Briefing Session on 2016 HKDSE Visual Arts Public Examination€¦ · articulation of art media, the technique, the visual effect and visual communication; evaluate the candidates’

Briefing Session on 2016 HKDSE

Visual Arts Public Examination

Nov 2016

Programme

• Briefing on assessment requirements, marking criteria and

general performance on Paper 1

• Briefing on assessment requirements, marking criteria and

general performance on Paper 2

• Report on Pilot study on the relaxation of the linkage

between art/design appreciation and criticism and art/design

making

• Q & A

2

PAPER 1

VISUAL PRESENTATION OF A THEME

3

Briefing on assessment requirements, marking criteria

and general performance of Candidates on Paper 1

Assessment requirements

Part A (20 marks)

With regard to the artwork provided, candidates are assessed on

whether they can provide:

1. precise detail in description

2. a reasonable depth of analysis

3. an in-depth interpretation and evaluation from varied perspectives

4

The mark allocation of Part A

5

Part B (80 marks)

Candidates are assessed on their ability to demonstrate the relationship between art criticism and appreciation, and their personal art work.

Create a piece of two-dimensional artwork using any media, form, style and technique to present a theme in response to the critical appreciation in Part A in the white cartridge paper provided. Write an artwork statement of about 50 words to explain how your work is related to your art appreciation. This section carries 80 marks.

6

General Marking Criteria

With reference to the application of the visual element, the

articulation of art media, the technique, the visual effect and

visual communication; evaluate the candidates’ ability to:

1. present the theme in a personal and creative way

2. select means of visual self-expression and determine the

most appropriate method of communicating an idea, a

thought, a feeling, a sentiment, etc.

3. demonstrate competence in dealing with visual elements

4. select and apply appropriate medium, techniques and

processes in the execution and production of a painting.

7

The mark allocation of Part B

8

Note:

Candidates are required to write an artwork statement which

serves to elaborate on the relationship between art criticism

and appreciation, and art making. This will be taken into

consideration when assessing the practical work.

The marking rubrics of Part A and Part B

(see appendix)

9

(A) Describe, analyse and compare the forms and expressions of

Plate (1a) and Plate (1b); interpret and evaluate these works.

(20 marks)

Paper One, Question 1

Plate (1a) Li Wei Han (李慧嫻). Yuanyang Café (鴛鴦冰室). 2009-2012. Stoneware and mixed media,

variable dimensions..

Plate (1b) Alberto Giacometti. Piazza. 1947-1949.

Bronze, 21 x 62.5 x 42.8 cm.

10

There are no model answers for questions requiring comparison

and contrast, analysis, and interpretation. Responses were

judged on the basis of viewpoints provided and communication

of:

1. Literal Description

Precise detail in description

11

Comparison Li Wei Han’s

Yuanyang Café

Alberto Giacometti’s

Piazza

Commonalities

• sculpture of a group of human figures

• human figures are not in life-size

• human figures are raw and in simplified form

• use human postures and gestures to present emotions

Differences

fried stoneware

realistic figures setting in a

café

the figures are obese,

weighty and with clear

facial expressions

the activities of the figures

included eating, reading

and chatting etc.

interactive figures are

evoked a strong sense of

liveliness

cast-bronze

imaginary setting of a plaza

the figures are elongated, thin

and with vague facial expressions

four figures are walking with their

spreading hands, the other is

standing with hands pressing

against the body

figures are striding towards

different directions while a figure

is standing. They do not know

each other, evoking a strong

sense of alienation 12

2. Formal Analysis

A reasonable depth of analysis on the aspects of

• idea and the theme

• characteristics of the two media

• different approaches of art-making

3. Interpretation of Meaning

An in-depth interpretation from varied perspectives

4. Value Judgment

An in-depth evaluation from varied perspectives

13

(B) Create a piece of two-dimensional work based on the theme

“A Group of Dancers on the Stage”.

