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Cambridge International Advanced Subsidiary and Advanced Level 9393 Art and Design November 2017

Principal Examiner Report for Teachers

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ART AND DESIGN

Paper 9393/01 Observational Study

Key messages • Supporting studies should demonstrate the candidates’ ability to experiment with a range of media and

processes in order to develop technical skills as well as their ability to make informed decisions regarding their choice of media for the exam.

• Candidates should be encouraged to explore a range of compositions experimenting with

arrangements, viewpoints, lighting and backgrounds in order to produce a fully resolved outcome in the exam.

• Candidates would benefit from including evidence of research from the works of other artists which they

have used to inform their ideas and development of technical skills. General comments Most candidates responded well to the questions, and many responded successfully against each of the assessment objectives, through completion of final outcomes supported by thoughtful investigations of their chosen themes. A variety of media was seen in the supporting studies across the ability range and a mixture of materials was selected for use in the final responses. Direct observation, including recording from the candidates’ own photography was seen across all levels of achievement. However, there was little evidence of research from the works of other artists in the responses to many of the questions from across the mark range. In several submissions the technical skill in the manipulation of materials and the understanding of forms within the supporting studies demonstrated inconsistencies and demonstrated much weaker technical skills than those seen in the supporting work. A wide range of media was used in submissions from stronger candidates including pen and wash, drawing using pencils, charcoal and ink, painting in acrylics and water colour and multi-media compositions. Techniques were varied with impasto and palette knife work often obtaining very dramatic outcomes. Candidates working at this level made good use of their preparation time to demonstrate personal commitment in the exploration of their subject. The starting points at this level were explored thoroughly, with vital investigation and development of ideas and compositions. A consistent high level of skill was apparent within the rendering of materials, reflecting confidence and sensitivity, throughout the supporting studies and the exam piece. A clear understanding of the qualities and character within the subject was illustrated through recording and the manipulation of a relevant selection of materials and techniques, often leading to well-informed final outcomes. Submissions in the mid-level of achievement demonstrated a competent ability to record from direct observation, but inconsistencies in the ability to experiment with a range of media and refine technical skills were seen. The ability to fully explore the subject matter was not as strong at this level and candidates often chose to observe from obvious viewpoints rather than to explore interesting and unusual angles. Weaker submissions often relied on studies of individual objects and candidates did not achieve a cohesive link to their final composition. Candidates working at this level lacked the ability to record and analyse their subject in depth. There were weaknesses in the understanding of the formal elements, which was particularly demonstrated in the evaluation of their tonal and spatial awareness. Their manipulation of materials, techniques and ideas was also not explored as thoroughly. Frequently candidates at this level would have benefited from spending more time researching their starting point, in order to complete sufficient and informed preparatory work to support a substantial final response. The standard of presentation was generally very good and work was organised effectively, clearly and was labelled correctly.



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Comments on specific questions Question 1: Still-life Groups (a) Keys on a key ring and an opened wallet or purse This was a popular question that invited candidates to explore the surface qualities and textures of

leather and metal. Responses came from across the mark range, with the majority located at the middle level.

Submissions seen in the higher mark range tackled the complexities of rendering the fine detail of

banknotes and credit cards successfully. Lettering was of an extremely high standard and was often approaching a hyperrealist quality. The use of media was highly skilful and sensitive and the observation of colour and colour mixing was excellent. There was consideration in the choice of materials used to represent the metal of the keys and zips, the stitching, transparent plastic inserts and the qualities of the leather and fabrics. The depth and detail in the supporting studies at this level was accomplished and realistic.

Candidates whose work achieved marks in the mid mark range often represented the wallet in a

range of perspective viewpoints. At this level there were some ambitious studies of keys shown from acute angles representing their tubular structures in foreshortening. Cast shadows were shown on table surfaces where wallets were displayed in vertical formats. Purses and wallets were bursting open to show their silky linings with coins, notes and credit cards spilling out onto the background surfaces. Candidates had used photography and a range of 2D media to explore layout, surface quality, texture, pattern, colour and form, to varying levels of success. Appropriate materials had been selected to express ideas, but inconsistencies in the skill of manipulation were apparent. The stronger work at this level illustrated a consistent level of observation and demonstrated fine detail in the tones and colours of the metal keys and tones within the leather. Choices of background colours were not always appropriate or sympathetic to the subject and sometimes the qualities within the supporting work were not seen in the outcome due to a poor choice of media.

In the lower mark range candidates struggled to represent the three dimensional nature of the wallet

and the keys were seen as separate units which were unrelated to the wallet. Some submissions contained images from the work of others from which to inspire ideas, but the selection of media used to record, investigate and explore ideas was limited. There was some evidence of the exploration of composition and the rearrangement of objects in some work at this level, but the technical skills and organisation of visual forms were weak, as was the ability to observe and represent the detail within the objects.

(b) Drinking straws, a jug of water with sliced fruit, and two glasses on a brightly coloured

tablecloth This question encouraged candidates to explore the relationship of the objects with their background

and responses were seen across the whole mark range. The stronger work demonstrated an understanding of form, composition and colour mixing. There was an attempt to record detailed observational studies within the supporting work. There was evidence of some skill in the ability to record reflection and shapes created by the straw, fruits, patterns of the table cloth and the clear liquid contained within the jug, through observation of distorted patterns twisting and stretching through the surface of glass and water.

