LEAVING CERTIFICATE EXAMINATION

Transcription

1 LEAVING CERTIFICATE EXAMINATION 2001 ART Higher and Ordinary Levels Chief Examiners Report

2 Contents Introduction 3 Higher level Performance of Candidates 4 Analysis of Performance 5 Comments and Recommendations 17 Ordinary Level Performance of Candidates 18 Analysis of Performance 19 Comments and Recommendations 28 Appendices 30 2

3 Introduction The Leaving Certificate examination in Art consists of the following components: Imaginative Composition, Still Life, Design, Craftwork, Life Sketching and History and Appreciation of Art. Candidates choose between Imaginative Composition and Still Life and between Design and Craftwork. All candidates sit Life Sketching and History and Appreciation of Art. Imaginative Composition, Still Life, Design and Craftwork are weighted at 100 marks each. Life Sketching is weighted at 50 marks and History and Appreciation of Art at 150 marks Contents Contents This report should be read in conjunction with the 2001 examination papers and the relevant markings schemes. It aims to support the teaching and learning process in a constructive way. 1. Higher Level 3

4 1.1 Performance of Candidates In 2001, 6450 candidates took Art at Higher Level. Since 1999, there has been an improvement in the numbers attaining a C grade. In 2001, combined A, B, and C grades totalled 76.2%, an increase of 7% on 2000, and an increase of 23.5% on To attain an A1 grade candidates need to perform excellently on all four components of the examination. In 1999, 3.9% of candidates attained an A grade, in 2000 this rose by 0.9% to 4.8% and in 2001 it returned to 3.9%. In 1999, 21% of candidates attained a B grade and in 2001, this rose to 27.9 %. In 1999, 38.8 % of candidates attained a C grade; this rose to 44.4% in As C grades improve, the numbers of candidates attaining a D has reduced: in 1999, 31.0% of candidates attained a D grade as compared with 27.1% in 2000 and 22.4% in Fewer candidates are now failing to obtain a D grade in Higher Level Art. Combined E, F, and NG grades in 1999 were 5.4 %, reducing in 2000 to 3.8% and further reducing to 1.3 % in Table of Grades for 2001: n = 6450 A B C D E F NG The detailed breakdown of grades for 2001 : n = 6450 A1 A2 B1 B2 B3 C1 C2 C3 D1 D2 D3 E F NG Grade tables of results for 1999, 2000, and 2001 are presented together in Appendix A. 4

5 1.2 Analysis of Performance Imaginative Composition Less than ten per cent of the candidature opted for Imaginative Composition. By providing varied image orientated stimuli in the descriptive passage candidates were provided with a wide range of visual opportunities for artistic stimulation. Many centres specialised in one technique/style/medium only, rather than allow candidates the freedom to develop their own individual style in a preferred medium. There were fewer abstract, expressionistic or cubist compositions than in previous years; realism and naturalism persist as the dominant stylistic choices. The excellent use of colour was noted as the strongest overall characteristic of the Imaginative Composition work. Many of the shortcomings that were noted in the Chief Examiner s report in 1998 resurfaced in the 2001 examination. One concern is the continuing reluctance of candidates to create figure-based imagery in Imaginative Composition. At A, B and high C grade levels of attainment candidates demonstrated mastery/competence of figure drawing in Life Sketching, yet they did not use this expertise in the Imaginative Composition context; a transfer of knowledge from one examination context to another was lacking Still Life Higher scoring candidates demonstrated an assured and confident approach to the depiction of objects. There were many excellently composed and observed Still Life pictures at the A, B, and C levels of attainment, demonstrating strength and vitality in their mark making, and in their treatment of colour and texture. In their arrangement of the Still Life objects, these excellent candidates appeared to have searched for an aesthetically interesting and artistically challenging starting point. However, many midrange candidates seemed to struggle with the basic processes of depiction, presenting work that lacked spontaneity and was stilted and formulaic. Whereas more technically adept candidates in the higher scoring group succeeded in combining interesting composition with highly finished renderings of surfaces and texture, the less accomplished tried, often 5

