General Certificate of Education Ordinary Level 6010 Art November 2011 Principal Examiner Report for Teachers

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1 Paper 6010/01 Drawing and/or Painting from Still Life General comments Question 2 was the most popular of the two offered. In responses to both questions, excellent observational skills were seen, and candidates demonstrated a clear understanding of form, space, composition and tone. In order to achieve high marks, candidates should try to remain within the spirit of this paper and work from direct observation during the examination itself. There were instances where candidates appeared to be working from imagination or memory. The rubric indicates that the background should be considered as part of the arrangement. In order to achieve high marks, candidates should be advised to include the observed background, rather than an imagined one. This will serve as a compositional framework and encourage spatial awareness. Compositional skills can be acquired through the study, investigation and analysis of the work of other artists. Work was produced work in a variety of media. The most popular was liquid colour, but oil and dry pastel were also seen. A small number of adventurous candidates used collage and mixed media. Candidates should be advised to consider the effect of changing natural light during the examination period. A fixed light source, such as a spotlight, might be used to determine a single light source. If candidates work under a number of fixed fluorescent lights, this can have the effect of flattening the composition in the same way that a camera flash might do. In some cases, where the candidates had perhaps studied the Impressionists, the overall composition was stylised in a personal and highly effective way. This was particularly the case in Question 2. Candidates should aim to develop a personal approach to colour mixing, avoiding simply using colours straight from the tube unless the subject matter warrants it. Even then, tonal subtleties might require slight changes. Candidates should ensure that their name, Centre number and candidate number are written in the top right hand corner of their examination piece. It is vital that any name labels used are secured with glue or are self adhesive type. Staples may be acceptable if glue is not available. However, paper clips must not be used as they can easily become detached. If a protective tissue/tracing paper sheet is thought necessary to protect delicate pastel work, then the name label should not be attached to this, but should remain on the examination piece itself. Any preparatory work carried out before the examination should not be submitted. 1

2 Comments on specific questions Question 1 A selection of tools, together with a box and rags This question was generally well answered. However some candidates found it difficult to render the precision engineered items, such as pliers and spanners, because they used an inappropriate scale in relation to their chosen medium. An understanding of basic two point perspective is necessary to achieve higher marks in a question like this, where the interrelationship between a box and straight-edged tools are being represented. The space around objects was well seen by some candidates The overlap of objects creates spatial awareness to a certain extent, but this should be further considered by the use of tone to depict shadow. The use of black to depict shadow should also be carefully considered, as should the reflective qualities of surfaces such as metal. The background was ignored in a significant number of responses. Question 2 A selection of fruit, a knife and a cloth Where candidates had studied Impressionist styles, this question was well answered. Colour and texture were well considered, resulting in colourful and rich compositions. There were some excellent examples where candidates continued to observe carefully throughout the examination and identified the effect of colourful objects on neighbouring items. Some candidates did not depict the partially peeled or quartered fruits. The aim of this part of the question was to aid the candidate s ability to depict form, structure and space around objects. When this instruction was not heeded, the result was often a bland repetition of spherical shapes. The knife was well drawn, but the reflective surfaces proved harder to render. 2

3 Paper 6010/02 Drawing and/or Painting from Observation General Comments All scripts arrived adequately packaged and labelled. A number of candidates included preparatory studies, which are not a requirement of this examination and are not considered during marking. Candidates should be reminded not to present any preparatory work for assessment. Most candidates used pencil as their preferred medium, however a good number used paint or coloured pencils, pastels or wax crayons to give an added dimension of colour. There were many excellent examples of observational studies showing skill and maturity with selected media, and candidates at every level appeared to have made a concentrated effort to produce a successful examination piece. Question 1 An open shopping bag with contents spilling out Candidates answered this question well and were able to render the bag and contents successfully. The graphic elements of shopping bags, bottles and jars sometimes overwhelmed the rendition of form and space, but on the whole candidates made good compositions and were able to describe the various spatial planes and ellipses involved. Some very good tonal renditions were seen, with a good understanding of the fall of light on the surfaces of the objects and the surrounding area. There were particularly successful examples of painted works and works in crayon which demonstrated the candidates abilities to render colour, shape and form. Question 2 A collection of shells on a plate This was a popular question and the responses spanned the whole ability range. Some beautiful and delicate renditions of the structure, colour and surface of the shells were seen. The weakest element for some candidates was the rendition of space. Often the plate and its placement on the ground plane presented great difficulty to weaker candidates, with the angle of the plate and its ellipse being at odds with the placement of the shells. Although they described the local colour of the shells, some candidates could not render the tonal adjustment to describe the form. Overall, candidates worked in appropriate media and made good use of the paper to produce a larger than life version. Question 3 Bread on a wooden surface with a knife This was another popular question. Many candidates produced good descriptions of the loaf but found it difficult to draw the wooden board in correct perspective, for example the board widened as it receded. The form of the bread, often sliced, was usually very well rendered, as was the texture of the loaf. Candidates should avoid using a ruler or straight edge, as this can lead to dull and mechanical results. In some cases candidates used felt tip pens which did not give them the opportunity to render the shading and tonal contrasts of the bread or wooden board effectively. The most successful candidates were able to produce a convincing loaf of bread with subtle detailing and accurate perspective of the slices. The placement of the bread on a board worked well and candidates had considered the scale of the knife and the contrast of the materials with the bread. Paint, pencil and crayon were popular materials for this question. 3