Work seen at the mid-level, demonstrated an ability to record from a range of viewpoints and

candidates selected objects which they placed in different arrangements as they recorded from them. There was an attempt to explore the opacity, reflections and distortions viewed through the glass jar. However although there was some evidence of experimenting with a variety of different media and processes, candidates were often unable to refine technical skills beyond a competent level. At times observational studies lacked evidence of real understanding of the form of the glasses and jug and of water refraction.

Studies seen in submissions in the lower mark ranges were mostly unable to observe the distortion

of the straw as it entered the water surface. Candidates struggled to represent the relationship of the objects within the still-life group to their background and this was often represented by a single horizontal line that acted as a divide between two different zones of colour. At this level supporting studies tended to focus on the objects as individual items which were then drawn together without



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including the brightly coloured tablecloth. Including the tablecloth could have helped to link the objects together and form a more successful composition.

Question 2: Natural Objects (a) Two dragon fruits or a pineapple, one cut or split open This was the most popular starting point and responses were seen across the ability range. Candidates achieving marks at the higher mark level demonstrated a thorough exploration of their

subject through the observation of colour, tone, form, pattern and structure, using a range of 2D media. These sensitive studies captured the fruit’s forms through the recording of colour and colour mixing. Successful interpretations of the structure and form were seen at this level where transparent overlays of colour were used to modify the tonal range of the fruit that were shown at a number of levels within the flesh of the fruit. The rendering of mark making and delicate shading illustrated high technical skill in the description of surfaces and forms within the fruit’s overlapping leaves and the surface quality of the skin. Media was highly accomplished and lively, expressive approaches contrasted with sensitive graphical observations, whilst representing the subject.

Some of the work in the mid mark range also demonstrated good observation and technical skill in

various mediums, whilst exploring the qualities of the flesh, skin and the leaves of both fruits. At times the handling of media was inconsistent and the understanding of form was less developed. Often outcomes were not resolved to the same level as the development work due to inappropriate decision making of the choice of media or background used. Candidates would have benefited from further exploring these ideas in their supporting work. Like the work at the higher level, candidates had also used photography to record their subject, but there was more evidence of imagery derived from secondary sources used as a starting point.

Submissions at the lower mark range displayed limited ability in recording the form and structure of

the chosen fruit, which resulted in flattened or distorted imagery. There was also often a lack of preparatory work. Shadows were represented in a formulaic way with shadows often following the outline form instead of being shown on a flat surface and candidates were less able to use colour to describe the form and texture of the fruit.

(b) A collection of different feathers This was a popular question with responses achieving marks mainly in the mid mark range. Responses achieving marks in the higher range included spectacular feathers and candidates were

able to see and record the range of colour and sheen. Most were executed in dry media but there were some excellent examples in paint with added coloured pencil. Supporting work demonstrated sensitivity in the rendering of materials while recording the delicate marks, structures and textures within the feathers. Appropriate media had been selected to show depth of tone, form, surface reflection and sheen. Compositions had been explored and final outcomes were informed by the exploration within the supporting studies. A limited number of candidates working at this level went beyond the obvious and showed feathers attached to wings, birds and headdresses.

Many candidates working in the mid mark range had collected a wide range of feathers from a

variety of species which showed various patterns and colour ranges. The representation of down feathers proved to be particularly difficult, but there was some evidence of skilful use of tonal shading and smudging techniques in the observational studies of these feathers. Some candidates organised the feathers in a still-life format with feathers being presented in a range of containers. Candidates were able to use paints integrated with other media to capture the refraction of light on the surface of the feathers. Pen and wash, coloured pencil, watercolour and pastel were popular media for exploring this question. Some candidates experimented with direct feather printing, which was then used as a base for additional overlays of drawn and painted imagery.

In the supporting studies of weaker submissions, candidates mostly adopted a formulaic

representation of feather forms as they attempted to draw from a collection of feathers. Studies lacked observation and attention to detail. Also at this level the cast shadows, when studied, lacked detail that did not relate to the form. There was little exploration of a range of materials and candidates were unable to develop technical skills to an adequate level.



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Question 3: Man-made Objects (a) Knots and ties Detailed and personal levels of observation were demonstrated in submissions in the high mark

range. These included studies of a variety of materials such as fabrics, rope, ties, string and laces which had been tied, knotted and twisted. This demonstrated a thorough understanding of tone, form, texture and pattern distortion as the fabric twisted and knotted around itself. The studies were very accomplished, and illustrated detailed observations through highly technical rendered materials. Subtle colour mixing and sensitive application highlighted the smooth and often patterned surface qualities of ties and candidates at this level were able to experiment confidently with a range of media to represent the variety of textures observed. Candidates at this level had often explored a range of compositions experimenting with viewpoints, lighting and backgrounds that supported the production of a fully resolved outcome in the exam.

