern pieces.
Identify the fibre/fabric. What method of construction was used for the fabric –
woven, knitted or non-woven? Draw out the care label – would this fabric be
suitable for your product?
Identify the colouring techniques and decorative techniques used. Is the fabric
printed or painted? How important is the colour to the design of the product? Is
the decoration important to the finished product and does it improve it? Would
you use these decorative techniques? If not, why not and what could the alterna-
tive be?
What type of seams, finishes, neatening have been used? Are they the most suit-
able?
Fastenings – Do they work? Are they suitable? What is the alternative?
Is the product suitable for the function for which it was designed?
If you know the cost, was it value for money?
Is the product environmentally friendly?
You need to write an evaluation of your disassembly by answering the following questions:
What have you found out from doing this disassembly?
How has it helped you to focus on your design for your product?
Could you/would you do anything different? Think – not only about the design of
the product you are disassembling, but the quality. Is it good? Could it be better?
How? What would/could you do?
What is the point in carrying out a disassembly? Why is it carried out in industry?Criterion 1: Investigating the design context
Comparative Shop
When looking at existing products that are similar to what you want to design you need to think about
the following:
Name of retailer, Country of origin, Purpose and Function.
Target audience, when and where it will be used, Price and costs to produce.
Colours, Fabrics—fibres, construction, appearance, Fastenings—what is used and where, Shaping—darts,
pleats, gathers, Finishes—hems, facing, Seams—open, over locked, French, Style features—pockets, ap-
pliqué, beading, Components, Measurements/sizes.
Care information, Packaging and Marketing.
Good/bad points, Areas for improvement, Yours and your clients opinion, How it would fit your brief.Criterion 1: Investigating the design context
ANALYSIS OF RESEARCH
You have completed your research and presented it – you must now analyse it and say what you
have found out. The examiner will need to see:
What research you have done
Why you did it
What you hoped to find out
What you actually found out
How you are going to use it in your design work.
Some points to help you:
You may not have researched something because you already knew the information.
Make sure you let the examiner know.
When you have planned the analysis complete the extended piece of writing.
In the first paragraph say what your design brief is asking you to do.
Then say what you need to find out, followed by the research you have carried out.
Explain why you needed to do the research. This could be anything from looking for inspi-
ration, to gaining knowledge of something you did not know.
In the final paragraph summarise your findings. Let the examiner know what you are
thinking. How might your product develop? Be clear, honest and open.
RRESEARCH What did you What key things did you dis- Examples of design
hope to find out? cover? criteria
Mood board Ideas of colour, Describe your mood board fol- The colour range will
shape, style, pat- lowed by the colour, patterns and be green, blue and
tern. shapes you have from it. What are yellow. The pattern
your early thoughts? from the Gaudi titles
will form the back-
ground.
Consumer/ Their likes and dis- Describe the customer who will buy The product must ap-
User profile likes, how much your product and say why you peal to young cou-
they are prepared need information about them. ples. It must be mod-
to spend. What did you find out? What do ern and fashionable.
you think they will buy? How much
do you think they will spend?
Existing de- Product construc- You have presented some existing The product will be
signs, shops, tion, ideas about products with full written evalua- square and have a
magazines fabrics, techniques. tions. What have you found out? decorative edging.
Popular products How will you use this idea in your Hand-stitched deco-
What is value for work? Write as much as you can, rative work will be
money? there is no right or wrong answer; it involved.
is just what you think.Criterion 1: Investigating the design context
DESIGN SPECIFICATION
A design specification is a detailed list of criteria, which provide information needed to design
a product. It is written to guide the designers thinking. Use it to steer you in the right direction
when you come up with ideas and use it when evaluating them.
These are some of the criteria you might include in your design specification:
Function/purpose
Aesthetics
Size and shape
Target market/ consumer requirements
The cost
The theme
Performance requirements and materials
Products in the seasons range
Time and resources
The techniques that will be used to make it
Value issues – moral, environment, sustainability, social, e.g. whether the materials
will be recycled later and the environmental costs of fabric care and materials used.
Health and safety issues
Life expectancy
Scale of production
Whatever point you make try to justify what you are saying, e.g.
The wall hanging must be strong because it has to hold all the child’s small toys and
books.
The boned corset will be decorated with beads and sequins as this was the most popu-
lar choice made by my target market.
For higher grades divide this information into two sections:
Essential criteria: these are the points that the product must have, for example if
your design brief states that the product is to be based on the jungle, the product
must show something of that theme.
