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