The decorative nature of ties was often explored with the distortion of the pattern when knotted

providing candidates in the mid-range with a considerable challenge. A wide variety of different knot forms led to interesting variations seen in the folded patterns. Work seen at this level also demonstrated an involvement in the gathering of different tied objects to record from, but the technical skills within the studies demonstrated inconsistencies. There was also a lack of refinement in the handling of some of the chosen materials while representing the subject. The supporting work was sometimes thin and lacked exploration and investigation. In some of the work there was an attempt to show form but the understanding of tone was not always effectively applied. The organisation of aesthetics was seen in the representation of the twisted and distorted patterns in some of the supporting work, but this was not always realised in the final outcome.

Initial visual research in submissions at the lower level were less carefully observed. Development

was limited and repetitive with little exploration of media which was often limited to pencil line drawings. At times candidates had attempted to use shading to represent tone and create depth. However this was not developed and there was limited exploration of the subject matter. Outcomes tended to lack refinement and were unresolved due to the limited research in the supporting studies.

(b) Two pieces of jewellery on a reflective surface This question demanded an ability to work in fine detail from very small objects for the initial

research. Candidates frequently enlarged their studies so that large-scale imagery filled the paper, which demonstrated good understanding and use of composition. There were some strong submissions seen for this question.

Submissions at the higher level included highly accomplished and detailed studies through drawing

and painting. The use of strong light sources allowed candidates to record cast rainbow patterns on background and mirror surfaces. The reflections to be found in gold and silver surfaces were also accurately recorded at this level. The depth of colour within the gems was captured through the manipulation of paint and oil pastel, using a range of appropriate colours to reflect the rich and sharp angles within the stones. A range of carefully rendered media also captured the textures, patterns and marks within the raw, unpolished finish of gems and minerals, such as agate and crystals. Pencil and paint illustrated a graphical, realistic crispness and reflection within the metal and the gems, demonstrating a clear understanding of tone and form. Candidates explored different ways of grouping pieces of jewellery items together on a mirrored surface.

There was less exploration of composition or detailed observation of arrangements of forms at the

middle level. Studies tended to be of individual items, demonstrating the twisting and patterns within the metal and the cut of the stones or glass. The rendering of media was competent and sometimes effectively illustrated the qualities of tone and reflection within the colour of the gems. However, the manipulation of media also contained inconsistencies within the technical abilities of the rendering, and materials were not always appropriately selected to reflect the forms observed. Studies were also sometimes incomplete and unresolved.

The recording in the work in the lower range lacked observational detail with limited understanding of

form and structure. Candidates struggled to draw the reflective surface or simply used symbolic diagonal lines to suggest a mirror surface. Images were sometimes repetitive and development was generally not fulfilled. There was little exploration of materials and the rendering sometimes lacked control.



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Question 4: The Human Figure (a) The whole of a figure putting on a sock Candidates’ own photography was often used to investigate a number of poses and viewpoints, with

the work at the higher level including very accomplished drawings and paintings. Observations of the figure putting on a sock were sensitively rendered through a range of materials to capture the activity, and candidates experimented with media and processes confidently. Supporting studies included a range of models and clothing which candidates observed from unusual angles and viewpoints. There was evidence of experimentation with lighting and backgrounds before candidates selected the best composition to produce in the exam. Development was personal and often led to a fully resolved final outcome in the exam.

Candidates in the middle range also often worked from their own photographic research, but with

evidence of images either being scaled up or traced as a secondary aid to achieve accurate proportions. Pencil, pastels and paint tended to be the favoured media, with evidence of some sensitivity in the rendering of materials. However, the technical skills often demonstrated inconsistencies and the recording sometimes lacked a depth of observation. The supporting work was often creative and the media appropriate, but the decisions made regarding scale and use of materials did not always successfully develop into a resolved final outcome.

In the lower mark range candidates often relied on a single photographic image that was copied or

traced, sometimes trying out different media in the supporting studies to add colour. Where the original image was indistinct the candidates had sometimes simply invented the details of hand and feet. More observational studies of the figure would have helped candidates to overcome these problems.

(b) The upper half of a figure sewing This question invited many creative and engaged responses and each captured the candidates’

imagination, with a high level of personal involvement. Candidates in the upper mark ranges had taken numerous photographs showing the models being

fully involved in the activity of sewing. The relationship of the model to the background had been carefully planned with the entire picture surface being used in the composition. Many angles and viewpoints depicted figures, both young and old, sitting at the sewing machine, or carefully hand stitching intense pieces of craft. Men at the roadside sitting in the dust at the sewing machine repairing shoes, trousers and jackets were also observed. The work explored different parts of the figure whilst engaging in activity through a sensitive, rich and accomplished manipulation of materials. The skilful and sensitive rendering of paint captured the skin tones within concentrating faces and busy hands. Photographic research accompanied these detailed studies and often played a main part in the execution of the final outcome. The supporting work was usually individual and personal, exploring many ideas and possibilities.

The work at the middle level of the ability range also contained individuality and personal

involvement through the exploration of many compositions and ideas. However, inconsistencies were often apparent in the rendering of materials and in the technical skills. The work sometimes contained appropriate references to the works of others that had informed development and colour choices. There was a rich handling of media whilst observing the faces and hands, but the rendering and observation often lacked refinement and understanding of form and proportion. There was sometimes a tendency to repeat images and poses whilst exploring a range of media, rather than constructing alternative ideas or viewpoints. Final outcomes were often a scaled up copy of a photographic image, but informed by the successes within the supporting work.