Desirable criteria: this might include points such as ‘appliqué could be used on my
wall hanging as it is bright and colourful and suitable for a child’.Criterion 2: Development of design proposals
INITIAL IDEAS
Reread your design brief, look at your research and read your specification. You must be very
clear about what it is that you are going to design and who it is for. The purpose of the task is
to design something new, original and exciting, a product with a difference, something that
everyone will want to buy.
Look at your existing products page and choose something that appeals to you. Look at your
mood board and pick out shapes and patterns that you like. Could you combine the two?
Use an HB or 2B pencil to start sketching. Be bold and confident! Relax and
sketch freely. No rubbers, rulers, coloured pencils or compasses. Try to let your ideas flow. Let
the moderator see what you are thinking. Label your sketches. Jot down anything that comes
to mind – it may be about materials or techniques.
You should be well into the swing of things, don’t spend too long on this stage. One hour to fill
this page is quite enough.
If you find this difficult, it is usually because your research isn’t good enough. Is there any more
research you could do that would help you?Criterion 2: Development of design proposals
DEVELOPING DESIGN IDEAS
You will need at least one page of firmed up design ideas – these have to be realistic suggestions that
meet your design brief and specification.
Choose the idea or ideas that come closest to meeting your specification – you may find now that you
need to carry out some more research into images or patterns.
Present these ideas in colour – you don’t have to use coloured pencils, try coloured paper or paint or
one of the graphic programmes on the computer – be creative.
Use exploded diagrams to show details and don’t forget to show a back view especially if you are de-
signing a garment.
Keep your mind open – you may decide to combine two of your first ideas.
As you are working, you may come up with a really good idea. Record it before you forget – it doesn’t
have to have appeared in your initial ideas.
EVALUATING DESIGNS AGAINST THE SPECIFICATION
You need to evaluate your final range of ideas against your design specification. This could be in the
form of a chart. Compare each design against every point in your design specification to see how suitable
it is. If you cant fit it on the same page as your designs, you could go onto the next page, along with your
final design and development plan.Criterion 2: Development of design proposals
PLANNING THE DEVELOPMENT
This is the most important stage of your task. It is important to plan your development as you
will spend a lot of time on it. Choose the idea or ideas that come closest to meeting your speci-
fication. Start by writing a paragraph—As a designer it is important to consider all aspects of
development to produce a successful product. Before making my final product I will consider
developing the construction, decoration, fabric choice, component choice, style and size.
Present this how you like—chart, paragraphs, spider diagram etc. Consider the following
throughout your research, perhaps tick off each one as you do it.
Look at the shape of the product – refine it, alter it. Is it going to do its job well if it is
this shape? Make a model of the product. Is it the right size and shape? Imagine the
decoration in place. Will it work?
Look at patterns, decoration – rearrange, add new, try different. Is it fussy? Is the
overall composition good? Think about how it will all fit together. Try out different
construction techniques to find the best way of doing things. Make a mock up or just
part of the product. Make a paper pattern or templates. Add all markings.
Think about the colours. Are they going to be fashionable? Do they reflect the sea-
son’s trend? Experiment, try different colour ways. Investigate ways of adding the col-
our and decoration.
Choose fabrics. It is a good idea to list al the things the fabric must be if it is going to
be suitable for your product; e.g. non stretchy, washable. If you are not sure about
the fabric properties you may have to test it.
Choose the components, including threads and fastenings. See what is in the shops,
test things out and make sure they give the right effect and do their job.
Costing – now you have made decisions on the above, check that the product is still
within your cost range.
Mass manufacture – make a list of the changes you might have to make if your
product was to be mass produced.
Think about the aftercare needed and the design of a care label.
Consider health and safety issues. Is the product safe to make and also safe to use?
Sustainability and other environmental, moral and social issues need considering
when you are a designer and manufacturer.
This is an example of a chart layout you could use. Insert all aspects of the development
you wish to undertake.
What needs develop- What do I need to do? What materials and equipment
ing? do I need?
Embroidery I need to develop the colour, size Computer embroidery machine,
and stitch type. I also need to trial black thread for hand and ma-
samples using CAD CAM and hand chine embroidery, fabric.
embroidery.
Beading Decoration I need to develop the colour, size of Beads, thread, beading needle,
beads, size of decoration and fabric.
flower shape.
Seams I need to develop the type of seam Fabric, thread, sewing machine,
appropriate for my fabric and possibly overlocker machine.
placement.