4 Question 4 A bicycle leaning against a wall, fence or shed There were only a few responses to this question. It is a complex subject, and responses were linear and in pencil or pen and ink. There were difficulties with the rendering of tone and colour, but in general, the proportions, angle and structure of the subject were well described. Candidates had considered the scale of the bicycle and the way in which each part related to the next one. The candidates who chose this question worked hard to produce accurate work with sensitivity to the tone and form. Question 5 A view seen through a gap between two buildings There were only a few responses to this question. There was some good rendition of the foliage of trees seen in the gap, but care needed to be taken with the foreground tone of the two buildings, to give the sense of space. Some candidates understanding of perspective was revealed as being very elementary and lacking in confidence. Candidates need to have plenty of opportunity to develop their skills from observation before the examination. 4

5 Paper 6010/03 Drawing and/or Painting from a Living Person There were too few candidates to be able to produce a meaningful report. 5

6 Paper 6010/04 Composition in Colour General comments All questions were attempted and a broad range of work was seen. The best work was seen in response to Questions 1 and 2. In the most successful submissions, the varying properties of materials were exploited in combination with an excellent command of formal elements. Question 1 Relic This was the least popular question. Doors and openings featured heavily in the responses (as in Question 2). Many compositions were handled competently and candidates sought to use this motif to simultaneously convey notions of the surface and monumentality. Candidates needed to also explore ideas to be rewarded for interpretation and personal qualities. Elsewhere, where candidates recognised the inherent presence of the relic chosen and also built the work with exciting and competent manipulation of materials, higher marks could be awarded. A range of surfaces, planes, shapes and textures are attempted, and teachers are advised to encourage candidates to choose media in which they are sufficiently competent. Question 2 Inside looking out This was the most popular question by far. Doors and openings were common subject matter (typically a figure by a window). In order to be really successful in this question, attention needed to be paid to the qualities of inside and outside light. In Centres where candidates all submitted responses based on the same theme, it became difficult to distinguish the individual voice. This approach hampers achievement in the personal qualities assessment objective. Work which did not use the human figure relied more on mood and atmosphere. This made technical demands on candidates. Among higher scoring scripts, careful attention was paid to the details of inside and the texture and patterning of outside. In these works, well chosen media were exploited to render the form of the inside and the relative transparency of the outside. Some candidates appeared to have worked from imagination, using devices such as key holes though which to view invented landscapes. To be confident of success in this approach, candidates will need to research sufficient and reliable source materials. Higher marks could be gained by paying attention to the realisation of the surfaces and forms imagined. Question 3 Fighters This question attracted a variety of responses ranging from those based on traditional wrestling and martial arts, to comic books and computer games. These works were often ambitious in the arrangement of figures and in the spaces depicted. Higher marks could have been gained with greater confidence in the handling of the human figure and in rendering convincing spaces. Many candidates also used military scenarios and scenes of urban conflict to answer this question. However, the challenges of the human form and of complex spaces hampered some candidates achievements. Among higher scoring scripts, marks were awarded for interpretation and personal qualities. More marks for drawing and composition were awarded where the whole space was convincingly realised and the quality of drawing was consistently applied to all elements of the work. Some unusual interpretations of the question were seen, such as artists. While such work may have attracted marks for personal qualities and interpretation, these candidates tended to neglect formal elements and visual language. 6