6 unsuccessfully, to give a high finish, frequently resulting in overworked drawings /paintings. Many responses from lower-scoring candidates had an unpractised quality that included less than effective composition skills. Having considering the descriptive passage, the individual candidate is required to make a personal selection and arrangement of objects for the Still Life composition. This selection and arrangement has a formative influence on the final Still Life drawing or painting; the visual interest of the end result has its beginnings in the earlier arrangement stage. In order to facilitate this approach the examination paper requires candidates to select their own individual objects based on the descriptive passage and, then, to set up a personal Still Life arrangement. There is evidence that, in some centres, candidates did not fulfil this requirement and worked, instead, from a communal Still Life arrangement Design The descriptive passage was based on the life and work of the Surrealist patron, Edward James. It invited candidates to follow an imaginative and inventive path, and in doing so, most selected the graphic design option. In addition, a number of high scoring, design-aware candidates selected questions from the less popular options. Apart from the work of the aforementioned group of candidates, standards were low in Design although the overall approach has improved. There was a particularly poor understanding of the design process (as a research development - conclusion continuum), even among candidates who scored high marks in the other components of the examination. Modes of drawing, particular to, and suitable for design, were underdeveloped. Layout and presentation of design solutions appeared to be neglected in the learning process. Candidates in the lower achievement range frequently demonstrated a lack of understanding of the visual and practical aspects of the crafts/visual disciplines for which they were designing. The concept of design as an elaborated planning task was not known to a large section of the candidature. Adherence to formulae in poster and calligraphy design was widespread. In some examination centres the individual candidate s personal style was indiscernible, as was demonstrated by the reliance on a formulaic house- 6

7 style of typography, imagery and treatment. In these examination centres, slick decorative borders and other decorative motifs were used as a matter of course, despite the irrelevance and unsuitability of such devices to the themes explored by the candidate in his/her response to the descriptive passage. Higher scoring candidates who had an understanding of the design process made appropriate use of the preparatory and preliminary sheets. They engaged honestly with the descriptive passage and relied largely on necessary and relevant self-generated material that was subsequently utilized in some way in the process of generating a range of design ideas. Invariably, design-aware candidates understood the limitations and possibilities of the particular craft for which they were designing. On the other hand, lower scoring candidates tended to have given little thought to the value or relevance of the material they included on their preparatory and preliminary sheets. They tended to use material such as magazine cuttings and random unconnected images and lettering. They had clearly not engaged creatively with the descriptive passage to any great degree, neither had they prepared adequately to design for the particular craft discipline they had chosen. Without this understanding of the visual characteristics of the particular craft, appropriate design solutions were not possible Craftwork Question 1: Bookcrafts The small number of candidates who opted for Bookcrafts presented work of an excellent standard. Candidates demonstrated, in general, an awareness of the sequence involved in the execution of the craft by recording both the progression and the development of their ideas. At the lower end of the attainment scale a small number of candidates submitted sketches that had little relevance to the finished craft. Materials included hand-made, embossed paper, and an imaginative selection and use of bonding ties, all of which reflected the proposed function of the item. Where the standard of work was low it was felt that it was due to a lack of practice in working with relevant materials and finishes. 7

8 Question 2: Calligraphy Many candidates responded very well to the challenge of the calligraphy question by presenting finished work of skill and imagination. Preliminary sketches indicated excellent planning, where the design proposals included an indication of the font and style to be used; a development that subsequently led to sound realisation. Higher performing candidates demonstrated skill in spacing, in the continuity of style and in the application of colour. Most candidates were well versed in the use of positive and negative space and applied this knowledge to interpret the mood of the text. Colour was beautifully indicated through the use of collage, washes and suitable imagery. However, a lack of consistency was noted in the work of some candidates, possibly due to insufficient practice. Question 3: Poster The Poster was the most popular craft option chosen by candidates. Images and layout were strong and clear; precise messages were visually articulated. Candidates interpretation varied from the graphic to the illustrative and demonstrated a strong awareness of the importance of clear, simple messages. Technique, in general, was very good and included personalised typography, collage, and painted and stencilled images. The use of collage was both popular and effective and included hand made, hand painted and textured paper. Colour was used to great advantage in many of the more successful posters. Several black and white posters were highly effective in their use of positive and negative shape, silhouette, rhythm and pattern. Layout was excellent and candidates displayed confidence in working within the limitations of various media. Candidates in the C and D ranges of achievement had difficulty harmonising typography and graphic imagery in some instances. Question 4: Weaving Candidates submitted examples of weaving that demonstrated imaginative responses to the question. Interpretation varied from the pictorial to the abstract and included the use of highly textured material and decorative accessories to produce works in high relief. Investigation and research were recorded in most of the preparatory and preliminary work. In some instances, colour charts and relevant yarn samples were integrated into the design 8