Prototype style and I need to develop the neckline of Fabric, pattern.
shape my dress. I will alter my pattern to
create a sweetheart neckline.Criterion 2: Development of design proposals
Final Idea
Present your final idea and seek the opinion of your target market. This should be in full colour,
labelled with front and back views. You need to evaluate your final idea against your specification.
You can now write a product specification.
These two pages show how you could present your Evaluation of Developed Designs, Final Design
and Development plan on one A3 page. This is just one option.Criterion 2: Development of design proposals
ISSUES
These issues can be presented on one A3 sheet or with your CAD/manufacturing development. Start
the page by explaining that when designing textiles products designers have to understand how the
product is made but also understand the impact of the design on a wider society. Your AQA Textiles
Technology book has a lot of information on issues and the environment. You should include infor-
mation on the following; use the questions to help you.
Environment and Sustainability
www.environment-agency.gov.uk gives great detail about the requirements of the
Textiles Industry. The production of your product should be made as environmen-
tally friendly as possible by:
Avoiding waste of materials and energy
Avoiding unnecessary packaging
Reducing production processes so less energy is used
Reduce transportation
Using ICT – paperless designing
Encouraging your client/customers to recycle the product eventually
Choice of fabric – cotton (water, pesticides, dust, workforce) (biodegradable)
Polyester (from oil non-renewable, not biodegradable, recycle)
Dyeing carefully – water, chemical waste into rivers – reuse or treat waste water
Recommendations for the product in use – washing (energy, water, detergents), manmade =
cooler wash, quicker dry.
1. What materials and other resources are needed for design and production of the product?
2. How long is the product meant to last? Has planned obsolescence been designed into the
product?
3. Can the product be repaired/maintained?
4. Have different resources and their implications been considered?
5. Does the product use sustainable resources? Are the materials used in the product biodegrad-
able?
6. Does the product take into account the use of non-renewable resources? Does the product
make effective use of energy resources?
7. How will the product be disposed of after use? Can the product be recycled?
8. What effect will production and use have on the immediate area in the long and short term?
9. How is the product packaged?
Social Issues
If the design is intended for commercial production you must look carefully at the impact of your
design on a particular society or culture. WHO could you offend? WHAT developments could you
consider to avoid this?
1. Who has the product been designed for? What is the target market?
2. What needs do they have (physical, social, emotional and intellectual)? Does the product meet
these needs?
3. How does lifestyle of the target group affect the design?
4. Who was consulted during the design of the product? Who influenced the design of the prod-
uct?
5. Who will benefit from the production of this product? Will it change people’s lives? Who will
loose out because of the production of this product?
6. Is it accessible to everyone, e.g. Someone with a disability, older people, different sexes?
7. How much does it cost—can the target audience afford to buy and maintain it?
8. What influence do TV, Media, famous people, etc have on the design of the product?
9. What influence does history have on the design of the product, e.g. 60s revival?
10. Where will it be sold?Criterion 2: Development of design proposals
Issues Continued...
Moral Issues
There are growing concerns about how the products we buy affect the lives of people who produce
them. When choosing a manufacturer for your product WHAT CHECKS would you want to make to
ensure the workers would not be exploited? SUGGEST some benefits there would be to workers in
poor countries to become textile workers. Look into fair-trade, organic and recycled goods.
1. Will the product frighten or offend anyone?
2. Does the product impose values not normally found in that society?
3. Does the product suggest unrealistic benefits to people?
4. Does the product use materials that are rare, e.g. Types of animal fur?
5. How is the product promoted and packaged?
6. What wages are employees paid?
7. What working conditions do people have, e.g. Hours, breaks, holidays, pay and so on?
8. How much is the product sold for compared with how much it costs? What is the profit margin?
Cultural, Economic and Political Issues
1. Have traditional skills, materials and colours been used?
2. Is the product made in its home country or mass produced elsewhere?
3. Are the materials and final product appropriate for the target market/country?
4. Does the production of a product help raise positive awareness of a country/culture?
5. Does the production of a product bring in revenue to help a country develop?
6. Are jobs lost or created due to the product being made or the production methods used?
7. Are local materials and labour used?
8. Is profit the main motivating factor in production?
9. Is production done in areas where labour is the cheapest, even if it means local job loses?
10. What are the political influences behind the development and production of this product?
11. Are countries taking responsibility for the products made and the long-term effects they have?
Health and Safety
In the textiles industry safety is of the utmost importance. Risk assessments are carried out to high-
light all risks and to identify how it can be made safe. Page 86 to 69 has plenty of information on
health and safety and also shows you how to fill out a risk assessment. You could do one in the form
of a table like below. Think about every step of production, and how it may effect the person/s do-
ing it.
