YEAR 13 UNIT 4 TIMED TEST
Please read you exam paper carefully – this booklet is a support to the exam paper. Assessment objectives are found in the exam paper.
In the time running up to the timed test (exam) you will need to do the following:
A selection of 10 documented preparatory pieces using different materials.
1 final piece in your best medium this should take fifteen hours – we will call this alternative final piece.
At least one completed sketchbook – A3, this should include a title page, an introduction page, preps, drawings and colour work and an evaluation at the end.
Critical study work in your sketchbook making clear links to other artists’ work.
1 fifteen hour piece completed over three days (this is the exam piece) again in your best medium – this should
also be evaluated.
Evidence of gallery and museum visits linking to the theme and your ideas.
FLAWS, IMPERFECTIONS, IDEALS OR COMPROMISES
flaw 1 |flô| noun
a mark, fault, or other imperfection that mars a substance or object: plates with flaws in them were sold at the outlet store.
• a fault or weakness in a person's character: he had his flaws, but he was still a great teacher. • a mistake or shortcoming in a plan, theory, or legal document that causes it to fail or reduces its effectiveness: there were fundamental flaws in the case for reforming local government.
verb [ with obj. ] (usu. be flawed) (of an imperfection) mar, weaken, or invalidate (something): the computer game was flawed by poor
programming.
imperfection |̩ impərˈfekSHən| noun
a fault, blemish, or undesirable feature: the imperfections and injustices in our political system. • the state of being faulty or incomplete: he accepted me without question, in all my imperfection.
ideal |īˈdē(ə)l|
adjective 1 satisfying one's conception of what is perfect; most suitable: the swimming pool is ideal for a quick dip | this is
an ideal opportunity to save money. 2 [ attrib. ] existing only in the imagination; desirable or perfect but not likely to become a reality: in an ideal
world, we might have made a different decision. • representing an abstract or hypothetical optimum: mathematical modeling can determine theoretically ideal conditions.
noun a person or thing regarded as perfect: you're my ideal of how a man should be.
• a standard of perfection; a principle to be aimed at: tolerance and freedom, the liberal ideals.
compromise |̍ kämprəˌmīz| noun
an agreement or a settlement of a dispute that is reached by each side making concessions: an ability to listen to two sides in a dispute, and devise a compromise acceptable to both | the secret of a happy marriage is compromise.
• a middle state between conflicting opinions or actions reached by mutual concession or modification: a compromise between commercial appeal and historical interest.
• the acceptance of standards that are lower than is desirable: sexism should be tackled without compromise.
verb 1 [ no obj. ] settle a dispute by mutual concession: in the end we compromised and deferred the issue.
• [ with obj. ] archaic settle (a dispute) by mutual concession: I should compromise the matter with my father.
2 [ with obj. ] weaken (a reputation or principle) by accepting standards that are lower than is desirable: commercial pressures could compromise safety. • [ no obj. ] accept standards that are lower than is desirable: we were not prepared to compromise on safety.
• bring into disrepute or danger by indiscreet, foolish, or reckless behavior: situations in which his troops could be
compromised.
EITHER OR CONFLICT MODIFICATION FAULT FAIL INVALIDATE BLEMISH UNDESIRABLE INCOMPLETE DESIRABLE PERFECT
DIFFERENT SUITABLE
PROCESSES YOU MAY WANT TO CONSIDER
DRAWING
PASTEL
PAINTING
PHOTOGRAPHY
3D MIXED MEDIA
2D MIXED MEDIA
CLAY
CONSTRUCTION
PRINTMAKING
2D MIXED MEDIA
FIGURES/3D/2D
PORTRAITS
STILL LIFE/OBJECTS
SUGGESTIONS FOR YOUR SKETCHBOOK
Title page; design the word to show its meaning.
Written intro to your sketchbook.
Spider chart exploring keywords linked to the title FLAWS, IMPERFECTIONS, IDEALS OR COMPROMISES.