Question 5: Interior and Exterior Environments (a) A classroom at the end of the last lesson

There were no responses seen to this question.



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(b) A street stall The majority of the supporting studies seen focused mainly upon the contents and produce of the

street stall with only a small number including perspective studies of the stall and the area around it. Observational studies concentrated on detailed, competent drawings and paintings using a range of 2D media, as well as own photography, to explore the colour, texture and pattern of the produce for sale. Some candidates included the stallholder in the studies. More consideration of alternative stalls, or the street stall viewed within the context of its environment would have encouraged a wider investigation of the question. Where supporting images appeared to have come only from secondary sources, rather than the candidates’ own studies and photographs, the final outcomes lacked an informed composition due to insufficient exploration of the structure of the stall itself. Many submissions would have benefited from compositional experiments during the preparatory period, exploring alternative arrangements and viewpoints before deciding on the most successful one to complete for the exam.



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ART AND DESIGN

Paper 9393/02 Interpretative Study

General comments Overall the standard of submissions was similar to last year. Candidates showed an understanding of the importance of preparatory work, showing a wide variety of approaches, broad use of varying media, and the use of first-hand sources – from observational drawing to photography. The better candidates had given thought to layout and annotation, whilst in the weaker work layout had not been considered and notes were superficial. There was insufficient research and investigation at the start, especially from primary sources, and only in the better work were ideas explored and developed towards the exam piece. The use of media by the better candidates was much broader whilst weaker candidates chose to use the same medium throughout their work or use only two media. There was often a lack of artist references, or a misunderstanding about the role that these references should play. In the very strongest submissions candidate included artist references that became an integral part of their visual journey. Some candidates studied the work of other artists but sometimes not in sufficient depth. There was a need for practical studies demonstrating the chosen artist’s techniques and use of colour to support submissions. Drawing was evident throughout most of the higher level work and there were some very highly developed skills demonstrated. However, many candidates appeared to copy their own photographs rather than draw directly from objects or scenes. Much of the lower level work was derived from secondary sources, downloaded images and pictures from magazines. There were a number of submissions that showed poor choice of media. For example, many candidates who had particularly well developed skills in ink, pencil or pastel chose to use paint for their final piece. In this situation some candidates did not use the medium which was closest to their natural ability. In some weaker submissions there was an issue of using ‘cut outs’ – where a candidate had made a part of the composition separate to the whole and stuck it on afterwards. Although this gave the impression of a clean sharp edge to an area, or depth to a landscape, for example, unfortunately, usually it highlighted the fact that the candidate had avoided using other, more sophisticated skills to infer such depth or sharpness. The use of felt tip pens alongside more sensitive and expressive materials was also problematic in some submissions. While these pens are sometimes the most suitable choice, in some submissions the use of these pens undermined and distracted from more delicate and subtle work. In some submissions, candidates had made black and white photocopies, often of photographs, and then painted or drew over them which does not allow the candidate to show their skills in meeting the demand of the syllabus. Comments on specific questions Question 1: Arguing Most candidates took a conventional approach to this question. The topic provided opportunities for studies from direct observation, but many candidates chose to take personal photographs of figures arguing and draw from these. In the strongest submissions there was evidence of a sense of exploring the physical and emotional character of the protagonists in the argument portrayed. There was often an engaged sense of use of media and thematic development. In general there was a greater focus on the context for the ‘argument’, e.g. A road traffic incident, a divorce, etc. which fed into a much greater sense of depth and commitment within the submission than in weaker submissions.



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In work at the mid-level of ability, while the choice of subject (two people confronting each other) remained the same, the quality of both preparatory work and final piece were not always as strong. Observational work was generally quite focused and showed a range of viewpoints and close ups, alongside some explorative and expressive use of media. There was, however, a noticeable lack of thematic development and open ended processes within these submissions. Candidates at the lower end of the scale nearly all chose the image of two people shouting at each other. There were obvious weaknesses in observational drawing here, alongside a lack of developmental work. Preparatory studies usually consisted of one or two images which were simpler versions of the final piece. There were few examples of alternative media included and little experimentation with media. Often the most fundamental problem was the lack of any real journey. There were no digressions or tentative steps towards other possibilities seen most of the weaker submissions. The final image usually lacked a background or any context, both visually and conceptually. Amongst these submissions there were quite a few that included tracing from magazines or other sources. There were a significant number of candidates who, for their final piece, chose to copy an image from the internet. This limited the credit that could be awarded for personal quality as well as the scope for the development of the work in the preparatory stages. Question 2: A room in a museum While this question was not frequently chosen, many of the responses were interesting, individual and atmospheric. The strongest submissions had a great sense of space, which was made possible through a reasonable understanding of perspective and a good use of scale within composition. Candidates had chosen the medium that was best suited to their strengths, and showed an understanding of how to use the media to good effect. At the mid-level of assessment the submissions were interesting, not simply from a skills perspective but from a conceptual point of view. Successful submissions had a story to tell, a sense of context, and an explorative attitude towards the visual approach they would take. The submissions at this level all explored composition as well as considering varying media, had made strong observational studies and showed a personal quality when developing mark making. Weaker submissions for this question were often fairly rudimentary and some showed simply a virtually empty room, with little attention to perspective. Candidates who had placed objects within this visual space generally focused on stuffed animals. The sense of scale was often problematic here. This was generally because some of the studies of these animals in the preparatory work were reduced in size to fit into the odd architectural space that had been created for the final piece. Although most of these candidates had actually visited a museum and carried out some observational drawing there, the studies were quite basic and the choice of media (generally pastel or crayon) did not allow subtle or sensitive observations to be demonstrated. Question 3: Rooftops Most of the submissions for this question were in the mid and lower ability range. The better submissions had preparatory work which was cohesive and showed a sense of development. There was a good amount of first-hand photography and some observational study. The use of perspective was quite sophisticated at this level and there was also a sensitive approach to drawing and choice of media. Generally submissions were not supported by reference to other artist’s work. In the work of weaker candidates, many of the final pieces were quite a bit stronger than the preparatory work. Candidates showed a tendency to decide upon a composition early on and instead of developing a final image, simply repeated this earlier version. Preparatory work that was seen generally consisted of elements of the composition which were taken and shown in isolation. The few reference images seen were mostly from magazines or from the internet, although a few first-hand photographic sources were evident.