Manufacturing Stage Hazard Safety Measures
Fusing interlinings, Burns to fingers and hands Use a press that is controlled by both
interfacing etc from irons, hot plates, presses, hands, one person per machine/iron,
inhalation of vapours. ventilation to remove vapours.
Regular maintenance on machinery
used.
You also need to consider the health and safety of the product when it is finished and is being used.
Especially if it is a product designed for children or infants. You may need to look into labelling ap-
propriate for your product.Criterion 2: Development of design proposals
Computer Aided Design
Designers in industry use Computer Aided
Design to present their ideas to their cli-
ents, try out different colour ways and
fabrics, without having to make lots of
prototypes.
Advantages include: saving you time as
you can recolour the same design rather
than having to redraw them, you can
scan in fabrics and drape them on your
design to see how they look, you can use
ICT to send your ideas to the client. One
disadvantage however is that the com-
puter packages are very expensive and
you need training on how to use them.
You need to present at least 3 or 4 differ-
ent colour ways using Photoshop. Along
with your designs you need to have a
paragraph on why you have done them
and how/why it is done in industry. There
is more information in your text books on
CAD/CAM. Again, don’t forget to seek the
opinion of your client!
If you have room left on your page you
could use this to look into how ICT is used
in other areas of production, other indus-
trial processes or another part of your de-
velopment.
The second example shows development
of flower decoration, including trialling
different printing techniques, beading and
patterned fabric. The third example shows
how a student used the other half of the
page to look into fabric choices. They
have shown samples of patterns, colours
and different type of fabrics that may be
suitable, their properties and clients opin-
ions.Criterion 2: Development of design proposals
Development Samples
You need to produce a page of samples of all the possible techniques you may use during the produc-
tion of your product.
SEAMS—A selection of seams using
your fabric, including plain open
seams finished in a variety of ways e.g.
Overlocked, pinking sheared, zig-
zagged or French seams.
HEMS—Overlocked and turned up,
Rolled hem done by hand or using the
overlocker.
CONSTRUCTION—boning samples,
gathers, pleats, interfacing, straps, lac-
ing etc.
DECORATION—embroidery, bead-
ing, sequins, hot gems, Computerised
Embroidery, burning, appliqué, 3D
flowers and embellishments, lacing,
tucks or rouching etc.
FABRIC TESTING—testing fabric
samples for crease resistance, stain re-
sistance, washability, ironing, drape,
absorbency. Choose tests that are rele-
vant for your product e.g. children's
clothing needs to be machine wash-
able however a decorative wall hang-
ing may not have to be.
All samples should be made using your
own fabric. If you are making a dress
with a lining, you may need to do
samples using both your top fabric
and your lining as they may behave
differently. If you use specialist ma-
chinery, e.g. CAD/CAM make sure you
take pictures of you using them, or
screen shots of the programme you are
using.Criterion 2: Development of design proposals
Tolerance +/- 0.5cm
Fabrics
Pink 100% polyester satin Components
Pink polyester lining Thread
White 100% polyester Hook and eye
satin 10” Open-ended zip
White organza 7” Skirt Zip
Pink organza Pink and Clear beads
Pink netting 1m 80cm Boning
Polyester Thread
Bright pink feathers
Silver sequins
Stitch Detail 6 Buttons
Straight Stitch: All seams
in the skirt, bodice, zip and
hem.
Care Label
Overlock: All seams in
skirt and bodice.
Top Stitching: All seams
Packing Information
in bodice.
Hung on a clothes hanger in
Hand stitching: Bead
a protective dress bag.
decoration and flowers
Components Packing Information
Thread, 16 Poppers Folded and packed
Bondaweb, Computer in a cellophane bag.
Transfer Paper
Care Label
Stitch Detail
Straight Stitch: All seams
are lock stitched.
Satin Stitch: Some appli-
quéd designs are sewn on
with satin stitch.
Slip Stitch: The gap at the
bottom is slip stitched.