(80 marks)

1. Selection and Use of Materials & Techniques

2. Selection and Use of Visual Elements and Principles of

Design

3. Relationship between Practical Work and Appreciation &

Criticism of the Artwork

4. Creativity & Imagination

5. Communication of the Theme

14

General performance of candidates

(Paper 1, Question 1)

• 35% of the candidates attempted this question.

• The performance was good in general.

• Most candidates used spotlights and red curtain to convey

the atmosphere of a stage.

• Some candidates provided elaborated scenery to deliver an

abundant and appealing content with great significance.

• Few candidates made reference to Plate (1b) figures which

expressed the theme directly, resulting in flat and tedious

works.

• Few candidates left out the element of ‘a group of’ dancers

and just painted a dancer without further interpretation.

15

(A) Describe, analyse and compare the forms and expressions of Plate (2a) and Plate (2b); interpret and evaluate these works.

(20 marks)


Plate (2a) Liu Kuo-sung (劉國松). Snow

Moving According to Qianshan (千山). 2008.

Ink and colour on paper, 85.7 x 91.8 cm.

Plate (2b) Tara Donovan. Untitled (Plastic Cup). 2006.

Plastic cup, variable dimensions.

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17

Comparison

Liu Kuo-sung’s

Snow Moving According to

Qianshan

Tara Donovan’s

Untitled (Plastic Cup)

Commonalities landscape as subject matter

Differences

New Chinese Ink painting

ink and paper

use of ink techniques, the

handling of emptiness and

solidity, contrasting of positive

and negative spaces to create

a landscape of expansive

mountains and snow scenery

use of great tonal contrast to

depict a state amalgamated

with stillness and activeness in

the picture. Use of heavy dark

ink to depict the high

mountains and lofty peaks and

use of emptiness to show the

heavy and thick snow. Use of

the value contrasts between

adjacent lines and patches to

depict the fluidity of the ice on

the mountains

contemporary three-dimensional

installation

white disposable plastic cups and the

lighting effects

an installation formed by a

rectangular phalanx of a great

quantity of stacked plastic cups. The

stacks have different heights forming

a pixelated structure with the

appearance of a landscape

the spot lights produce contrasts of

light and shade on the installation.

The light effect aids to create a still

installation with (the appearance of)

expansive mountain stretches

18

2. Formal Analysis







4. Value Judgment


19

(B) Create a piece of two-dimensional work based on the theme “An Abandoned Village”.

(80 marks)



Design





20




• The performance was satisfactory in general.

• Most of the candidates used a realistic style to express their

response to the theme.

• Some candidates used destroyed buildings to express the

feeling of ‘abandoned’ directly.

• A small number of candidates left out the element of an

abandoned village without contextualization.

• In contrast, a number of candidates did not understand that

the required theme was the scene of a ‘village’, resulting in

misinterpretation.

21



(20 marks)


Plate（3a） James Allen. Skulduggery ( 75 Years

of DC Comics: The Art of Modern Mythmaking).

2012. Book excavation, 79 x 58 x 9 cm.

Plate (3b) Sahibdin. The Awakening of Kumbhakarana.

1653. Opaque watercolour on paper,

23 x 39 cm.

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23

Comparison James Allen’s

Skulduggery

Sahibdin’s

The Awakening of Kumbhakarana

Commonalities Narrative artworks

Differences

book carving

comics

narrated the stories through

strips

reveals part of pages to show

the contents and orders of

different stories

plot-driven

water colour on paper

myth

narrated the myth in one picture

depicts detail of the content,

characters, actions and costumes

character-driven

24

2. Formal Analysis







4. Value Judgment


25

(B) Create a piece of two-dimensional work based on the theme “The Sorrow of a Hero”.

(80 marks)



Design





26




• The performance was satisfactory in general.

• Most candidates portrayed ‘Superman’ as expressing the

meaning of ‘hero’ directly.

• Some candidates only attended to the superficial meaning of

‘sorrow’, without subtlety or imagination.

• Some candidates creatively constructed the sense of ‘sorrow’

and expressed the theme lively and effectively.

