drawing and painting...an overview gce n(a)/ o-level examination submission requirements for paper 2...

A n U p p e r S e c o n d a r y R e s o u r c e f o r S t u d e n t s

Drawing and Painting

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Acknowledgements

The images of students’ artworks presented in this resource are contributed by the following schools: • Bartley Secondary School • CHIJ St. Nicholas Girls’ School • Chong Boon Secondary School • Guangyang Secondary School • Marsiling Secondary School • New Town Secondary School • Ngee Ann Secondary School • Pei Hwa Secondary School • St. Margaret’s Secondary School • Teck Whye Secondary School • Yishun Secondary School • Yusof Ishak Secondary School The Art Unit, Arts Education Branch (MOE) would like to thank art teacher, Mr. Lee Siew Weng (Chong Boon Secondary School) for sharing ideas and images to the development of this resource.

Preface

This resource is a guide to the GCE N(A)/ O-Level Art Paper 2. It outlines the processes for drawing and painting which you may use to create your preparatory studies and final artwork. Through authentic visual exemplars from students of various secondary

schools, you can learn and be inspired to create your masterpieces.

* This guide is designed to complement the use of ‘Let’s Make Art’ which shares with you the approaches to artmaking.

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Contents

1 Overview

2 Get Started

3 Investigation and Interpretation of Theme

4 Exploration and Development of Theme

5 Aesthetic Qualities

6 Control of Materials and Technical Processes

7 Personal Response

8 Examination Day

9 Annexes

1

6

11

24

35

45

57

69

75

An Overview of Paper 2 – Drawing and Painting

2

An Overview

In this chapter, you will learn about: • GCE N(A)/ O-Level

Examination submission requirements

• Assessment domains for the GCE N(A)/ O-Level Art Examination

An Overview of Paper 2 – Drawing and Painting

Figure 1 Acrylic painting on the theme ‘Mother and child’

Paper 2 is described in the Upper Secondary Art Syllabuses as:

… provides candidates with appropriate opportunity to display personal and creative expressions as well as

interpretations of concepts/ ideas and feelings to given theme.

“ ”

3

An Overview

With 3 weeks to prepare for this paper, you may be lost or nervous about what exactly you have to do. Use this guide to prepare for and build your confidence to succeed in this examination.

Figure 2 Pencil rendering on the theme ‘Stress’

Tip You are encouraged to put in no less effort for paper 2 than paper 1 as this paper carries 40% of the overall GCE N(A)/ O-Level Art Examination.

4

An Overview

GCE N(A)/ O-Level Examination submission requirements for Paper 2 – Drawing & Painting 1. This paper has a 3-hour duration.

2. You will be given the question paper three weeks before the

commencement of the O/ N(A) Level Examination.

3. Six themes will be issued and you are to respond to one of the themes on A2 or A3-sized paper.

4. Preparatory studies of three to five sheets of A3 paper must be submitted. You can work up to 5 sheets of A3-sized paper, which you can work on both sides.

More information on the examination Details of Paper 2 can be found on the Singapore Examinations and Assessment Board (SEAB) website at https://www.seab.gov.sg 2016 GCE N(A)-Level https://www.seab.gov.sg/content/syllabus/nlevel/2016Syllabus/6125_2016.pdf 2016 GCE O-Level https://www.seab.gov.sg/content/syllabus/olevel/2016Syllabus/6123_2016.pdf

https://www.seab.gov.sg

https://www.seab.gov.sg/pages/nationalExaminations/GNAL/School_Candidates/2016_GCE_NA_ES_School.asp





https://www.seab.gov.sg/content/syllabus/olevel/2016Syllabus/6123_2016.pdf




5

An Overview

Assessment domains for the GCE N(A)/ O-Level Art Examination The assessment domains are similar for both the GCE N(A) and the O-Level. However, the weighting of each domain varies for each examination. Both the final artwork and preparatory studies are assessed together and are given a total mark out of 100.