Costing
Components Cost per Unit No. of Units Cost
Purple polyester cotton £1.95 per meter 1.5m £2.93
Fabrics
Pink polyester cotton £1.95 per meter 1.5m £2.93 65% Polyester
Lilac polyester cotton £1.95 per meter 2m £3.90 35% Cotton
Pink thread £1.20 per reel 2 £2.40
Purple thread £1.20 per reel 2 £2.40
Poppers 60p per 20 16 £0.48
Computer transfer paper £8.99 pack of 10 1 0.89
Polyester Thread Tolerance
Bondaweb £1.75 per meter 1m £1.75
+/- 0.5cm
Total 17.68Criterion 3: Making
Prototype / Toile
In industry a designer would produce a sample of their product and evaluate it before manufacturing
it in bulk. Several samples may be made before the best design is found. The aim of making a proto-
type is to check your ideas will work, make any modifications needed and enables the client to see and
evaluate the product idea.
When making your prototype based on a commercial pattern you need to think about adapting the
following:
Changing the shape, e.g. Straight edge to asymmetric, straight leg to boot cut.
Change the size, e.g. Lengthen/shorten, increase pocket/detail size, make it more/less fitted.
Change the position, e.g. move a pocket, move a fastening.
Add/remove techniques, e.g. Decoration, pleats, frills, darts and pockets.
Is there something extra you could make to go with your design to enhance the theme or look?
E.g. A mask, headwear, Sash etc.
If you are making a pattern from scratch:
Don’t forget to add on seam allowances/hems.
Mark the straight grain or fold, add on any markings e.g. Pocket positions, darts etc.
Label each pattern piece you make, e.g. What it is, how many to cut etc.
Present your prototype on
one A3 page. Try to use as
many photos as possible, front
and back views, close ups of
details and modifications etc.
You can also sketch ideas/
changes or sketch on top of
photos.
If trying to make a decision,
e.g. Where to have a sash or
gathering, take photos of
every possibility to help you
decide. For each modification
you make, justify it and ex-
plain why you are doing it.
Don’t forget to get the opin-
ion of your client! Refer
back to your brief and specifi-
cation.
Throughout the making of
your prototype, consider the
following:
Which are the best tech-
niques to use, is there an
alternative way of doing
something to make it
quicker, cheaper etc?
Are the fastenings appropri-
ate?
Would you have to do any-
thing differently if made in
industry/mass produced?
Would specialist machinery
be needed?
How would it look in differ-
ent fabrics?Criterion 3: Making
Criterion 3: Making
Your production plan should include the following information: Each week numbered, processes, modifications, Quality
control checks, risk assessment and Industrial practice. The information in this chart gives you very detailed information
on industrial practice. Try to include as much of the information in your work as you can.
Name of How the process is done in Industry
process
Designing Designers often work in teams. They work towards design briefs and specifications given to them by clients.
They start off projects by producing a mood board of images and ideas.
They do market research to find out information about what their client wants, what the best solution to the brief
is and so on.
They consider laws and regulations relevant to the product they are designing.
They try to predict future trends by visiting fashion shows and using trend prediction agencies.
They buy products and analyse them to find out how they are made and to get inspiration for their own products.
They use ‘blue sky thinking’ to try to make their products stand out from what else is on the market.
They use the internet to communicate with clients, buy materials, source resources etc.
They plan time and resources to ensure efficiency and cost effectiveness.
Ideas are prototyped and toiles are made to test ideas. Specialist sample machinists produce prototypes and toiles.
BSI fabrics tests are used to test fabrics.
ICT is used to generate and develop ideas quickly.
They constantly analyse and evaluate their work to make sure it meets the clients original design brief and specifi-
cation.
They analyse sales figures to identify what products and ideas are popular.
Stock control Fabrics and components are brought in bulk and this often makes them cheaper
Bar codes and computer systems are used in the warehouse to identify where fabric and components are stored,
what it is for, how much is left and so on.
Making Basic blocks are produced in a standard size and these are adapted each time a new design pattern is made.
Paper
Traditional blocks are made from card but modern blocks are often stored in a computer.
Patterns that have been drafted by hand are digitized into the computer, where they can be manipulated.
Patterns can be drafted on the computer and then printed using a CNC plotter.
Patterns are made and then graded so they can be used for a range of sizes.
Laying Laying out the fabric is done by fabric spreading machines. As many as 100 layers of fabric can be cut at the same
patterns onto time.
fabric Fabric is laid out in single layers rather than folded, as you might do in school.
Layouts are worked out by the computer which can predict the most efficient layout. In industry fabric layouts are
often called ‘markers’.
Pinning Pins are not used in industrial situations. Fabric weights can be used to hold fabric in place.
Fabric is sucked onto the cutting table by a vacuum to hold it in place.
Pattern papers can be ironed onto fabric ready for cutting.
Cutting CNC machines are controlled by computers to cut fabrics.