7 Question 4 Left behind Many of the successful submissions included a figure in a landscape. In such work candidates contrasted the relative scales of the figures and their surroundings. They also made an effective contrast between the anonymity of the figure and colours and textures around them. Where candidates chose animals and natural settings, work of some potential was seen. However, candidates sometimes found it difficult to realise complex surfaces and environments. Among lower scoring responses, answers to this question often involved depicting human figures separated by distance. This presented candidates with challenges in aerial and linear perspective. Greater confidence in the use of such technical devices would help to give structure to personal ideas. Some strong and attractive work was seen where the presence of the figure was less significant, and candidates concentrated on the complexity of the scene. Here, the ability to manipulate a range of materials often created a celebration of colour, tone and texture. Some very sensitive answers to this question were seen. This work was characterised by interesting interpretations of the question, a unifying composition and sufficient control of formal elements to convey personal ideas effectively. Question 5 Rhythm Some attractive work based on symbols and abstractions of the human form were seen. These submissions were particularly strong in the use of colour and composition. They were less successful in the other objectives. A greater confidence in drawing would allow candidates to demonstrate a fuller interpretation of the question and the personal intentions of the candidate. Where candidates used visualisations of musical notation, the results generally did not attract high marks. Despite high levels of colouration, this work did not produce successful motifs. In other scripts, the use of simplification was informed by a graphic design sensibility and in some cases, an exposure to surrealist and dada work. In such cases, candidates were rewarded for their use of visual language and for the power of simple motifs. Among higher scoring scripts where non-musical references were evident, good use was made of visual elements and visual language. Where higher scoring candidates had used musical devices and depictions of dancers and musicians, marks were awarded for composition and visual dynamic. Question 6 Rough and smooth This question inspired some personal and imaginative work. In higher scoring work, candidates demonstrated a good command of formal elements and control of materials. Some candidates used a landscape form to answer this question. Candidates sought to contrast rough and smooth surfaces and textures. In order to succeed in this approach, candidates needed to be confident in rendering surfaces in the landscape. Some candidates were influenced by a surrealist approach. This allowed them to successfully develop their responses with reference to their own imagination. A number of weaker scripts were seen, with a lack of confidence in the textural properties of the chosen materials, and an inconsistent level of drawing. 7

8 Paper 6010/05 Craft A Design on Paper General comments The vast majority of candidates chose Question 1 and Question 3. Most candidates made good use of the examination time. For candidates who do not finish their piece in the time given there is no penalty applied to incomplete work, providing that the examination piece itself shows sufficient intent and illustrates the required skills. An individual approach to colour schemes and how to mix them is highly desirable and can be achieved through analysis of good practice. It is important not to simply use liquid straight from the tube, unless a particular solution warrants it, but to demonstrate a personal appreciation and understanding of how colours relate and affect each other. Examples found on the Internet or from other sources could be analysed in order to encourage candidates to make informed judgements. The best work almost always began from directly observed studies. There were some excellent designs in which the candidates had developed simple stylised design shapes from drawings of plants and flower heads. Such an approach can be rewarded in the Personal Qualities assessment objective. Comments on specific questions Question 1: DVD cover There were some excellent compositions with good lettering. Candidates exploited the wide range of possibilities posed by this question and some very mature and thought provoking pieces were seen. Colour schemes were very personal. A significant number of candidates chose to show their final design in 3-D. Due to a lack of perspective skills, these otherwise creditable designs were somewhat limited. These candidates would have been better advised to present a 2-D flat design. Question 2: Poster design Figure drawing was frequently used and candidates would have benefitted from more formal instruction in this skill as there were many attempts to depict the figure in contorted poses. Figure drawing work is a discrete skill and candidates will achieve more marks if there is evidence of appropriate observational ability in order to illustrate form, structure and shape. Candidates should attempt to create an aesthetic balance between the positive and negative shapes created by individual elements of the overall composition. The lettering should be an integral part of the design. Candidates should be reminded that the purpose of a poster is to attract the attention of the viewer. Question 3: Logo design Stronger candidates had been well prepared in this particular skill and were able to show how their final idea would appear in a variety of scales. In order to do well, candidates should consider the simplicity of design. Some submissions were almost compositional and more suited to Paper 2. Stylised drawings of flowers and plants were not common; candidates chose instead to produce a realistic representation, which often confused the final design. 8

9 Question 4: Repeat pattern Candidates would benefit from more practice in the formation of accurate repeats. The accuracy of the motifs should be maintained as the motif is repeated. Tracing paper and blunt pencils can hinder this. Candidates should pay particular attention to creating an accurate grid and focus on the variety of ways in which a motif can be repeated to create a balanced final design. Methods might include half-drop, mirrored and inverted. An understanding of the balance between positive and negative shapes is also highly desirable. The negative shapes created can often be more aesthetic than the motif itself. Colour schemes were usually well considered, but candidates should be encouraged to study examples of fabric design to promote informed judgement. Question 5: Calligraphy There was a slight increase in the number of candidates opting for this question this year, although the use of a formal calligraphic method continues to diminish. Nevertheless, the spirit of the question was entered into and some quirky designs resulted. Letter-formation skills were generally weaker than the imaginative decoration which accompanied the poem. In order to achieve higher marks candidates should have a well-practised skill in this particular area of study. Question 6: Container design The importance of developing individual designs needs to be emphasised, as some candidates copied existing sporting motifs. It is also important for candidates to have training and practice in how graphics might be applied to box structures. Those who attempted to present their designs as a perspective-based illustration experienced some difficulties. 9

10 Paper 6010/06 Craft B Design in 2D and 3D There were too few candidates to be able to produce a meaningful report. 10