Assessment Domains GCE N(A)-Level GCE O-Level

Investigation and Interpretation of Theme 15 20

Exploration and Development of Theme 15 20

Aesthetic Qualities 25 20

Control of Materials and Technical Processes 25 20

Personal Response 20 20

Total 100 100

Table 1 Weightage differences between the GCE N(A) and O-Level art examination

Get Started

Get started 7

Get Started

If you fail to plan, you are planning to fail. “ ”

Figure 3 Timeline chart for Paper 2 (3-week plan)

In this chapter, you will learn about: • Time management • 3-week plan • 3-hour plan

Benjamin Franklin

8

Get Started

* Plan ahead

• Not all shops provide 24-hr services, remember to include the buying of art materials in your plan.

• Give yourself ample time to do a last minute shopping for materials at the art shops.

** Contingencies refer to future events or circumstances which are possible but cannot be predicted with certainty. (E.g. You may stock up basic art materials in case the stock runs out from the art shop just before the art examination.)

Time management Time management is crucial for this paper. 1. * Plan ahead and exercise control over the amount of time spent before

and during the actual examination.

2. Be realistic, look at the amount of time you have to prepare your preparatory studies. Refer to the GCE N(A)/ O-Level Examination timetable to map out an individual 3-week and 3-hour timeline chart.

3. Include in your plans, time for selection of supplies and materials, getting the supplies and materials needed, ** contingencies, etc.

Figure 4 Timeline chart for Paper 2 (3-hour plan)

9

Get Started

3-week plan (Go to Annex 1 on pg 77 for a printable 3-week timeline chart) Although 21 days (3 weeks) are given for preparation, the actual amount of time you have is usually less than that. Considerations - Other subject examinations are likely to start at the end of the 2nd and

beginning of the 3rd week of the entire GCE N(A)/ O - Level examination period.

- Complete a trial piece before the actual examination to determine how else to improve, what needs to be included in the artwork and how to maximise time, etc.

Figure 5 An example of a trial piece

Figure 6 An improved composition using the fisheye view was created for the actual 3-hour examination after evaluating and reviewing of the trial piece

Examination timetables They can be found on the Singapore Examinations and Assessment Board (SEAB) website at: GCE N(A)-Level https://www.seab.gov.sg/content/examTimeTable/2015GCEN(T)N(A)ExamTimetables.pdf GCE O-Level https://www.seab.gov.sg/content/examTimeTable/2015GCEOExamTimetable.pdf





https://www.seab.gov.sg/content/examTimeTable/2015GCEOExamTimetable.pdf



10

Get Started

3-hour plan (Go to Annex 2 on pg 78 for a printable 3-hour timeline chart) - Spend no more than 20 minutes on the sketching of your final artwork. More

time should be given to working with the final medium/ media. - Leave enough space at the top right-hand corner of your final artwork for

the name label.

Figure 7 A quick sketch of not more than 20 mins of the actual composition

Figure 8 Final composition with actual application of the final medium

Investigation and Interpretation of Theme

Investigation and Interpretation

In this chapter, you will learn about: • Choosing a theme • Brainstorming • Staying relevant • Using search engines • Recording through - Photographs - Drawings

Investigation and Interpretation of Theme

Figure 9 Observational drawing of a glass of water

You should be able to

• demonstrate an understanding and creative interpretation of the chosen theme;

• record your exploration of theme and show your development and

evaluation of ideas or concepts.

(Assessment criteria extracted from Upper Secondary N(A)/ O – Level Art Syllabuses)

12

13 Choosing a theme 1. Start by finding the meanings of

each of the six themes given. - Look up the dictionary for

meanings of all six themes.

2. Choose one of the six themes to work on. - What does the chosen theme

mean to you?

Figure 10 Look up the dictionary for meanings of all six themes

3. Select the theme which you can

most relate to OR eliminate the themes which you are not interested in.

4. Do not spend too much time on selecting the theme.

Tip Start your preparation from the very day the question paper is issued.


14 Alternatively, you can consider the examples given within each theme and choose to do a direct response to the theme based on the examples. E.g. For “Undergrowth”, one of the examples given is “leaves and branches on trees”. You can research on different types of leaves, trees and branches and make observational studies on them.

Figure 11 Responses can be made directly using the examples given

Tip The final drawing can be observational studies of the subject matter in response to your theme.


15

Figure 12 Brainstorming using a visual organiser

2. What other ideas can be

connected to these words?

3. Which of these words evoke emotional responses?

4. Which of the words can I make a connection to my life/ personal experience?

Tips Brainstorm on the different ways you can express the chosen theme. • Visual organisers are very

useful for brainstorming and recording your ideas.