Lasers, knives and even water jets can cut through a hundred layers of fabric.
Hand cutting can be done using hand-held knives and band saws. Paper patterns are used with these.
Chain mail gloves are worn by operators to protect their hands.
Transferring Hot notchers are used to cut balance marks and so on.
pattern Holes can also be drilled through layers of fabric using hot drills.
markings
Markings can be printed onto fabric pieces. Pens and chalk and thread markings are also used when machines
can’t be used.
Fastenings Machines are set up with a zipper foot attached and only used for inserting zips.
Specialist machines are used to produce button holes and attach buttons.
Specialist machines are used to attach poppers and eyelets.
Edge finishes Cover seam machines are used on hems and knitted fabrics.
Blind hemming machines produce invisible hems.
Binding machines attach binding to edges quickly.
Shaping Pleats, gathers and elastic can be inserted using specialist machines.
Dockets Specialist machines are available that can attach pockets.Criterion 3: Making
Name of process How the process is done in Industry
Seams Most seams are sewn using a lock stitch machine. Different seam allowances are used depending on what area is
being stitched (this will be written on the manufacturers specification).
Accuracy often relies on the skill of the workers.
Markings on the throat plate are often used to get accurate seam allowances. Workers also make their own guides
out of card, sticky notes etc.
Mock double-stitched seams are often used rather than double-stitched ones as they are quicker and therefore
cheaper.
Overlockers are often used to produce quick seams.
Tape is often sewn onto shoulder seams of knitted fabrics to stabilize them.
Appliqué Appliqué can be done using the CNC embroidery machine.
A specialist presser foot can be used—these are often see-through or have a more open area at the front so the
appliqué can be guided more accurately.
Tie Dye This is usually done by hand and it is difficult to get identical designs each time because of this.
Tie and Dye designs can be copied and produced as a screen print; this speeds up the process and enables identical
products to be produced.
Embroidery CNC embroidery machines can embroider complex images and automatically change threads.
Hand embroidery is more costly and time consuming to do. It is often only cost effective if the work is sent to coun-
tries where labour is cheap.
Ironing and Heat can be computer controlled. Flat bed pressing machines are often used instead of irons.
Pressing
A seam dolly is used to give products a final pressing once a product is made.
Name of process How the process is done in Industry
Risk If a needle is broken all the pieces have to be found and kept so the manufacturer is sure none has been left in the
product.
Some products are passed through a metal detector after being made.
General rules, e.g. Not blocking exists, clearing waste, correct seating positions, good ventilation, rest breaks, trained
workforce.
Assessment of hazards and risks.
Quality assurance Companies use quality assurance procedures to ensure production runs smoothly. Quality assurance is the systems
and that are put in place to ensure this happens, e.g. Employing quality controllers, identifying when to do quality con-
Quality Control trol checks, producing specifications the quality controller uses to check products.
Some products might have to meet laws, e.g. Furnishing fabrics have to meet BS 5852.
There is a variety of BSI, ISO and European standards products must be tested against.
Companies may have their own in-house testing and regulations.
General points A variety of production costs have to be considered, e.g. Wages electricity, transport, materials.
Time is money—time-consuming tasks are more expensive to do.
Some areas are difficult to automate with machines because fabric is flexible and hard to handle.
Some machines can automatically do a back stitch to neaten the sewing and cut off the ends of threads.
Machines can count how many stitches they have done so they can stop in the right spot.
Some machines can be controlled by knee controls rather than foot pedals.
Sample makers produce prototypes and toiles to check that ideas work.
Unit production systems carry work from one worker to another via an overhead conveyor belt system.
Care labels are used on finished products to tell the user how to wash and care for an item.
Products such as wedding dresses and designer products are produced via job production methods where only a
small number are made, these are usually made by one or a small number of people.
Some products are made using batch production methods. This is where a known amount of products are made on
a production line where each person or team of people specializes in particular jobs. This is the most popular form of
production in Textiles as it is very flexible and can respond to market demands quickly.
Some products are made using mass production methods. This is where products are manufactured 24 hours a day
on a non-stop continuous production line.
Just in time production methods are used where products are produced in batches which go straight into the shops
to be sold. This is a flexible system where limited stock is held. It can respond quickly to market changes.
Sub-assembly is where part of an item is made in a different part of the factory or even in a different factory com-
pletely, e.g. A machine embroidery logo made in a specialist factory and then transported to the main factory
where it is sewn onto a product.
Products are packaged to protect them and transported to their destination.You can also read