9 process. Most candidates demonstrated considerable craft skills through their sound understanding of the importance of correct tension in warp and weft, of uniformity of beat and of interlocking and dovetailing. Question 5: Lino Cutting Candidates who did well in the craft of Lino Printing demonstrated an excellent understating of the importance of clear-cut imagery, registration, and of a sound knowledge of overprinting. Woodcuts were introduced in two centres this year. Most candidates produced superb three-colour prints showing evidence of strong composition through the use of shape, line, texture, and balance. The inventive use of coloured background paper produced strong results, as did examples of monochrome printing in blues, purples and reds. Question 6: Puppetry Examiners noted the very high standard of work submitted for Puppetry. Outstanding drawings were produced in various media that included pencil and watercolour washes. The candidates seemed to enjoy the challenge of developing a character and made use of very dramatic effects in doing so. Interpretation was imaginative and an effective choice of accessories and fabrics enhanced finish and contributed to the vitality of the created characters. The problems encountered with puppets were generally of a mechanical nature and included situations where the individual parts could not move, where heads were too heavy and where rods and strings were too short. Question 7: Screen Printing Only a small numbers of candidates opted for Screen Printing. The standard was mixed. In general, preliminary sketches were imaginative and colourful. In general, candidates made effective use of pattern to include positive/negative shapes, movement, rhythm and texture. Clear shapes and colour harmony aided the most accomplished work, which included overprinting and accurate registration. Where candidates were less successful, the finished work was smudges and had bleeding and inaccurate registration. 9

10 Question 8: Hand Printed Textiles Examiners noted an excellent standard in Hand Printed Textiles. Candidates interpretation varied from pictorial images to a more abstract approach. Some work had evidence of clarity of shape and colour harmony. Most candidates made use of overprinting and registration but where they chose complex motifs printing was not successful. Proficiency in the use of tools was evident in the work of the higher achieving candidates. The work of lower achieving candidates lacked evidence of design awareness and craft skills. Question 9 Batik Candidates demonstrated an excellent knowledge of the various procedures involved in Batik. In general, the designs were suitable and sympathetic to the craft. Most candidates completed the process very successfully, demonstrating skill in the relevant techniques that included dipping, cracking and the use of the tjanting tool. Less successful submissions tended to have poor colour clarity and ineffective overall design content. In some instances, candidates tended to use too much hand painting, a device that should have a minor role to play in the craft of Batik. Question 10 Pottery Most candidates who took Pottery achieved excellent results. Examiners noted that candidates were aware of the limitations of the craft and understood the material with which they were working. Good craftsmanship was evident in most of the hand thrown pots. In general, the proposed designs for hand built forms were suitable and indicated knowledge of the importance of structure, scale and finish. Question 11 Embroidering A strong sense of harmony, colour and good tactile effects typified the Embroidery that was examined at Higher Level. Sketches indicated evidence of research that was further developed to include design solutions as well as an indication of materials and techniques. Interpretation was traditional in many instances, but a more creative and contemporary approach was evident in the submissions of number of candidates. This development is to be welcomed. As well as the traditional yarns and threads, an exciting array of textured materials and backgrounds were used, including re-cycled objects 10

11 and accessories. Techniques included the creative use of appliqué, hand stitching and machine stitching. Question 12 Wood Carving The designs developed by some candidates were unsuitable and too difficult to carve; better planning and preparation might have helped in these circumstances. Examiners noted a lack of knowledge and skill in the use of tools and this led to poor realisation in many cases. Most candidates chose to work in low relief, where they demonstrated some awareness of the sequence to be employed in handling wood. However, most free-standing work lacked spatial awareness but was strong on proportion and mass. Question 13 Metalwork The small group of candidates who opted for Metalwork displayed a strong visual awareness and a thorough knowledge of every aspect of the craft from initial preparatory sketches to the production of the final craft item. Most interpretations were graphic, imaginative and practical. The work displayed skill, confidence and a sound knowledge of materials. Abstract shapes were used to interpret ideas; the choice of coloured enamels complemented the chosen themes, leading to work of a very high standard. Question 14: Modelling Candidates presented a variety of approaches to Modelling ranging from realistic figurative work to a more abstract style. Clay, ceramic clay, wire and steel were the most popular materials, while colour and applied materials were often used to enhance the overall effect. Candidates demonstrated evidence of excellent technique that included skills in modelling, carving and construction. The use of light as a powerful visual component of 3D sculpture was seen in the work of high achieving candidates where they employed light to accentuate and emphasise planes and textures in their unpainted work. There was also a welcome awareness of the effects of light in the relief modelling submissions. Life Sketching The work of high achieving candidates in Life Sketching bore all the hallmarks of consistent practice over a long period. These candidates displayed great assurance in their mark making which was noted in the fluency of their 11