• It is not necessary to include visual organisers in your preparatory boards.

• If you want to include a visual organiser, make it small. Keep it smaller than 25% of your A3 paper.

Brainstorming (includes visual organiser/ discussion) You may start by asking yourself some of these questions: 1. Which 10 words can be associated

with the chosen theme?

E.g. For Screens, you may have a list like; smartphones, laptops, TV, computer games, dependency, modern culture, isolation, etc.1


“ ”

1 Lee, S.W. (2015). Conquering Art Paper 2, 5.

16 Tip Stay relevant to the theme and not get carried away with your ideas.

Staying relevant As you explore the different options, you need to keep your chosen theme in mind. If you were to use the idea of Shoes after generating a chain of associated words (see figure 13) from Screens, your brainstorming would have generated ideas which are irrelevant to the theme. ‘Computer’ or even ‘Games’ would be more relevant to the theme than ‘Shoes’. A more focused exploration of the theme through the use of a visual organiser is shown in figure 14.

Figure 13 Staying relevant to your chosen theme by not going off-topic


17 Tip Highlight the key words which you can most relate to help in clarifying your interpretation of the theme.

Figure 14 Highlighting the key points on a visual organiser

You can summarise what the theme means to you. E.g. “I want to explore how our lives are run by screens in the modern day, from

our phones to our computers. We have become so dependent on it wherever we are that I am wondering what kind of long-term changes it can have on our lives.”2

2 Lee, S.W. (2015). Conquering Art Paper 2, 5.


18 Tip Just like the internet images, magazine images are useful references for your drawings. However, taking your own photographs is the best as it ensures originality.


Using search engines The Internet is a convenient and useful tool for research, but use it only as a reference point to begin your research. Avoid using downloaded images as you may end up having the same images as your peers since the images are easily accessible online.

Figure 15 The Internet is used as a reference point to research

SEARCH engines

19 Tips * First hand means direct/ from personal experience. (E.g. photographs taken by yourself, life sketching and your contact with, and observation of facts or events.) • Begin by looking for subject

matter from your environment.

Table 2 Basic Photography Techniques

• This is not a photography-

based coursework. You are advised against using too many photographs in your preparatory studies. Figure 16 Recording your observations with a camera

Recording through - Photographs

To ensure authenticity, make * first hand observational drawings based on what you see . You can also record using your camera. Photography is a very effective tool for recording. Make good use of your camera to document your ideas/ research/ observations, etc. Do take time to observe and study the objects you have selected for your theme before capturing them on camera.


Basic Photography Techniques

Angle Up, straight, down

Distance Close, medium, far

Focus Soft, sharp

Pan Left, forward, right

Level High, eye level, low

Framing Subject, shapes, space, composition

20 Tips

* Drawings refer to a graphic representation by lines of an object or idea, using any medium. It can be a detail representation, ** sketch, plan, or design. ** A sketch refers to a rough or unfinished drawing or painting, often made to assist in making a more finished picture. • There are no strict rules on

how many drawings to include in your preparatory studies.

• An estimate of 5 drawings

of different sizes should be able to fill an A3-page.

- * Drawings

Most of your recorded observations in your preparatory studies should be done in drawings. It is important to impress your audience with your technical skills by making some drawings realistic looking. Detailed drawings are crucial as it also demonstrates your ability to observe closely. You can add depth and create forms to your drawings through shading. Capture the objects/ subject matter in different views and do close-ups on interesting parts.

Figure 17 First hand observations of pet dogs


21 Tip Intent and quality of work are much more important than completing all your drawings.

With limited time (3 weeks), you do not have to create every single drawing in breathtaking details. Be selective, demonstrate your best drawing skills in some of your preparatory studies. In addition, it is not necessary to complete all drawings in your preparatory studies. You may choose to make detailed drawings of what is essential and critical to your investigation. E.g. In figure 18, the emphasis is the stack of toys while in figure 19, the focus of the drawing is the peanut lying in its shell.

Figure 19 Pencil drawing of an opened peanut

Figure 18 Pen rendering of a stack of toys


22 Not all the images you create in your preparatory studies have to look completely ‘finished’. You can have rough and unfinished sketches in the development of your preparatory studies. There is no need to ‘clean up’ the unwanted lines too. Leaving them as they are add touches of authenticity to your sketches.