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The work in general was fragmentary until the final image, which usually covered the whole page and was coherent and on occasions quite effective. The strongest element of these submissions was usually the colour. Quite a strong, if naïve, use of colour was evident throughout. However, there was a distinct lack of understanding of perspective in these weaker submissions. Furthermore, the use of various media was not strong, both in terms of the choice of media and in how materials were explored. Question 4: Filling up This was a very popular choice and there were varied ideas and approaches: filling water pots, cars, lorries with sugar cane, fishing nets, baby suckling, blowing bubbles, drugs, alcohol, hour glasses, brains, eating, for example. The submissions at the higher end of the assessment scale often showed a strength in observational drawing. There were some beautiful renderings which had very clearly come from observational work. The preparatory work that supported these submissions was full of exploration, try outs for compositions, first- hand sources and culturally significant references. The use of media was varied, accomplished and imaginative. The final pieces seen were the culmination of the experiments, alternative routes and earlier explorations, rather than a copy of a previous composition. In the mid-range of assessment, there was an interesting conceptual focus with a significant number of candidates. The most common image seen, not only at this level but at the lower level of assessment as well, was that of a head being filled up with various objects/substances. However, quite a few of the submissions took the idea of a spiritual, religious, or emotional filling up. This element of a cultural and psychological depth really set these submissions apart from the lower level. This shift brought much more engagement with it to the preparatory stage. There was often also a narrative quality and storytelling became an element in some of these submissions. The use of references reflected this greater feeling of connection and more observational studies were seen, along with relevant source material. The desire to express something beyond the physical world, led to a far greater connection to the media being used. Candidates exploited media in an effort to communicate something beyond its normal reach. The final pieces here were all fully executed, with a sense of context. In weaker submissions work made in preparation for the final image was typically a few fairly basic sketches of a head with the various items to be included in it. There was potential for candidates to undertake some serious study of the human head in preparation for this work which was not evident. In general, it was unclear where the final image came from, as there were few references or primary sources indicated. The final pieces seen nearly all lacked any visual context, not only in terms of references but also in their placement on the paper. Most of these heads were floating and unconnected to any other items. These submissions would have benefited from more work at the developmental stages. Question 5: Forms and shadows This was a popular question choice. Although there were some strong responses to this question, generally there was little focus on the idea of shadows which was a rich visual area to explore. It was also apparent that some candidates confused shadows with reflections. Even in the stronger submission, there was often more focus on the idea of ‘Forms’ than ‘Shadows’. The stronger candidates had made use of highly relevant primary sources and had investigated a range of media. Preparatory work was presented in cohesive way, giving a sense of a journey. A number of submission at the lower end of the mid-level focused on graveyards, or other similar scenes. In general there was a reasonable sense of structure and development to the preparatory work, although the opportunity to reference relevant artists was missed. In these submission it would have been applicable to see Goya, De Chirico or even Paula Rego. There was some quite sensitive and well developed use of media in submissions for this question, with pastel and coloured pencil being used on dark paper.