12 graphic statements and their control of compositional elements. On the other hand, less accomplished candidates showed little mastery of the art elements necessary to interpret the real, living form of the model into a 2D graphic representation. The most common shortcoming in Life Sketching among candidates of medium to low attainment related to proportion. In advising candidates on which level to enter for, proportioning of the figure should be a key indicator of a candidate s life sketching skills and a valuable signal to the teacher of the appropriate level for that candidate. The second most frequently encountered shortcoming among candidates in Life Sketching was poor detailing of hands, feet and facial features. In Pose 2, candidates at the lower end of the attainment continuum sketched in a painstaking and mechanical way. Examiners noted that many low-scoring candidates had not developed their skills much beyond the standard expected at Junior Certificate. Candidates who attained high grades had developed the essential skills of observation, which enabled them to draw the proportions and the details. A further increase in the use of paint, pen and ink, chalk pastels and oil crayons was affirmed by examiners as a welcome development. Many of the high achieving candidates used plain graphite pencil in the first pose and changed to a more elaborate medium, such as chalk pastels or another coloured medium in the second. Most candidates sketched the full figure in the second pose. The challenges inherent in sketching the kneeling figure in this pose gave candidates an opportunity to demonstrate their technical and observational abilities. The better-prepared candidates were able to attempt the representation of the lowered head with anatomical accuracy and artistic flair. Light and shade were particularly well exploited by these candidates in articulating the forms and in emphasizing the volumes. It was noted that in some centres candidates did not draw the pose set by the examination paper, but instead, selected their own. Candidates are required to draw the pose as formally indicated in the examination paper. In addition, a further, more widespread, practice was noted in relation to the second pose where candidates restricted their attention to the head only, or face only, treating it as a portrait. The requirement is for a head and shoulders view, or a complete half-figure. 12

13 1.2.6 History and Appreciation of Art Section 1 Art in Ireland Question 1: The most successful responses to this, the most frequently answered question, demonstrated an understanding of form, function, decoration and metalworking techniques as posed by the question. A comprehensive analysis of the decoration was common, while many of the more detailed answers made reference to the possible ritual function of the Loughnashade Trumpet. However, in some instances no reference was made to the metalworking techniques involved in the production of the objects. More use could have been made of the diagrams/sketches to communicate the metalworking techniques. Question 2: This survey-style question was directed towards candidates who had a good outline knowledge of the artefacts and buildings of the period. Metalwork and manuscripts were better understood/treated than architecture and stone carving. This question was usually well handled by candidates. Question 3: Despite the richness of Irish Gothic, for example, in the west of Ireland, there was a widespread tendency to discuss Continental Gothic with little reference to Irish Gothic. Candidates demonstrated a greater understanding of the structure of the buildings than of their decoration. Little reference was made to local examples of Gothic sculpture. Question 4: Candidates tended to have a comprehensive knowledge of one only of the listed architects. Although reference was made to the main textbook examples of Irish Georgian buildings, the more effective discussion related to structure rather than decoration. Few candidates referred to the Classical origins of Georgian decorative and architectural forms. Little reference was made to examples from candidates own locality/hinterland. Question 5: Candidates tended to fare better on the Paul Henry element of the question. The least effective answers were based on learnt-off information or revision notes that revealed no real understanding of the aesthetic concerns or artistic achievement of the artists in question. Discussion of the paintings was frequently lacking. 13

14 Question 6: There was an excellent standard of answering by the small number of candidates who selected this question. Many of these answers displayed familiarity with Jellett s work from different stages of her life, and also with her working methods. Frequent and appropriate references were made to the influences of Cubism in general, and to that of Lhote and Gleizes in particular. Question 7: A high standard of answering was reported by examiners. William Leech was the most frequently discussed artist. Answers on Harry Clarke and Eileen Grey were uncommon. Less successful answers concentrated unduly on a biographical approach and did not engage with the focus of the question. Section 2 European Art Question 8: This question was handled well by the majority of candidates who attempted it. However, less effective answers omitted to discuss some, or all, of the listed qualities of Gislebertus work, relying on learnt-off answers that did not address all aspects of the question. Question 9: Despite its popularity, this question was often incompletely answered. Sculpture was discussed more frequently than painting. The most successful answers discussed the integration of sculpture into the architectural structure of the cathedrals, frequently citing the figure sculpture of Chartres. Key works of Gothic painting such as Les Très Riches Heures and The Wilton Diptych were not widely known. Many answers made no reference at all to sculpture or painting, the specific focus of the question, but instead, discussed the structural devices of cathedral architecture. Question 10: Candidates who attempted this question usually did so effectively. When discussing Ghiberti s innovations further reference could have been made to the sculpture of the Gothic period. Question 11: In general the answers to this question were excellent. Humanism was not usually understood by candidates who otherwise wrote knowledgably on Botticelli s treatment of the figure and of his use of colour. Many candidates used Primavera as an example but did not discuss it adequately. Question 12: In general this question was answered well. Sketches were used effectively to analyse Michelangelo s frescoes of the human figure. 14