Figure 20 Rough sketches


23 Tip You can look at ‘Let’s Make Art’ under ‘Ideate’ for more examples on Investigation and Interpretation.

Figure 21 Rough sketches showing character and artistic intent


Sketches are, usually done quickly, and useful in the process of artmaking. They are used to express and show the evolution of ideas from one stage to another, and assist in creating a more complete final artwork.

Exploration and Development of Theme

25

In this chapter, you will learn about: • Visual Ideas • Experimentation and

Development • Documentation

Exploration and Development of Theme

Figure 22 Watercolour painting on the theme ‘Floral and Fauna’

Exploration and Development

You should be able to • explore, develop and evaluate theme in the various stages; • show a relevant and consistent inquiry in the development of ideas and

intentions; • explore a range of visual ideas by manipulating images, signs, symbols

and materials; • communicate personal ideas, beliefs and interpretations of themes.


26 Tips * Stimuli refers to things that

evoke specific reactions. • You are free to gather

different types of stimuli that inspires you. At the same time, ensure that they are safe to use.

• Remember to seek permission from your art subject supervisor if you want to bring the stimuli into the examination venue on the actual day of examination.

• Thorough investigation and development of personal ideas can be done by collecting visual information from your environment.

Figure 23 Using visual references that are easily accessible for the theme, ‘ Painting Equipment’. E.g. handphone, the mouse, and bottles of inks


Visual Ideas Think of how you can generate ideas from your research. Be original. Use everyday visual references as * stimuli. As you select, organise, and present your ideas, constantly ask if the images gathered are relevant and appropriate to your intent of selecting them.

27 Experimentation and Development At various stages of your artmaking process, explore different ways to transform your gathered images to express your intent. You may do so by extracting and combining different images together (see figure 24).

Figure 24 Extracting and combining the different subject matter of monkey and sunglasses


28 Figure 25 illustrates how the peacock is often associated with arrogance, beauty, and vanity. At the same time, being skinny is considered ideal to many people. By humanising the peacock, you are investigating deeper into the meaning of “Beauty” and making connections with two different subject matter of similar underlying meanings.


Figure 25 Humanising the peacock to investigate the them, ‘Beauty’

29 When photographing your objects/ subject matter, always take more than one shot. Explore taking the objects/ subject matter from different angles; top, bottom, sides, close-ups, etc. (see figures 26 & 27)


Figure 26

Taking images of a water bottle from different angles Changing the colour of the filter digitally

30 You can also explore different ways of manipulating your captured image using photo-editing software, e.g. changing the image colour, merging two objects, etc. (see figures 27 & 28)


Original photograph

Changing the colour of the image to sepia tones, in response to the theme ‘Nostalgia’

Presenting the image from a different camera angle

Figure 27

32 Documentation Clearly record how your ideas change from one form to another. Illustrate your preparatory studies with carefully selected and well-thought-out drawings/ images to communicate your idea; i.e. when using photographs, extract what is important to draw rather than copying the whole photograph.


Figure 29 Quick and deliberate sketches to show the lines formed by stretching of rubber bands

Tips • Written notes (annotations)

serve as memory-aid to the artist, and help to clarify his/her thought processes.

• Annotations can provide - brief information, such as

the title of an artwork, artist's biographical details or the context of how the work was made

- a record of your experiences and emotions connected to an image

- a record of how you intend to use these images to develop your own ideas

- an example of your progress through a project

31


Figure 28 Mock-up (left) and final artwork (right)

Trial pieces or mock-ups of the final artwork can be presented in various stages of development (i.e. left unfinished), while the final artwork for submission has to be completed.

Tip You can look at ‘Let’s Make Art’ under ‘Ideate’ and ’Explore & Develop’ for more examples on Exploration and Development.

33 Tip Present your research in effective layouts to communicate your ideas well. E.g. Having different sizes of images to create a visual hierarchy.

Consider using a step-by-step presentation to show the evolution of your ideas in your preparatory studies. Avoid being too mechanical by listing down all the details.


Figure 30 Showing steps in arranging the subject matter in an effective layout

1

3 2

34 Make conscientious efforts to analyse the development of your ideas through sequencing of images and inserting annotations that help clarify your thought processes.