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Work seen at this level was frequently incoherent. Some unusual choices of subjects had been made and the preparatory work was equally fragmentary and disjointed. Candidates would have benefited from spending some time on observational study of shadows and strong/diffuse light source or even on the colour aspect of shadows. This could have greatly strengthened these submissions. There were very few primary sources included and no artist references in weaker submissions. The choice of media (more often a single medium) was typically not the most suitable choice for the subtleties that could have been explored here. Although there were some quite interesting final pieces, on the whole these weren’t supported or developed at all by the preparatory work and remained largely unresolved. Question 6: On the bus Most candidates who selected this question took a conventional view down the bus including the passengers. Some submissions were of views from the bus but gave no indication that these views were through a window. In the strongest submissions for this question there was evidence of strong preparatory work from first-hand observation and this resulted in some strong imaginary pieces which worked well. The use of chosen media was usually very skilled and candidates had obviously chosen their strongest area to focus on. On occasion there were no artist references which should have been considered. In the mid-level of achievement, all the submissions were fairly strong in the area of observational studies and first-hand sources. Even the candidates whose drawing skills were a little weak still managed to bring a good deal of focus to their studies here. There was a strong sense of engagement with the character of the people they were sketching. Additionally, these studies gave a positive sense of the visual context – people in groups, looking out of a window, or making their way down the bus. Some submissions included a full image of the interior of the bus which meant tackling perspective. This was kept relatively simple but on the whole it was quite successful. The weaker aspect of these submissions was generally that of media use. Typically, candidates chose a medium and did not experiment with other media. Also although there were plenty of first-hand sources and observational drawings, there were no artist references seen in any of these submissions.



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ART AND DESIGN

Paper 9393/03 Design Study

General comments Responses this year covered all questions, but Question 4 was the most popular question. A range of approaches and media were seen and the best submissions showed evidence of exploration of a wide range of techniques and media. These stronger candidates also used first-hand observation as the starting point for their studies, which was not evident in weaker submissions. Candidates in the upper range of marks showed a high level of creativity and inventiveness, producing imaginative experiments and outcomes. Candidates had explored a range of approaches and layouts before making a decision on the final outcome and research into the work of other artists had made a positive contribution to idea development. In the mid-range, there was more reliance on copied images, either the candidates’ own photography or secondary sourced imagery. This did not help candidates to develop a real understanding of the structure and form of the subject matter. At this level, there was less evidence of evaluative analysis of the work as it progressed, and often the ideas developed in the preparatory work were not carried through to the outcome successfully. In some cases the change in scale had a negative effect on the final design. Research into the work of other artists and designers was less evident or informative at this level. In the lower mark range, submissions often relied totally on secondary sources or in some cases subject matter was invented. The lack of research impacted on the development of ideas and also the manipulative skills of the candidates. Almost no evidence of research into the work of other artists was seen, and where it was seen it did not have any relevance or impact on the projects. There was evidence this year of the use of photocopies, worked over or cut and pasted directly onto the work. Much of the work struggled with bringing image and text together to make a coherent design. Comments on specific questions Question 1: Socks and Sandals This question required candidates to design promotional designs for a shop aimed at tourists. Although the subject matter was fairly easily accessed, many candidates relied on downloaded images of sandals to inform their development. Some candidates had grasped the tourist aspect of the brief and had incorporated images of the dodo or an outline map of Mauritius. The best examples seen demonstrated first-hand research into a range of sandals and socks, and in a few cases the candidates had attempted to visualise the shop window with the sign in context. Strong observational studies of footwear were evident in the research and candidates had explored the use of positive and negative space in the design development. There was also evidence of an awareness of purpose and the use of shop signs, billboards, bags and other promotional material. The lettering was explored in some depth and in some cases the standard form had been adapted by the use of appropriate imagery. In the middle range of marks there was more reliance on secondary images as the starting point of the design process. Inappropriate footwear was also used such as stilettos and trainers in some cases. Drawings of socks were particularly basic, lacking real observational ability. At this level, some candidates had managed to put together some imaginative designs, often using a vintage style with some consideration of composition and colour. Manipulative skills were evident in some cases, but often there was a lack of exploration of ideas. However other candidates had explored ideas imaginatively but lacked the skill needed



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to successfully convey their ideas. Mid-range candidates tended to use standard form lettering, without any adaptations. Often this appeared to be an afterthought and its placing was not very well considered. Submissions at the lower end of the mark range had explored a few secondary images and usually attempted to produce a coherent design. However the lack of thorough research impacted on these and there was also a lack of exploration into the use of lettering. Crude manipulation of media and poor decision making also negatively affected these submissions. Question 2: Different Perspectives Candidates were asked to design advertising for a book, using their studies of everyday objects from unusual angles as staring points. Some imaginative and personal submissions were seen for this question. The stronger submissions showed evidence of first-hand observation and the candidates’ own photography being used as the basis for ideas. Research into the work of relevant artists such as Escher and Dali was seen, and had informed the development of ideas. Ideas using perspective and converging lines were explored and candidates produced personal outcomes with a high level of manipulative skill seen in the use of media. In the middle range, these ideas of perspective and odd angles were explored but in less depth and with less imagination. Rendering skills demonstrated a lack of thorough practice and there was less coherence in the development of final ideas. In weaker submissions there was a lack of research and thought given to the purpose of the design. Secondary images and cartoon-like sources were often used in the development of ideas, and many of the ideas were also secondary. A few candidates had interesting ideas but were unable to successfully convey these ideas visually. Question 3: Extract The strongest submissions for this question were of an illustrative nature, with the text taking secondary importance in the final piece. Some examples of very personal and imaginative work were seen, and the text was incorporated and adapted into the image. These submissions contained evidence of very strong first-hand research and manipulative skills, which had then been used to produce coherent compositions. There was also evidence of research into the work of informative artists and cultures. In the middle range of marks, candidates concentrated on images of deep sea divers or mermaids diving below the surface of the water. Some were very imaginative but did not have the manipulative skills evident in the stronger work. These candidates concentrated more on the exploration of text and calligraphy and often the wording did not blend into the illustration, tending to be placed awkwardly in relation to it. Weaker submissions demonstrated a lack of in-depth research, using downloaded images of deep sea divers and oysters. There was a lack of investigation into techniques and materials in this mark range, and candidates had not developed the skills necessary to convey their ideas. Question 4: Green fingers Most candidates answering this question produced ideas for logos and in some cases then envisaged these on other items such as vans, T-shirts and packaging. Those candidates who gained higher marks had researched their subject matter by a range of means including first-hand observation, photography and some secondary research. Some examples of very good rendering were seen and exploration of ideas and media were also very strong in these submissions. The strongest candidates had explored existing logos and then used their research to help in the development of their own. Some thought had been given to the application of the final designs and how they would work in various applications. In the middle range of marks, some good drawing skills and relevant research were evident. Exploration of text was apparent, and in some cases strong rendering skills were seen. However, many submissions did not contain evidence of first-hand research, and in some cases the candidates had relied on secondary sources and had copied existing designs. The development of individual ideas was limited by this lack of personal engagement, as well as by a lack of thorough exploration of media and techniques.