15 Visually aware candidates with skills of pictorial/compositional analysis were usually able, by relying on the accompanying illustration, to analyse how the artist unified this vast work. On the other hand, many candidates did not mention the Sistine Chapel frescoes at all, and wrote only on other aspects of Michelangelo s work. These answers were usually learned-off essays or revision notes which did not take into account the actual question posed by the examination paper. Question 13: The small number of candidates who chose this question engaged with it in an informed and effective way, utilizing their knowledge, appreciation and frequently, their enthusiasm for Surrealism. Candidates made excellent use of sketches to support their discussion of composition and imagery. The compare and contrast aspect of this question was generally answered ineffectively. Question 14 : Few candidates attempted this question. Question 15 : Candidates were required to select an artwork that matched the category described in the question. The most frequently answered parts were (a), (b), (d) and (f). Higher scoring candidates chose appropriate examples and answered all the topics fully. However, there was a tendency among low-scoring candidates to use inappropriate examples and to reproduce learnt-off material that did not cover any of the topics in the question. The opportunity for candidates to integrate their own opinions into the answer was, surprisingly, often weak in otherwise competently handled answers. Question 16: As was demonstrated in the excellent answers to this question, the influence of Japanese art and photography on the work of Degas was well understood and supported by an efficient use of sketches. Candidates usually used Degas ballet paintings or pastels as their other examples: few references were made to his portraits or to his horse racing scenes. Question 17: High scoring candidates answered excellently on Manet and on the other two paintings of the nude. Botticelli, Giorgione and Matisse were frequently cited as examples. Less effective answers did not treat the topics required and often wrote off the point, ignoring the question as actually posed. Neglecting to discuss paintings of the nude from other periods in art history 15

16 characterized the answers of candidates who reproduced learnt-off essays. These low-scoring candidates made little use of the given illustration. Question 18: Excellent answers were presented by the majority of candidates who attempted this question. The human misery topic was efficiently treated and analysis of visual means and subject matter was largely derived from appropriate use of the given illustrations. Picasso s cubist and neo-classical periods were discussed and Guernica was frequently cited. Description was generally effective but the compare and contrast aspect of this question and the aspect dealing with the emotive use of the colour blue were not discussed in any significant way. Section 3 - Appreciation Question 19: Candidates appeared to lack the concepts and vocabulary necessary to discuss the visual and sculptural aspects of the proposed Millennium Spire; neither did they discuss the design decisions nor alternative proposals. Question 20: This question was not frequently answered. Comparison of the visual characteristics of painting and photography was better handled than was their technical aspect. Candidates did not clearly articulate their choice of one medium over the other. Few referred to the inherent difference between machine made and hand made images. Question 21: The best answers (a) were based on the careful choice of an advertisement that had a glamour and luxury agenda. While there was, generally, an excellent understanding of the process of advertisement, there was poor knowledge of basic visual techniques used by the filmmakers. The low-scoring answers tended to recount the storyline of an advertisement with no analysis, discussion, or comment. (b). Many candidates had prepared well on a particular film Michael Collins was a popular choice. There were many excellent answers that covered all the topics required. All too frequently, however, candidates did not adapt what they knew to the specific requirements of the question. The lowest scoring answers made no attempt to analyse, discuss, or comment on the visual means and techniques used but merely recounted the storyline of the film. 16

17 Question 22: Candidates who provided excellent answers to this question had a good working knowledge of the design process. Imaginative and apt solutions were frequently found where candidates had made careful and analytical use of the given illustration. Omitting to give reasons for design decisions was a widespread weakness. However, the more successful answers included sketches /diagrams of the front/side/back elevations of the seat/bench they envisaged and many showed its position in relation to the sculpture. Question 23: Answers to this popular question revealed an appreciation of the design process in relation to graphic design. Most candidates described and discussed the poster s imagery, lettering and use of colour efficiently. Question 24: Very frequently this question was answered well. Candidates proposed changes to the illustrated kitchen took into account practical and spatial considerations. The weakest element was diagrams/sketches. Examiners noted a higher incidence of candidates giving reasons for their design decisions than in Question Comments and Recommendations The following comments and recommendations are made in the spirit of helping the teaching and learning process in a constructive way. The use of non-naturalistic and abstract styles should be encouraged in Imaginative Composition. An understanding of these alternatives to realism and naturalism can be developed through the History and Appreciation of Art. Students with good life drawing skills should be encouraged to build on this strength by using the figure in their Imaginative Composition work. More attention should be paid to the design process during the two years students spend preparing for the Design examination. In the Still Life examination candidates are required to choose and arrange their own objects. The skills involved need practice and should 17

18 be part of the study and preparation a student undertakes for the examination. The History of Art abounds with relevant examples of Still Life paintings and it is recommended that students become familiar with some of these in order see what is possible in this art form. In the History and Appreciation of Art better answering was typified by good discussion skills and the use of appropriate vocabulary. The compare and contrast element of answers was not generally well handled candidates need more oral and written practice in class and as homework. In their two years of study at senior cycle candidates need to give as much attention to analysis of the visual characteristics of artworks as they do to amassing historical facts. Consequently, candidates who are visually aware are in a better position to answer questions that have a given illustration. 18