Make a range of drawings – timed drawings, continuous line drawings and overlapping drawings from objects and
images linking to the theme and your ideas.
Over a series of pages draw from primary and secondary source documenting different initial ideas.
Make a collage of a section of your alternative final piece. Use only limited colours.
Draw out the composition of your alternative final piece or exam piece (fill the page). Divide the drawing up into
four sections. Complete in a range of different materials, tonal pencil, paint, pen and colouring pencil.
Gather a collection of objects that link and lay them out some laid out together and some apart, start of drawing the first object(s) in pencil, then the next in coloured pencil, then paint, and the final object(s) in ink.
Use only words to create an image. (The words should link to the exam theme, as should the image).
Research what ‘typology’ means in photography and take images linking to the theme ‘Flaws, imperfections, ideals or compromises’.
Create a visual brainstorm. Draw and capture pictures that link to a word, linking to you’re alternative final piece.
Find an image linking to your alternative final piece. Cut it in half and you complete the missing half in a medium of your choice.
Make a pattern of a section of one of your prep pieces.
Create a drawing or painting of your alternative final piece idea but in the style of another artist.
Experiment with contour lines on an object or design linking to your alternative final piece.
Create a collage using a collection of scrap paper; draw three objects linking to the theme in pen on the top.
Create a self-portrait showing your understanding of what ‘Flaws, imperfections, ideals or compromises’ means - incorporate your understanding visually in the image. ‘
Take a section, shape or symbol from your AFP and make a repeat pattern from it. Use colour. Use a process of your choice. Consider and plan the layout of your pattern, symmetrical, half drop or grid. Fill the page.
Take three objects/designs from your final piece and create four different compositions of them. Each of your four
studies must show a range of different drawing techniques, tonal, continuous line, contour line and cross-hatching.
Create two pages in you sketchbook (4 if you are working A4 size) exploring composition ideas and layouts for your
final piece. Create colour and tonal studies of your best composition. Evaluate you work explaining how your
ideas are developing. 6208
notes
Create a step-by-step visual diary of the progress of your alternative final piece so far.
Can you think of any more?????
SUGGESTIONS FOR YOUR CRITICAL STUDY
Make sure this visually interesting to look at. The images you use must link to your work and the exam theme.
Title page on your chosen artist(s)
Use the Looking at Art: Seeing questions sheet to write about your chosen artists’ work. Create your own version
of the artwork.
Use the art keyword sheets to help you annotate an image by your chosen artists. Select three of your keywords to create your own image linking to the artist.
Compare and contrast the work of two different artists working under the theme ‘Flaws, imperfections, ideals or compromises’ but who work in two different mediums.
Find an image by another artist (it should link to the theme or your alternative final piece) and draw over it, adding
your interpretation.
Create images that link somehow to your artist(s) work and make pieces in a wide range of mediums.
Recreate mark-making techniques your artist(s) used. Do the same for mood and textures.
Look at different art movements (there is a timeline up in the art room), research different artists from different
times who’s’ work links to the idea of the exam theme. Look at artwork from traditional, modern and contemporary times.
Year 13 Contextual Study – A Culture Connected to the theme Flaws, imperfections, ideals or compromises.
The British Museum – www.thebritishmuseum.ac.k The Victoria & Albert Museum – www.vam.co.uk
1. After your visit, at home in your sketch book, create a title page and collage using leaflets from the gallery or
pictures printed from the Website.
2. On the next 3 pages, stick in your drawings from the gallery visit and inventively surround your notes on the artefacts appearance, function, and symbolism, how they were made, etc.
3. Write 1 page in your book, describing your visit and the artefacts you drew. Write about their appearance, purpose and function in society (what were they used for – religious ceremonies or drinking vessels etc). Who
made them and how were they made? Make some rough annotated sketches of the artefacts. And most important of all, included 2 paragraphs explaining how these artefacts are connected with your personal theme. How do they inspire or relate to you own ideas and will you be able to use them in your artwork?