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At the lower end of the mark range, submissions tended to be totally reliant on secondary sources for their research. Copied logos and cartoon-like imagery were common among these submissions. Candidates had not developed manipulative skills through practice and experimentation with a range of materials. Research into lettering was also minimal and, where it was seen, was of a poor standard. Question 5: Wool, thread, ribbons or string This question appealed to those candidates who use a formulaic approach to pattern, using tessellated geometric shapes filled in with areas of texture and marks. These candidates struggled to complete their designs or to give a real indication of how they would look on a length of fabric, and some way of using photographs or copies would have been useful here. Many candidates envisaged their designs on bags, which made it easier to show how they would look. The best submissions for this question managed to use observational work to make coherent designs. The observational studies were of a very high standard, with attention to detail and very strong use of a range of media. Some candidates had made connections with the work of other artists and cultures in their choice of subject matter. Some thought had also been given to the qualities of fabric and how the design would look in context. Mid-range submissions also used these strategies to develop designs. The use of geometric shapes as a basis for the designs was not really appropriate to the softer, more fluid subject matter and so this strategy was not always successful. Exaggerated contrast of light and shade on ribbons was often seen at this level, and in many cases tended to be formulaic in nature rather than really well observed. At the lower end of the mark range, candidates also tended to use this formula for the production of designs, and in these cases the quality of rendering and observation was weak, often due to the lack of first-hand research. Question 6: Hands Some of the stronger candidates had done some research into hands, using a range of poses and with some consideration given to camera angles and lighting. Some candidates had also used other media in their research, producing some drawings and paintings of hands, but these often demonstrated a lack of understanding of form and structure. Most submissions consisted of snapshots arranged in to a simple composition, with no sense use in a magazine article. The weaker submissions tended to rely on cut out images of hands from secondary sources, or very weak photographic research. Question 7: Divide and Rule Of the submissions seen, the best works demonstrated an imaginative approach and some evidence of research into appropriate subject matter. Some candidates had used cuboid and cylindrical shapes to make fashion designs which were quite personal. Others had studied rulers, compasses etc. and used these to make a poster design. Candidates had referenced artists such as Dali or movements such as Cubism, making links to their own development. A few examples were seen where candidates had adopted the pattern formula seen in other questions. The weaker submissions lacked the imaginative approach seen in the better work. Ideas were often simplistic drawings of a figure with mathematical symbols drawn on top. Candidates had often chosen to use inappropriate media for the production of their outcomes, and were limited by their lack of first-hand research.



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ART AND DESIGN

Paper 9393/04 Coursework

General comments Both the nature and quality of submissions was very similar to previous years. The majority of candidates entered for Painting and Related Media. There were a few submissions for Textiles, Sculpture, and Photography. Whilst most submissions fell into the mid to lower mark range there were some outstanding entries that had exploited a wide range of media and techniques to resolve ideas with confidence and maturity. The Assessment Objective, Personal Qualities was where the stronger candidates often achieved their full potential. Themes which could be explored from direct observation had been carefully chosen and whatever the ability levels of the candidate, their work always had originality and could be credited accordingly. Weaker works relied on pictures from magazines or downloaded from the Internet which was not very informative, especially when they were copied with no further ideas developed from them. Most candidates demonstrated competent or highly competent manipulative skills. The strongest candidates had used their supporting sheets to show evidence of research through their own photography as well as drawing from first-hand sources, making colour studies and trial experiments with processes and compositional layouts. They were able to develop original ideas into fully realised final works through a controlled use of chosen media. The best works showed an awareness of good composition and design. These candidates demonstrated an understanding of basic visual language; form, structure, proportion, perspective, and tone, texture, and colour relationships, which showed strength in aesthetic qualities. In the mid to lower levels of achievement there was a poor selection of supporting work and a lack of focus on developing images into a composition. Too much of the supporting work was taken up with studies of individual objects with little evidence of relating objects together in pictorial space. Many candidates annotated their supporting work. This can act as reference to their research studies as well as clarifying the development of their ideas and thought processes. Most candidates referenced the work of other artists, designers, or cultures. Stronger candidates demonstrated that they had used such references to inform their own work either by looking at how artists had approached similar subjects, or by using certain technical processes to achieve their intentions. Unfortunately there were a number of examples of downloaded works by other artists stuck onto pages with long biographical details which had no relationship to the candidates' own work. Comments on specific areas Painting and Related Media A wide range of themes were seen, these included: apocalypse, the end of the world, global warming, terrorism, religion and religious ceremonies, cultural connections and tradition, historical themes such as slavery and sugar cane production, addiction and drugs, gambling, personal feelings of anger, misery, etc., sporting themes, fantasy images, robotics, and mythology. Stronger candidates often found interesting and original ways to explore their chosen theme, working with different locations, environments, scale, lighting and viewpoints. Work was very personal and candidates had used primary source material as their starting point. Supporting work at this level demonstrated a genuine interest in the theme and candidates explored a range of media, including pastel, collage, pen and ink as well as paint. There was a sense that these candidates had fully understood their subject matter through