19 2. Ordinary Level 2.1 Performance of candidates Table1 below refers to the combined results of all four components at Ordinary Level. The breakdown of results is given in percentage points. A total of 2,588 candidates sat the examination. A total of 67.8% of candidates achieved a grade C or higher; 27.8% achieved a grade D and 4.4% did not succeed in achieving a grade D. The results were broadly in line with those of recent years. Appendix B consists of the results from 1999, 2000 and Table 1: Leaving Certificate 2001 Art Ordinary Level Total A1 A2 B1 B2 B3 C1 C2 C3 D1 D2 D3 E F NG 2, Analysis of Performance Imaginative Composition Approximately twenty per cent of candidates opted for Imaginative Composition at Ordinary Level. The work varied greatly in quality. In some instances candidates submitted well-composed and competently executed work where interpretation was both personal and imaginative. However, a large segment of the work appeared tentative and unpractised bearing little 19

20 relevance to the descriptive passage. Higher performing candidates displayed considerable understanding of compositional elements such as space, scale, shape, tone and texture. An image of the old cottage set in a landscape was popular but, frequently, candidates used rulers to aid their drawing: this practice proved counterproductive as it led to stilted work. The inclusion of representations of the human figure was rare, even from candidates who displayed considerable skill in the Life Sketching component. Where candidates displayed imagination and confidence in their choice of medium they gained high marks for personal creative responses. Poster paint and chalk pastels were commonly used. Candidates who chose only to work in pencil and/or markers did not, in general, demonstrate an awareness of art elements Still Life Approximately eighty per cent of candidates opted for Still Life at Ordinary Level. The work varied in quality and included some very accomplished submissions. The instructions of the Department of Education and Science require candidates to select their own individual objects based on the descriptive passage and then to set up a personal Still Life arrangement. There is evidence that in some centres candidates did not fulfil this requirement and worked, instead, from a communal Still Life arrangement. A welcome change in approach was seen elsewhere, where candidates employed viewfinders to select close-up and cropped views, thereby encouraging greater observation of form, texture and colour. In general, candidates displayed confidence in the use of their chosen medium. A number of candidates submitted mixed media responses, demonstrating an understanding of the affinity of materials with real textures and objects. Beautifully rendered pencil drawings were submitted by a small number of candidates. The rendering of tone proved somewhat elusive to candidates who worked with chalk or paint and quite a few attempted, unsuccessfully, to depict form in this manner. The work of candidates, who achieved D or lower grades, was frequently executed in pencil or marker on a white ground. 20

21 2.2.3 Design The Design component continues to be problematic. The concept of design as a problem solving process, whereby a design proposal is developed through stages of planning from initial brief to final solution, is not understood by most candidates. The candidates work should reflect this process from the brief (Question) through to the final design solution. The preparatory and preliminary sheets provide the means for candidates to record their research, generate ideas, evaluate initial proposals and then develop final design solutions. Their final design solution should demonstrate the above and should also include a materials list, measurements and an indication of the methods of production for the relevant craft/design product. Unfortunately, this process was absent from most of the work at Ordinary Level. In some instances the work presented did not refer to the descriptive passage at all, and was often vague and unsure. Computer-generated typography was noted to be on the increase and, like hand rendered lettering, should reflect the candidate s ability to manipulate text, engage with scale, appropriateness and layout Craftwork Question 1: Bookcrafts The work presented by the minority of candidates who opted for Bookcrafts varied greatly in quality. Where innovative approaches were employed, for example, by using recycled materials, candidates produced interesting and creative work. However, it is a disappointment that many candidates disregarded the opportunity to develop their designs through a process of research and development leading to a final design proposal. This deficit led to many difficulties in the realisation of the finished craft item, including inappropriate choice of materials, lettering and finish. Question 2: Calligraphy The response was enthusiastic to the Calligraphy questions and produced interpretations that were both personal and creative. As envisaged, the preparatory sketches allowed candidates to generate visual material to be 21

22 used as a resource for their preliminary sheet. Representations of animals were skilled and were further developed on to the preliminary sheet. There was evidence of effective layout, balance, skilled penmanship, and welladapted typography in the finished work. On the other hand, candidates who were at the lower end of the attainment scale produced ineffective layout and unfinished lines of lettering. Question 3: Poster This was the most popular choice of craft at Ordinary Level. Examiners were of the opinion that much of the work was of a Higher Level standard. The most successful designs displayed evidence of working through the design process in a planned and systematic way. On the other hand, work at the lower end of the attainment range demonstrated a lack of planning which led to unresolved problems. These problems related to spacing within the text, balance, the application of lettering and colour and failure to communicate the message. In addition, some candidates attempted to copy advertisements that are currently in use, a practise that led to difficulties, as there was no personal interpretation or development of ideas. Question 4: Weaving A small minority of candidates presented for the Weaving option. In general the work was at the lower end of the attainment range, displaying little consideration of texture, 3D effects, accessories or finish. The preparatory work lacked planning and foresight. Question 5: Lino Cutting Candidates demonstrated a good understanding of the important steps in lino block printing. Simplicity of design, in the form of clearly defined shapes, produced the most effective results. Candidates who proceeded in a systematic way through the steps of design, cutting, printing, registration, overprinting, and experimentation on coloured and textured paper fared very well in the examination. Examiners noted shortcomings in approach that included the tracing of secondary images directly on to lino-blocks without any personal input from the candidate. At the lower end of the attainment scale the work demonstrated incomplete process and little experimentation. 22