Figure 31 Investigating possible layouts for final compositions through photography and drawings

Aesthetic Qualities

In this chapter, you will learn about: • Art elements and principles • Composition • Rule of Thirds

Aesthetic Qualities

Figure 32 Student at work

Aesthetic Qualities

You should be able to

• illustrate an understanding of art elements and principles; • make aesthetic judgements appropriate to the chosen idea/media.


36

37 Art elements and principles Art elements and principles (colour, line, shape, form, texture, space, movement, balance, etc) are components that can be used alone or combined to form a drawing/ painting. An understanding of art elements and principles will allow you to apply them in your artmaking process to produce quality outcomes. You can create works of strong aesthetic qualities by combining the elements and principles using good art skills. Figures 33 & 34 show how lines and dots are used to create forms.

Figure 33 Drawing and toning using dots

Aesthetic Qualities

Figure 34 Drawing using hatching and cross-hatching techniques

38 Examples of a combination of art elements and principles (balance, movement and repetition) are shown in figures 35 & 36.

Figure 35 Artwork illustrates movement

Aesthetic Qualities

Figure 36 (Top) Image shows balance (Bottom) Image demonstrates repetition

39 Apply and manipulate art elements and principles to create particular moods or communicate ideas. In figure 37, the crab dish ilustrated using rich and intense acrylic paints looks the most appetising. The contrasting colours of orange-red against the green background also drew attention to the subject matter.

Figure 37 Deciding on which colour scheme and medium/ media to use

Aesthetic Qualities

40 Composition Composition in art refers to the arrangement of art elements and principles in a two-dimensional space. Or simply, it is a placement of subject matter in an artwork. A good composition is critical in the overall aesthetic quality of your final work.

Aesthetic Qualities

Figure 38 A balanced composition done in acrylic painting

Tips • Varying the shapes and

spaces between objects in a composition will make it aesthetically more pleasing.

• The key to creating good

compositions is to have variety. Avoid having two similar objects and use the number 3 to guide you.

41 Tips • Consider carefully when

planning for the compositions in your art. Make sketches of various compositions before deciding on one.

• Present alternate ideas and

viewpoints in your preparatory studies.

When arranging the art elements and principles in a two-dimensional space, pay attention to the ‘grounds’ – foreground, middle ground and background. The foreground of a composition appears closest to the viewer, and it often correlates to the dominance in an image because of the scale (i.e. they are usually drawn bigger). The background is the furthest from the viewer, so the objects will be drawn in a smaller scale. The middle ground is located between both the foreground and background.

Aesthetic Qualities

Figure 39 Schematic drawing of a picture space

Foreground

Middle ground

Background

Picture plane

42 Tips • The artwork will not be split in

half either vertically or horizontally when the Rule of Thirds is applied. It will also not have the main focus right in the centre.

• Besides drawing the grid manually, you may explore the use of phone gadgets to create grids, like the one below:

Rule of Thirds The Rule of Thirds is a composition rule to provide a starting point for deciding where to put things in a drawing/ painting so that a composition looks visually balanced and pleasant to the eyes. Divide your picture plane into 9 equal parts by having 2 vertical and 2 horizontal lines as shown in figure 40. Place your subject/s along the lines or at the intersection points.

Aesthetic Qualities

Figure 40 Our eyes are visually drawn to the points of intersections along the lines. Placing the subject matter at or along the lines in the Rule of Thirds creates emphasis and focus to the composition.

43 A composition looks aesthetically pleasing when the key subject matter/action/expression is either along the lines or at the intersections in the Rule of Thirds.

Aesthetic Qualities

Tip You can look at ‘Let’s Make Art’ under ‘Explore & Develop’ and ‘Gallery’ for more examples on Aesthetic Qualities.

Figure 41 Subject matter is placed along the lines or at the intersection points in the Rule of Thirds

44 Tip Sketches are useful and quick ways of expressing your ideas in development. You are encouraged to make sketches of various compositions before deciding on one.

Plan your compositions with alternate ideas and viewpoints. Experiment with different compositions for your final artwork and record these compositional developments towards the end of your preparatory studies.

Aesthetic Qualities

Figure 42 Different compositional ideas

Control of Materials and Technical Processes

46

In this chapter, you will learn about: • Materials • Understanding the - Media

- Surfaces • Technical Competency



You should be able to • apply and manipulate materials appropriately; • demonstrate technical competency in rendering and handling the

chosen media.