27

(A) Describe, analyse and compare the forms and expressions of Plate (4a) and Plate (4b); interpret and evaluate these works.

(20 marks)


Plate (4a) Kim Tschang-yeul (金昌烈). Water Drops.

1981. Oil and ink on canvas, 182 x 230 cm. Plate (4b) Victor Vasarely. Vega 200. 1968.

Acrylic on canvas, 200 x 200 cm.

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29

Comparison

Kim Tschang-yeul’s

Water Drops

Victor Vasarely’s

Vega 200

Commonalities

painting

paintings are composited of patterns of different shapes in variable sizes

create three-dimensional effect on a picture plane

Differences

natural water droplets as the subject

matter

use the neat and tight patterning of

water droplets and their reflections

to create a sense of reality

use of natural colours

the rich, vital and translucent water

droplets are sparkling as if they are

formed naturally on the plate

use of long shades of the water

drops to strengthen their three-

dimensional effects

squares, circular and oval patterns

as elements

arrangement of geometric shapes

to create a chessboard pattern with

a three-dimensional optical illusion

use of primary light colours in red,

blue and green

use of tonal contrasts, i.e. darker at

the centre and gradually lighter

towards the edges, to strengthen

the optical illusion

the geometric shapes stretching

across the picture plane forming an

illusion of a three-dimensional

sphere in the middle

30

2. Formal Analysis







4. Value Judgment


31

(B) Create a piece of two-dimensional work based on the theme “Positive and Negative Spaces”.

(80 marks)



Design





32




• The performance was fair in general.

• Some of the candidates painted in an abstract style, using

geometric forms to express the feeling of ‘positive and

negative spaces’. These candidates demonstrated a limited

expression of composition and perspective.

• Some candidates depicted a negative feeling by transforming

images of themselves into the theme, resulting in

misinterpretation.

33



(20 marks)


Plate (5a) Gustave Courbet. Still Life with

Apples and a Pomegranate. 1871. Oil on canvas,

44.5 x 61 cm.

Plate (5b) Louise Moillon. Still Life with a Bowl of

Curacao Oranges. 1634. Oil on panel,

46 x 64 cm.

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35

Comparison

Gustave Courbet’s

Still Life with Apples and a

Pomegranate

Louise Moillon’s

Still Life with a Bowl of Curacao

Oranges

Commonalities

still life painting

fruits and fruit plate as subject matter

use of dark background to the foreground the objects

Differences

overall tone is darker, tonal

contrast between background

and foreground is smaller

only foreground and

background are shown

depicts rotten apples and a

Pomegranate

there is a water jug and a glass

on the table

coarse pottery fruit plate

brush strokes are spontaneous

overall tone is brighter, tonal

contrast between background

and foreground is greater

the front edge of the table can

be seen. A clear composition of

foreground, middle ground and

background

depicts fresh Curacao oranges

there is no other thing on the

table

fine porcelain fruit plate

brush strokes are delicate

36

2. Formal Analysis







4. Value Judgment


37

(B) Create a piece of two-dimensional artwork based on the theme “Dining Table after a Feast”.

(80 marks)



Design





38




• The performance was fair in general.

• Most candidates portrayed cutlery and food on the dining

table as expressing the meaning of ‘after a feast’ directly.

• Most candidates used a realistic style to express their

response to the theme.

• Some candidates demonstrated imagination by transforming

the scenes behind the feast.

39

Overall performance in Paper 1

• Candidates were familiar with the written presentation on critical

appreciation of artwork and fluently expressed their viewpoints.

• Most candidates were able to seek out a variety of relevant foci in

literal description. In general, candidates were able to provide

interpretations of meaning towards forms of expression from

different perspectives, with some providing multiple interpretations

of meaning and recognition of embedded messages in the artwork

of a particular context.

• Some candidates were able to connect different experiences and

feelings with the visual forms, without knowing the relationship

among forms.

• However, some candidates only responded to one or two criteria

related to the value judgement of the artwork without judging the

appropriateness of the presentation.