4. Can you research the library or Internet to find other artefacts made in a variety of media form the culture you
are researching, paste into your book with annotations.
5. Write a Conclusion describing how useful this study has been, considering the developments you have made
with your personal theme and what you have learned from this culture, which you have been able to apply to your own work.
6. Illustrate your conclusion by developing a mixed media painting, sculpture, or ceramic work or textile piece, showing the connections between your chosen culture and your own work. If your piece of work is 3-
dimensinal, then please take photographs of it to stick into you contextual study.
List of Museums and Galleries
Victoria and Albert Museum Islamic Art Pay Cromwell Road Nehru Gallery of Indian Art
South Kensington Tube Chinese Gallery Tel 020 8942 2000 Japanese Artefacts Islamic and Contemporary Ceramics
British Museum John Addis Islamic Collection Free
Great Russell Street Chinese Ceramics Tottenham Court Road Tube Indian Art Tel 020 8323 8511 Egyptian Art
Greek Pots Africa Gallery
The Tate Britain British Art Free Millbank
Pimlico Tube Tel 020 7887 8888
The Tate Modern European & Non European Art Free Bankside
Waterloo (Train) Tel 020 7401 5000
Royal Academy of Arts Changing Exhibitions Pay Burlington House
Piccadilly, W1 020 7300 8000
Serpentine Gallery Changing Exhibitions Pay? Kensington Gardens Tel 020 7402 6075
Hayward Gallery Changing Exhibitions Pay
Southbank Centre Waterloo (Train) Tel 020 7960 4242
National Gallery Permanent Collection Free
National Portrait Gallery European @ 16 – 20 Century Trafalgar Square Charing X Tube
Tel 020 7389 1744
Whitechapel Art Gallery Changing Contemporary Exhibitions Pay? Whitechapel High Street Tel 020 7522 7888
White Cube Changing Contemporary Exhibitions Pay?
48 Hoxton Square, N1 Tel 020 7749 7480
Crafts Council Changing Contemporary Craft Exhibitions Pay? 44a Pentonville Road
Islington Tel 020 7278 7700
Contemporary Applied Arts Changing Contemporary Craft Exhibitions Free Percy Street WC1
Looking at Art: Seeing Questions Use the prompt questions when writing and questioning the work of other artists. Describe it.
Who is the artwork by? What is the title?
What can you see in the artwork? What is happening?
What words would you describe the artwork?
Look at the image for a few moments....What observations can you make about it?
Is it realistic or abstract?
How do you think the artwork has been developed and made?
How would you describe the formal elements? The texture, form, shape, line, colour etc?
How would you describe the artwork to someone who couldn’t see it?
If there are people/figures in the artwork how would you compare them to you?
Relate it.
What does the artwork remind you of?
What things do you recognise in the artwork? What things seem new to you?
How is the artwork different to real life?
What interests you most in this artwork?
How does it make you feel? Why do you feel like this?
Analyse it.
If there are objects in the artwork, which seem closer? Which see further away?
What can you tell me about the colours?
Is there a colour used more than others?
Does the artwork look crowded? Explain further.
If there is a person or figures in the artwork tell me something about them?
What do you think the most important part of this artwork is?
How do you think the artist made it?
What questions would you like to ask the artist?
Interpret it.
What title would you give the artwork? What made you decide that?
What other titles could we give it?
What do you think is happening in the artwork? What else could be happening?
What do you think the artwork is about?
What sound would this artwork make? (If it could).
Pretend you are inside the artwork....how does it feel? Think atmospheres here!
Why do you suppose the artist made this artwork?
Evaluate it.
What do you think is good about this artwork? What is not so good?
Why do you think other people should see this artwork?
Do you think other people would like it?
What do you think is worth remembering about this piece of art?