Figure 43 Exploring with acrylic paints

47

Table 3 Quick reference for media and their qualities (The list is non-exhaustive)


Materials Materials include types of media and surfaces. Different materials can be used to achieve different * visual effects, choose them wisely to help you achieve your intended results. You can apply and manipulate materials by first knowing your media and their qualities before experimenting with them. The table below is a non-exhaustive list of different types of media and their characteristics.

Types of media & their characteristics

Watercolour • Diluted with water to create a transparent or translucent quality • Can build up layers of washes • Dries quickly

Colour pencil • Wax-based/ Oil-based/ Water-soluble • Can be blended or layered to create shades, tints and hues

Acrylic paint • Water-soluble • Fast drying • Can be applied to a range of surfaces • Can be used with gels, pastes and mediums to create different effects

Pen and Ink • Can create strong contrast in value • Variety of nib thickness can create different line quality , for e.g. sharp tip for

defined edges • For ink, the range of intensity can be created by varying the amount of water

used

Pencil • Can create different line quality and tonal variations • Soft pencils can be applied in broader strokes while harder pencils are used for

fine lines

Pastel • Rich velvety texture • Can be blended easily • Intense luminous colours • Soft pastels are easy to smudge; hard pastels are good for details

Tips * Visual effects in drawing and painting refer to how materials can be used to create different results on 2D surfaces. • You are encouraged to

explore the various ways of using different materials to create artworks during your regular art assignments.

• Present in your preparatory studies, exploration and experimentation of materials, based on your past experiences with them.

48

Figure 45 Watercolour painting of a close-up view of a girl


Understanding the - Media Watercolour allows you to be more expressive because of its fluid nature. The translucent quality lends itself well to paintings of sceneries, for e.g. landscapes.

Figure 44 Watercolour painting of a scenery

Tips • When watercolour is wet, the

colour will look more intense. It becomes lighter and paler when dry.

• Quick drying materials are recommended.

49


Colour pencil, pencil and pen, on the other hand, allow for fine drawing of details and sharp defined edges.

Figure 47 Mixed media (colour pencils, pen and pencils)

Figure 46 Ink illustration on the theme ‘Painting Equipment’

Tips Ways of experimenting with materials - Use technology to

manipulate by distorting, cropping, or repeating

- Make marks lighter, darker, thinner or sharper

- Use different brush sizes - Apply paint with rags or

fingers

Besides the above-mentioned media, there are many other media you can use. E.g. Charcoal, pastel and paint. Choose medium/ media which are quick drying to avoid artworks from sticking to each other when stacked. In addition, remember to use spray fixative on dry media artworks, like charcoal and pastel, to prevent smudging.

50 Tips * An informed decision is a decision that is based on knowledge of a subject or situation. Extracted from Longman Dictionary of Contemporary English (http://www.ldoceonline.com/dictionary/informed)

It is good to have a set of drawing pencils (2B – 6B) so that you can use them to achieve a wide range of tonal values more easily.

Explore different media in your preparatory studies so that you can make an * informed decision when choosing the medium/ media for your final artwork. Figures 48 & 49 show the different media that can be used to render transparent surfaces.


Figure 48 Pencil rendering of a close-up eye to show reflection in the pupil

Figure 49 Colour pencil rendering of a bottle to show reflection of the glass surface

51


Figure 50 Colour pencil rendering to blend and mix colours to create a soft look

Figure 51 Marker and pen rendering to illustrate the rich, vibrant and distinct colours of a Chinese opera actor’s face

In figures 50 & 51, the details of each subject matter are accentuated by a suitable choice of media and colours.

52 Tip The use of Manga and cartoon style is effective when you are able to show transformation of your visual research into the development of your original characters.


Figure 52 Trying out different media (ink and watercolour) with the same subject matter but drawn from different angles and postures

Be curious. Experiment with your media by using different media/tools to create various possibilities.

53


Figure 53 Pencil rendering on a page from an old dictionary. The printed text adds texture to the drawing.