40

• The paper provided possibilities for interpretation in terms of

content, composition and colour etc.

• Most candidates demonstrated that they had mastered the

materials, skills and visual elements appropriately in

delivering the key messages of the theme.

• Most of the candidates’ work showed that they were able to

refer the forms and ideas of the appreciation and criticism of

artwork when presenting the theme.

• The best scripts demonstrated candidates’ consideration of

different elements to express a deeper and thoughtful

message related to the theme.


41

• However, a number of candidates rushed into the theme

without having fully understood the requirements of the

question and produced superficial work.

• It is recommended that candidates read the instructions of

the question carefully.

• Different levels of performance were seen in interpreting

and presenting ideas in the five questions provided.


42

PAPER 2

DESIGN

43

Briefing on assessment requirements, marking

criteria and general performance of Candidates on

Paper 2

Assessment requirements

Part A (20 marks)

With regard to the artwork provided, candidates are assessed on

whether they can provide:

1. Precise detail in description

2. A reasonable depth of analysis

3. An in-depth interpretation and evaluation from varied perspectives

44

The mark allocation of Part A

45

Part B (80 marks)

Candidates are assessed on their ability to demonstrate the relationship between art criticism and appreciation, and their personal art work.

Create a piece of design using any medium, form, style and technique to present a theme in response to the critical appreciation in Part A in the white cartridge paper provided. Write a design work statement of about 50 words to explain how your work is related to your art appreciation. This section carries 80 marks.

46

General Marking Criteria

With reference to the application of the visual element, the

articulation of art media, the technique, the visual effect and

visual communication; evaluate the candidates’ ability to:

1. present the theme in a personal and creative way

2. select means of visual self-expression and determine the

most appropriate method of communicating an idea, a

thought, a feeling, a sentiment, etc.

3. demonstrate competence in dealing with visual elements

4. select and apply appropriate medium, techniques and

processes in the execution and production of a painting.

47

General marking guidelines: With reference to the application of the visual element, the articulation of art media,

technique, visual effect, idea development and design principles, evaluate the candidates’ ability in the following areas:

1. Solving design problems

The extent to which the candidate successfully proposes feasible solutions for a given problem, and is able to develop design concepts which convey the ideas of a theme.

2. Presenting ideas by using media, material and technique

The extent to which the candidate is able successfully to apply the appropriate media, technique, and visual style to present the solution proposed.

3. Understanding and organization

The extent to which the candidate is able successfully to apply appropriate visual elements such as colour, pattern, texture, shape, form; and design principles such as contrast, rhythm, balance and emphasis.

4. Communication

The extent to which the candidate is able convincingly to convey a theme.

5. Meeting design requirements

The extent to which the candidate is able successfully to create a design that meets specific size, measurement and other requirements of the question;

6. Demonstrating originality

The extent to which the candidate is able to successfully convey design ideas which are original and creative.

48

The mark allocation of Part B

49

Note:

Candidates are required to write an artwork statement which

serves to elaborate on the relationship between art criticism

and appreciation, and art making. This will be taken into

consideration when assessing the practical work.

The marking rubrics of Part A and Part B

(see appendix)

50

(A) Describe, analyse and compare Plate (1a) and Plate (1b) with respect to the design concepts, visual effects and communication effects of the two designs; interpret and evaluate these works.

(20 marks)

Plate (1a) PHILIPS Printed Advertisement Plate (1b) Duncan Bancroft and Simon Dilks.

BRUCCIANI Family Craft Bakers & Café Printed

Advertisement. 2012.