23 Question 6: Puppetry Puppetry proved difficult for many of the Ordinary Level candidates. Preparatory and preliminary sketches made little obvious contribution to the process of designing and making durable working puppets. Candidates had obviously spent too much time on detail rather than getting the structure completed and this resulted in a large number of unfinished puppets. The use of inappropriate materials, including clay, was common: candidates had become too involved in creating the character of the puppet rather than making sure it was functional. Question 7: Screen Printing Examiners noted a widespread lack of expertise in Screen Printing. Designs were not developed to the stage where they could be implemented and they demonstrated a lack of knowledge of the craft skills needed to produce a sample of screen printing. Registration was often inaccurate, leading to printing problems. Question 8: Hand Printed Textiles Some excellent submissions of Hand Printed Textiles were made at Ordinary Level and they included all the required craft elements overprinting, registration, pattern, rhythm, colour and texture. Less accomplished work indicated a lack of planning and preparation, underscoring the need for more ongoing practice in the craft during senior cycle. Question 9 Batik In general, candidates demonstrated an excellent knowledge of all the stages and procedures necessary to produce a Batik. Preliminary sketches were focused, leading to a high standard in design. Dipping was carried out effectively and there was evidence of good colour choice and control. However, it should be noted that examiners were of the opinion that a minority of candidates had produced their preliminary sketches after the Batik was finished. Such and approach should be strongly discouraged in the teaching and learning process as it is counterproductive to good practice. Question 10: Pottery Some candidates produced imaginative and exciting responses to the Pottery question that were of a Higher Level standard. Widespread good practice was evident in the entire process from the preparatory and preliminary 23

24 sketches through to the finished item. Higher achieving candidates demonstrated sensitivity to the possibilities and limitations of ceramic materials. Question 11: Embroidery Preparatory and preliminary sketches were almost non-existent for Embroidery. Consequently, there was little evidence of an ability to design and execute a response to the question. Ordinary Level candidates need more focused assistance in how to handle this craft. Question 12: Woodcarving A lack of focus in developing appropriate design solutions contributed to an unsatisfactory realisation of most of the Woodcarving submissions. In addition, an unskilled and unpractised approach to the making of the finished item was widespread. Question 13: Metalwork No Ordinary Level candidate took Metalwork in the year Question 14: Modelling Some candidates did not submit a preliminary sketch at all. Examiners felt that others produced their preliminary sketches at the end of the examination as a means of demonstrating this is how I made it. However, candidates who achieved a high grade were well versed in the entire process and possessed considerable skills in handling materials and had an ovious understanding of their properties and limitations Life Sketching Confidence in the use of line and tone underscored the Life Sketching of the most accomplished candidates at Ordinary Level. Examiners felt that the standard had improved markedly in Sketches representing the first pose were more assured than for the second. Dealing with layout and proportion presented the greatest challenges: the head and legs tended to be wrongly proportioned in the first pose; when sketching the second, candidates found the seated figure more challenging to arrange successfully on the sheet but those who opted to sketch the head and shoulders tended to be more successful. Pencil, on a white ground, was the favoured approach. However, 24

25 the wider use of oil and chalk pastels, charcoal and, in some instances, paint, was noted as a positive development towards a more personal expressive response. Successful sketching of the human form depends on a candidate s ability to observe and record graphically, a skill gained, largely, through practice as well as by selecting an appropriate mark-making medium. Most candidates placed emphasis on contour and proportion, indicated form and volume through line, sometimes fluid, but often tentative or heavy. At the lower end of the attainment scale, candidates presented sketches that were schematic in character, indicating little practice or guidance History and Appreciation of Art Section 1: Art in Ireland Question 1: This was the second most popular question in In the first part of the question candidates frequently sketched the patterns but neglected to name them. In the second part, those who followed the headings produced answers that were coherent and structured. Descriptions of decoration and function lacked substance, but candidates were knowledgeable on the design and structure of the tombs, supporting their answers with effective illustrations. Many candidates illustrated and described three tombs. Question 2: This was the most popular choice in Section 1. Much of the required information could be gleaned from the illustrations. In general, when describing the High Crosses, candidates referred to three similarities and three differences, but they proffered little further information. Question 3: A minority of candidates attempted this question. The answers tended to be of a general nature demonstrating minimal knowledge of the background or structure of monasteries and/or round towers. Question 4: A considerable number of candidates attempted this question. Many were well prepared, presenting detailed information on the Casino at Marino and using sketches to effectively support their answers. However, few provided background information or identified the architect. 25