- Surfaces Experiment using different surfaces in your preparatory studies. Examples of surfaces include: - Newspapers, magazines - Coloured paper - Special paper (canvas paper, watercolour paper, pastel paper, etc.) - Textured paper (folded, ripped or patterned paper, etc.) You may choose different combinations of media and types of surfaces to achieve your desired outcomes in your preparatory studies.

54


Drawing on a toned paper is ideal for fast sketching. Use the value of the paper as one of the values in your drawing.

Figure 54 Using pastel on grey pastel paper

Figure 55 The darkest tone is the colour of the paper

Tip You can create a wider range of values (light to dark) in a drawing when using toned paper paper (e.g. mid-range grey or brown paper).

55


Technical Competency Technical competency is the ability to create drawings and sketches to a consistent standard throughout your preparatory studies and final artwork. Choose the medium/media that you are most confident in to express your ideas. E.g. If you are most skilful with pen and marker, use them throughout your preparatory studies and final artwork. If you can demonstrate a good standard of technical competency in a particular medium, you show a good understanding of the medium and its characteristics.

Figure 56 Close-up view of a child carrying her toy done using watercolour

Figure 57 Detailed drawing of wrinkles on a man’s face done using ink

56


Figure 58 Mixed media (pen and marker)

Mixed media is using more than one medium within an artwork. A good use of mixed media combines two or more media together to look like a coherent piece. Figure 59 illustrates how pen and markers are used to create an overall unified look within an artwork.

Tip You can look at ‘Let’s Make Art’ under ‘Experiment’ and ‘Reflect & Evaluate’ for more examples on Control of Materials and Technical Processes.

Personal Response

58

In this chapter, you will learn about: • Engagement • Presentation • Artist reference • Curiosity, innovation, critical

thinking and reflection • Annotations

Personal Response Personal Response

You should be able to • exhibit personal engagement in the preparatory studies and an original

input in the final artwork; • demonstrate curiosity, innovation, critical thinking and reflection.


Figure 59 Mixed media (pencil, pen and acrylic paint)

59

Personal Response

Engagement Personal engagement is shown in the way you respond to your chosen theme and develop your ideas. You can draw ideas from personal experiences, your environment and current issues/affairs. Figure 61 shows how the student tried to imitate celebrities; the way they accessorised and posed in front of cameras. She made conscious attempts to record her observations through photographs and painting.

Figure 60 Showing conscientious effort to imitate the styles of celebrities and recording her observations through photographs, magazines and painting

60

Personal Response

Understanding your chosen theme helps to provide a good sense of direction and purpose from the start. Your responses in the preparatory studies will be more original and meaningful. In figure 62, the student responded to the theme, ‘Relaxing’, by looking at her family. She looked at activities they do together as a family and what each member enjoys doing.

Figure 61 Using her family as a source of inspiration

Tip You can look at ‘Let’s Make Art’ under ‘Explore & Develop’ for more examples on Personal Experiences.

61

Personal Response

Figure 62 Presentation of preparatory studies on A3-sized paper using a combination of directly drawn and cut & paste images

Presentation You can organise your preparatory studies by either drawing directly and/or cutting and pasting your images and drawings onto A3-sized paper. The layout of the images in the preparatory studies should be carefully considered in order to communicate your ideas effectively.

62

Personal Response

Figure 63 An example of a grid layout

A good layout draws the viewer’s attention. A grid layout has a specific number of rows and columns with horizontal and vertical gaps between them. Include clear and concise annotation to provide sufficient information of what you have presented. However do not record the obvious. E.g. If you have a cat image, you do not need to annotate “This is a cat”.

63

Personal Response

Figure 64 An example of a fluid layout with the best drawings placed somewhere in the centre

A fluid layout usually starts somewhere near the middle of the paper. The artwork is continued by working outwards and from the bigger items to the smaller ones. Always place your best works at the centre of focus on the page.

64 Tip Artist reference is not a requirement for this paper. Remember to cite the sources of the images if you use them in your preparatory studies.

Personal Response

Figure 65 Referencing an artist’s painting style and its application onto artworks

Artist reference Conduct research on relevant artworks and artists and use appropriate works by others to influence and inform your own artmaking process. It is perfectly fine to draw ideas and inspirations from other art genres and you can certainly have more than one artist reference in your preparatory studies. E.g. You can refer to an advertisement when you are doing a painting. What you need to do is to explain how it has influenced your work.