Paper Two, Question 1

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Comparison PHILIPS Printed Advertisement BRUCCIANAI Family Craft Bakers &

Café Printed Advertisement

Commonalities

commercial printed advertisement

using a cup/ mug filling with beverages as subject matter

top view photographic design

symmetrical composition

warm colour tone

ripples on the drinks’ surface

San serif typeface

text is smaller than the image

Differences

Image: hands holding the

mug which the handle is

pointing at the top. A

speaker’s front view appears

inside the mug; and the

product shot is showed on the

lower left

Typography: solid coloured

letters

Meaning: consumers can

enjoy the selected music by

using the product

Image: a coffee cup is placed on a

saucer and the handle of the cup is

oblique to the right. A sign of Wi-Fi

service appears inside the cup

Typography: reversed white

letters

Meaning: the restaurant provides

free Wi-Fi service to the customers

53

2. Formal Analysis


• The usage of colour, shape and symbols, and composition of the designs

• The relation between graphic and color selection and the designs’ nature and image



4. Value Judgment


54

(B) Design a poster for a western fast food restaurant named

“Space Castle” (太空城堡) to promote a special offer: Get a

glass of free orange juice for every $200 you spend.

The design should include:

The name of the restaurant (in Chinese, English or both

Chinese and English)

The measurements of the poster should be 40cm x 40cm

( 80 marks)

55



Design





56





• The best scripts showed good illustration skills.

• Some candidates demonstrated maturity in concept and

artful execution of their designs in dealing with the poster

design with the images of space.

• However, some candidates made reference to Plates (1a)

and (1b) composition directly, resulting in a superficial design.

57

(A) Describe, analyse and compare Plate (2a) and Plate (2b) with

respect to the design concepts, visual effects and

communication effects of the two designs; interpret and

evaluate these works. (20 marks)

Plate (2a) Hani Douaji. Trident Gum

Packaging Series. Plate (2b) Wella Hair-Dye Product Printed Advertisement

Series. 2009.


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59

Comparison Hani Douaji’s Trident Gum

Packaging Series

Wella Hair-Dye Product

Printed Advertisement Series

Commonalities commercial design

a series of designs

Differences

Image: graphic design (different

people’s mouths)

Typography: Sans Serif typeface

Colour: black, red and pastel

yellow and green colour

Meaning: the product is suitable

for both men and women which

could bring oral health and get rid

of bad breath

Format: packaging design

Image: photographic image (the end

of the woman’ hair is connected with a

paint brush)

Typography: Serif font typeface and

script

Color: warm colour tone

Meaning: the product can provide a

beautiful hair dyed colour

Format: printed advertisement

60

2. Formal Analysis



• The relation between graphic and colour selection and organization’s nature and image



4. Value Judgment


61

(B) Design the front views of the packaging (Plate 2c) for a series of

four shampoo samples targeting at young people for a hair beauty

product company named “Cool Infinity” (型無限). The names of the

four shampoo samples are:

• Vibrant (勁力)

• Romance (浪漫)

• Pure (清純)

• Glamorous (艷麗)


• The names of the company and shampoo sample (in Chinese,

English or both Chinese and English)

The measurements of each design should be ENLARGED to

12 cm x 18 cm (in horizontal or vertical orientation).

(80 marks)

62


2. Selection and Use of Visual Elements and Principles of Design

3. Relationship between Practical Work and Appreciation & Criticism of the Artwork



63





• Most candidates showed their understanding of the

packaging product in the design.

• Most candidates demonstrated the basic mastery of lines,

colors and images, and delivered the features of the product

clearly.

• A small number of candidates did not focus on the product of

the design – shampoo and designed the graphics without

relating to its purpose.

64

(A) Describe, analyse and compare Plate (3a) and Plate (3b) with respect to the design concepts, structures, visual effects and communication effects of the two designs; interpret and evaluate these works.

(20 marks)

Plate (3a) Seulbi Kim. TOGO BURGER. 2013. Paper. Plate (3b) Yena Lee (李英娜). Butterfly Tea. 2013.