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close observation and thorough recording. Research into relevant artists’ work enabled candidates to consider appropriate and imaginative ways to develop their initial studies, often inspiring them to select similar media or compositional qualities. There was evidence that most of the final outcomes came about through a thorough and explorative journey in the preparatory work, rather than candidates thinking about the end product first. Over-worked outcomes were more evident in the mid-range submissions, where in many cases every idea explored was included in the outcome. First-hand research lacked the coherence seen at the higher levels, and the quality of observation was not so strong. Some evidence of research into the work of other artists was evident, but at this level it was not always relevant or informative. Some candidates had relied on secondary sources for their imagery, even where the subject matter was freely available. Manipulative skills also lacked the same high degree of skill seen at the higher end. In many cases interesting ideas were developed in the preparatory work which showed strength, but this was not recognised and fully developed and so the potential was not realised. Many candidates created complete line drawings, especially when recording figures and faces, and then coloured these in. Although this was often done skilfully, it suggested that the images had been traced and then worked in to build tone and colour, copying from a photograph or secondary sourced image. In weaker submissions a reliance on secondary research was more evident. Candidates had not explored subject matter using first-hand analytical investigation, and as a result had not understood the structure and form. This was particularly obvious when the subject chosen was the human form, portraiture or mechanical. The development of ideas leading to the outcome lacked coherence in many cases, and in some instances the final piece seemed to have no relevance to the preparatory work. Little evidence of research into the work of other artists was seen at this level, and where it was evident, it did not inform the development of the candidates’ own ideas. A great number of submissions included areas of relief and projections from the edges of the works. These were mainly figurative, with moulded parts of bodies, limbs, hands, feet, faces and objects. Stronger candidates had managed to mould these areas with great dexterity, creating added form to the work, and suggesting an interplay between two and three dimensions. However, many other candidates lacked the technical ability to make their relief areas look convincing. They would have benefitted from relying on painting alone and on practising methods to give their work the illusion of three dimensions through the use of colour, tonal contrast and texture. 3D Studies There were only a few submissions in this area. The most successful were thoughtful and personal. Often candidates had used personal experiences to inform ideas and had experimented with techniques to build on their strengths. They often explored and developed creative, original and very well observed outcomes. There were some strong technical skills seen which were of an outstanding level. Candidates had researched other artists working in 3D and this was used to inform their own work, both in subject matter and technical skills. Wood, clay and re-cycled metal objects such as bicycle chains and machine parts had been used in some submissions. Sculptures using machine parts were fairly successful, and the strongest ones also demonstrated very good developmental skills in work sheets, showing how the various elements would work together. This often resulted in a very coherent body of work. The weakest submissions showed very weak planning and research, and as a result outcomes were unoriginal. Textiles Whilst several candidates had included areas of stitching and fabric collage in their submissions, and some had also produced repeat patterns as part of their fine art projects, very few entered work in this area of study. Some strong work was seen however, with some very well executed submissions demonstrating excellent knowledge of the materials and outstanding technical ability. The supporting studies often explored alternative compositions in which the textile section could be used and there was evidence of a good level of judgement to select the best work. Initial drawings and studies usually informed work which led to fully resolved outcomes.



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Some submissions were in the form of large fabric paintings. These incorporated designs built from initial drawings of natural forms which were arranged, repeated and painted onto the fabric. The submissions required more experimentation in the supporting studies to resolve technical problems and candidates needed to consider alternative colour combinations and patterns. In some submissions the preparatory studies indicated some understanding of a process, but lacked a range of ideas or understanding of creating a balanced design where background and subject and use of colour were fully integrated. Photography The few submissions seen were based on portraiture and these consisted mainly of pictures of relatives. In many of these submissions little thought had gone into investigating different lighting, viewpoints and composition with much of what was produced being similar to the photography seen in a family photo album. Some dramatic images of landscape was seen, but the overuse of Photoshop and a lack of critical judgement meant that these submissions were often inconsistent.



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ART AND DESIGN

Paper 9393/05 Personal Study

There were too few candidates for us to be able to produce a meaningful report.