LINKS ONLINE
http://fineartattallis.tumblr.com/ http://www.pinterest.com/ttse3art/
http://www.studentartguide.com/- Great website designed for art students
http://www.moma.org/explore
http://www.tate.org.uk/art/
http://www.tate.org.uk/search/tateshots
AO1
Develop your ideas
through sustained
and focused
investigations
informed by contextual
and other sources,
demonstrating analytical
and critical
understanding.
AO2
Experiment with and
select appropriate
resources, media,
materials, techniques
and processes,
reviewing and
refining your ideas as
their work develops.
AO3
Record in visual
and/or other forms
ideas, observations and
insights relevant to your
intentions,
demonstrating an
ability to reflect on
your work and
progress.
AO4
Present a personal,
informed and
meaningful response
demonstrating critical
understanding, realising
intentions and, where
appropriate, making
connections between
visual, oral or other
elements.
BASIC •A sense of order in the
way ideas are formed. •Tends to repeat ideas. • Some understanding of
research. • Use of superficial language.
• Exploration of processes.
• Experiments are unrefined. • Investigations stopped too
early. • Repeats techniques. • Some ability to review
progress.
• Some understanding of
the formal elements. • Some understanding of recording from sources.
• Too much reliance on second hand materials.
• Work shows a sense of
purpose but is obvious. • Some awareness of composition, form and
structure. • Final pieces and preps maybe rough with
underdeveloped skills.
COMPETENT •Sequential development.
•Sort cuts sometimes taken. •Ideas form too early. • Research goes beyond
the technical. • Vocab’ lacks breadth and depth.
• Experiments with a broad
range of media. • Can select which media to use.
• Reliance on known techniques, sometimes safe and predictable.
• Reviews progress and can refine and develop.
• Established visual
language and use of formal elements but not always consistent.
• Understands the purpose of research. • Recording from sources is
sometimes uneven but includes meaningful information.
• Work is obvious and
methodical but with an emerging sense of own style.
• Final pieces and preps are competent with sound connections made to
others’ work.
AO1
Develop your ideas
through sustained
and focused
investigations
informed by contextual
and other sources,
demonstrating analytical
and critical
understanding.
AO2
Experiment with and
select appropriate
resources, media,
materials, techniques
and processes,
reviewing and
refining your ideas as
their work develops.
AO3
Record in visual
and/or other forms
ideas, observations and
insights relevant to your
intentions,
demonstrating an
ability to reflect on
your work and
progress.
AO4
Present a personal,
informed and
meaningful response
demonstrating critical
understanding, realising
intentions and, where
appropriate, making
connections between
visual, oral or other
elements.
CONFIDENT • Wide range of ideas explored.
• Imagination used. • Ideas develop independently with
perseverance and enthusiasm. • Research is diverse
linking to complex issues. •Independent judgments made.
• Explores media showing a diverse range.
• Understands the limitations of materials. • Can extend and refine
studies. • Risks sometimes taken and used appropriately.
• Uses a range of communication techniques.
• Confident use of the formal elements.
• Consistent use of skills and techniques. • Choosing and recording
from sources is purposeful, relevant, clear and consistent.
• Makes skillful final pieces and preps showing a
consistent level of knowledge, skills and understanding.
• Work shows personal identity and shows subtlety and sensitivity.
• All outcomes are well made making sensitive insights into others’ work.
FLUENT • Sequential thinking with
imaginative leaps. • Sense of discovery and risks taken.
• In depth research. • Independent judgments, evaluations and enquires.
• Effective use of critical vocab’.
• Creative and imaginative
work. • Can recognise the full potential and limits of
materials, techniques and processes. • Perceptive evaluations.
• Reviews and refines.
• Highly effective use of the
formal elements in both how they are used and how they look.
• In-depth subject knowledge. • Interprets research to
generate personal ideas and sophisticated concepts.
• Work is based on how one
feels. • Work is imaginative, exciting and original.
• All outcomes show sophistication, flair and understanding.
•Techniques show style and content. • Judgments are consistent
from beginning to final pieces.
KGibson