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Comparison Seulbi Kim’s TOGO BURGER Yena Lee’s Butterfly Tea

Commonalities packaging design for food

paper

Differences

Structure: folding design with

hand-carry function

Colour: black, yellow and light

brown

Meaning: simple design can

reduce the cost of material and

time for packing take-away

food

Structure: pocket/ sachet

design

Colour: yellow and black

Meaning: butterfly as

decoration can create a

relaxing atmosphere

67

2. Formal Analysis


• The usage of colour, shape, materials and structure of the designs

• The relation between materials and structure selection and product’s nature



4. Value Judgment


68

(B) Design a packaging for a western-style afternoon tea set named “Four

Biscuits Two Teas” (四餅二茶). The packaging should include four

pieces of biscuits and two tea bags. Dimensions of the biscuit and tea

bag are shown in Plate (3c.1) and Plate (3c.2) respectively. The

packaging will be placed inside a vending machine (Plate (3d)) for sale.

The dimensions for the packaging should NOT EXCEED 7cm (L) x 7cm

(W) x 14cm (H).


• The name of the product (in Chinese, English or both Chinese and English)

• TWO 3-dimensional renderings. The placing of the four biscuits and two tea

bags should be shown in one of these 3-dimensional renderings

• An indication of the measurements and materials used for the design

(80 marks)

Plate (3c.2) A Tea Bag

4 cm (L) x 1.5 cm (W) x 6 cm

(H)

Plate (3c.1) A Piece of Biscuit

6 cm (diameter) x 0.5 cm

(thickness)

Plate (3d) Vending Machine

69


2. Selection and Use of Visual Elements and Principles of Design

3. Relationship between Practical Work and Appreciation & Criticism of the Artwork



70





• Most candidates’ designs tended to be in the form of a cubic

box.

• Some candidates exhibited good illustration skills in

presenting the design effectively.

• A small number of candidates showed a lack of

understanding of the feature of the packaging, resulting in a

failure to deliver the promotion of the goods.

71

(A) Describe, analyse and compare Plate (4a) and Plate (4b) with respect

to the design concepts, structures, visual effects and communication

effects of the two designs; interpret and evaluate these works.

(20 marks)

Plate (4a) Mark Stoddart. Hippo Coffee Table. 2002.

Bronze and glass, 58 x 153 x 91cm. Plate (4b) Ototo. Nessie. Plastics, 24.5 x 8 x 9 cm.


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Comparison Mark Stoddart’s Hippo Coffee

Table Ototo’s Nessie

Commonalities

home ware

three-dimensional design

present the activities of the creature in the water

Differences

Image: realistic hippo

Colour: silver grey

Materials: bronze and glass

Meaning: a sculpture of hippo

and a glass plate create a

decorative furniture

Image: simplified lake monster

Colour: turquoise

Materials: plastic

Meaning: fun for eating/

cooking

74

2. Formal Analysis



• The relation between graphic and colour selection and organization’s nature and image



4. Value Judgment


75

(B) Design a set of kitchenware based on the theme “Forest”.


• A kettle, a cooking pan and a heat-resistant glove

EACH kitchenware design item should have TWO 3-dimensional

renderings with an indication of the measurements and

materials used.

(80 marks)

76



Design





77





• Some candidates used images of animals to echo the idea of

‘forest’.

• Designs with good illustration skills showed a comprehensive

consideration and reflection in the idea development.

• A small number of candidates made reference to Plate (4b)’s

pot as kettle directly, resulting in misinterpretation.

78

(A) Describe, analyse and compare Plate (5a) and Plate (5b) with

respect to the design concepts, structures, visual effects and

communication effects of the two designs; interpret and evaluate

these works. (20 marks)

Plate (5a) Moschino Menswear.

2016.

Plate (5b) Shanghai Tang (上海灘) Imperial

Collection, Clutch Bag. Sequins, beads, cloth, plastic

and metal, 9 x 16.5 x 6 cm.