26 Question 5: This question on Roderic O Conor proved to be a popular choice. Candidates applied considerable background knowledge to their discussion of the painting but most neglected to offer a personal viewpoint. Question 6: The minority of candidates who attempted this question were familiar with or had seen the work of the artist they selected and consequently presented expansive answers. Section 2: European Art. Question 7: This question was the most popular choice in Section 2. In general, candidates did not give detailed answers; neither did they support their answers with sketches. Many presented a general description of the Romanesque and Gothic periods without reference to the suggested headings. A large number of candidates confused the two illustrations, indicating an inability to visually recognise and differentiate the two styles of architecture. High performing candidates presented expansive background information, particularly of building techniques and associated terminology, accompanied by effective sketches. Question 8: This question was attempted by a sizeable number of candidates. Many did not refer to The Deposition of Christ at all, but instead wrote at length on The Arrest of Christ. However, most candidates proffered little information on Giotto s innovations and neglected to include sketches. On the other hand, higher performing candidates gave detailed answers using the headings and illustration effectively. Question 9: The illustration accompanying the question and the suggested headings were used effectively and led to focused responses to Durer s Self Portrait. However, most candidates demonstrated little understanding of the spread of influences during the Renaissance. Question 10: Many of the candidates who attempted this question demonstrated a good knowledge of Michelangelo s work and included supporting sketches. However, knowledge of the location of his works was scant and confusion between Michelangelo and Leonardo was prevalent. Question 11: This proved to be popular question. The most common approach was to write at length about Impressionism (b) and disregard (a) 26

27 and (c). This unfocused approach led to a considerable loss of marks by candidates. Question 12: The illustration and suggested headings provided an effective framework for candidates to respond to Salvador Dali s Hand Painted Dream Photograph. In doing so, many achieved high marks for the breadth and scope of their response. Some excellent sketches were included. Question 13: Few candidates attempted this question. Most responses attempted to describe the Millennium Dome but displayed very little knowledge of it. Section 3: Appreciation Question 14: Detailed answers, supported by sketches, enabled many candidates to achieve high marks for this very popular question. However, responses to the manufacture of the bags and storage were underdeveloped. Question 15: Most candidates who attempted this popular question described an exhibition they visited during the year as part of their art programme and seemed to have a pre-prepared answer. They referred in detail to the works on display but neglected to address the other aspects of the question. Question 16: In attempting this question, candidates did not successfully address the aspects that dealt with visual considerations or art and design skills. However, sketches were excellent in most cases. Question 17: This question, relating to music videos, proved to be a very popular choice. Candidates obvious interest in the topic proved to be of benefit to the answering. However, some appeared to be confused by the word technique and consequently had difficulty with this aspect of the question. Question 18: Candidates, in attempting this popular question, displayed an impressive familiarity with computers and seemed to enjoy the opportunity to respond to the question. The aspect of the question relating to the function of a screen saver generated various imaginative and original responses, thereby enabling candidates to gain high marks. 27

28 Question 19: This was a popular question. Candidates referred in detail to the first part of the question but did not attempt the part relating to the visual elements of a hairstyle. Effective sketches supported the answers. Question 20: Few candidates attempted this question and responded only to (b) in any detail. They failed to respond to the suggested headings for (a) and consequently scored badly. Few sketches were presented. 2.3 Comments and Recommendations The following comments and recommendations are made in the spirit of helping the teaching and learning process in a constructive way. Painting should be seen as an extension of drawing and not as a second stage where colour is applied to a drawing. Candidates should be encouraged to work from direct observation where possible and develop awareness of compositional elements and a personal, creative response to colour. The continued development of a more personal creative response to Still Life, as seen in the 2001 examination, is to be commended and further encouraged. Schools are reminded to adhere to the instructions of the Department of Education and Science regarding the Still Life examination. The concept of design as a process of problem solving and planning should be fundamental to the teaching of Design. Candidates should be encouraged, through prior classroom practice, to analyse the question they select and then answer what is asked. The suggested headings and accompanying illustrations (where included) are designed to make the questions user friendly and, thus, provide a framework for answering. Students should be encouraged to evaluate and discuss unfamiliar works of art as part of their ongoing study at senior cycle. Such an approach would help to develop their confidence in an examination situation to discuss a work that they had not seen before. 28