65

Personal Response

Curiosity, innovation, critical thinking and reflection One way to demonstrate curiosity, innovation, critical thinking and reflection is by examining the subject matter from different/ unconventional viewpoints using different media.

Figure 66 Drawings of spring onions from different angles and using different media

66

Personal Response

Figure 68 is an example of a painting using an unconventional viewpoint. It shows an elevated view of a boy * juxtaposed with a huge glass of water. Figure 69, on the other hand, shows how images can be digitally manipulated onto crystal balls to create a fisheye effect.

Figure 68 Superimposing the subject matter’s reflection on a crystal ball using technology

Figure 67 Using an unconventional viewpoint in a composition

* Juxtaposed means different things (E.g. the boy and the huge glass in figure 68) are placed together in order to create an interesting effect or to show how they are the same or different.

67

Personal Response

Plan your composition and colour schemes with careful considerations to achieve your intended result. Figure 70 illustrates the thinking process of a student before she decided on the colour scheme of her final artwork. She explored possibilities and evaluated her selection of colours before drawing the conclusion.

Figure 69 Exploring different colour schemes through careful considerations

68

Personal Response

Annotations There is no need to write long annotations. Be clear and concise about what the annotations say about your artwork. Your annotations should show personal reflections and opinions throughout the artmaking process, from the beginning of research to the final composition and colour scheme, etc.

Figure 70 Writing clear and succinct explanations to show the thinking process

Tips To annotate your work successfully, consider the following: • what you have done and

why you did it • how you did it; such as the

media and techniques used • why you chose a particular

medium or technique • how the preparatory studies

fit in with your theme • which aspects of your

drawings you like • how you could improve your

work • what you think you will do

next

(DO NOT overdo with the annotations)

Examination Day

Examination Day

In this chapter, you will learn about what to do: • Before the examination • During the examination • After the examination

Examination Day 70

Before the examination The first thing you must remember before leaving your house is to bring along your preparatory work to the examination venue.

Next, look through your 3-hour plan. Then ensure that your loose pieces of preparatory studies are pasted to the 5 pieces of A3-sized drawing paper using glue or double-sided tape before the start of the examination.

Figure 71 Preparing materials you need for the examination in advance

71 During the examination A 3-hour examination is going to take its toll on your mind and body. Be assured that it is perfectly normal to feel tired during the examination. Hence, it is important to sleep early the night before. To achieve an optimal level of focus during the examination, take short-interval breaks by doing stretches at the table. It will help you to be more alert.

Important • Have enough rest the night

before your art examination.

• Pack all your materials and preparatory studies before going to bed.

• All preparatory studies must

either be drawn directly or pasted securely onto the A3 sheets of paper before entering the examination venue.

• Report to the examination

centre at least half an hour before the starting time of the exam.

• Set up your work table/ station after settling at your seat.

• You are not allowed to work on your preparatory studies during the 3-hr examination duration.

Examination Day

72

Examination Day

Figure 72 Keep track of time and plan a composition which can be completed within the 3-hour duration of the examination

Keep track of the time and pace yourself well. You should spend no more than 20 minutes on drawing your composition. More time should be spent on the application of the final medium/ media.

Have a good sense of urgency and focus on the quality of the artwork which you are creating. If you are running out of time, choose to complete the main subject matter that respond to your chosen theme.

73

Examination Day

After the examination Preparatory studies of between three to five A3 sheets of paper must be submitted. It must be numbered (current page number to total number of pages) on the white stickers at the top right-hand corner of every sheet of paper (e.g. Page 1 of 5) as shown in figure 75. The front of every page of your preparatory studies should have a white sticker pasted on its top right-hand corner with all your details filled in. The final artwork will be accompanied with a yellow sticker, and placed on top of your preparatory studies for submission.

Figure 73 Position of page numbers written in running order (current page number to total number of pages)

74

Examination Day

Punch a hole through the stack of papers at the top left-hand corner based on the orientation of the final artwork, and fasten them with a string.

Figure 74 Fastening the final artwork on top of the preparatory studies for submission

Annexes

Annex 1

76

Annex 2

77

© Copyright 2015. Student Development Curriculum Division. This publication is not for sale. For restricted circulation only. All rights reserved. No part of this publication may be reproduced without the prior permission of the Ministry of Education, Singapore.

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