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Comparison Moschino Menswear Shanghai Tang

Imperial Collection, Clutch Bag

Commonalities fashion products

emphasis on decoration

Differences

Sales targets: man

Silhouette: long sleeve shirt,

vest, bow tie and capri pants

are referenced to western

classical gentleman cloths

Image: flower, stripe and

cartoon character

Colour: mainly pastel colour

with black line

Materials: cloth

Meaning: combination of

different styles (formal, causal

and cartoon) create a sense of

humour/ playfulness

Sales targets: woman

Form: oval box

Image: Chinese style cloud-

like pattern

Colour: gold, silver and white

Materials: sequins, beads,

cloth, plastic and metal

Meaning: present a feel of

traditional Chinese premier

and auspicious

81

2. Formal Analysis


• The inter-relationships among the various visual characteristics

• Differences in function

• The relation between materials and structure selection and product’s nature

• Relation between the product and user



4. Value Judgment


82

(B) Design a set of outfits for a man based on the theme

“Humorous Asian Gentleman”.


• A jacket, a pair of shorts, a pair of shoes and a briefcase

EACH design item should have TWO 3-dimensional

renderings with an indication of the measurements and

materials used.

(80 marks)

83



Design





84




• The performance was very good in general.

• Most candidates used marker pen as the drawing medium.

• Some candidates demonstrated good illustration skills in

presenting the design in an interesting and effective display.

• A small number of candidates did not focus on the meaning

of ‘humorous’ and design the outfit without relating to its

theme.

85

• Most candidates were familiar with the written presentation on

what they saw and felt when analysing the design work.

• They were able to seek out many relevant foci in literal

description. Most candidates were able to develop a linear

recognition of visual forms in the design work.

• In general, candidates were able to connect different

experiences and feelings with the visual forms, providing

multiple interpretations of meaning towards the form of

presentation.

• However, many candidates only responded to one or two

criteria related to the value judgment of the designated

artwork without judging the appropriateness of the

presentation.


86

• The themes for the design questions set were based on candidates’

everyday experience and there were many outstanding designs.

• Most candidates were able to master the materials and skills

appropriately in delivering the key messages of the theme. They

were able to express the key messages of the design by visual

elements and principles of design.

• Some candidates demonstrated personality characteristics with

originality and by means of transference or association.

• Some designs displayed the hidden meaning of the theme and

reflected a high quality of understanding of the design.

• A small number of candidates presented high design execution

competence by using appropriate styles and media in the finished

piece.


87

• In general, candidates used relevant and coordinated forms of

artistic creation in different ideas, especially in fashion designs.

• However, some candidates answered the questions without

having fully understood the requirements and produced

superficial work.

• Candidates should read carefully the instructions of the

question in order to try to understand the purpose of the

design, the target audience, the main features and the design

description.


88

Pilot study on

the relaxation of the linkage between art/design

appreciation and criticism and art/design making

Background

• Subsequent to the New Academic Structure (NAS) review, the

linkage between art/design appreciation and criticism and

art/design making in Papers 1 and 2 of Visual Arts exam will

be relaxed starting from the 2018 HKDSE.

90

New Academic Structure Review and Beyond

Medium-term Review: Last Batch Recommendations (Part 2)

(Nov 2015)

Corresponding changes in tandem with relaxing the linkage in the

Public Examination (at S4 in 2015/16; effective from 2018 HKDSE):

• Delete the artwork/design work statement for explaining the

relationship between the practical work and the appreciation of

artwork

• If necessary, candidates may submit a creative/design brief

which may include notes, sketches or layouts produced during

the examination to support their artwork/design work

• The criterion ‘Relationship between Practical Artwork and

Appreciation & Criticism’ will be deleted from the current

marking criteria for Part B of both exam papers. The other four

criteria will remain unchanged, carrying a total of 80 marks (i.e.

a max of 20 marks allocated to each criterion)

91

Changes in the Cartridge Paper

• No artwork statement

is required

• The size of the

cartridge paper

provided in the exam

will be changed to

A2

A2 (420 mm x 594 mm)

92

Mark Allocation of 5 Marking Criteria (2012-2017)

High Middle Low Not Shown

14-16 11-13 8-10 5-7 1-4 0

Selection and Use of

Materials &

Technique

Able to select and master

the materials and the

skills accurately and

effectively in

implementing the key

message of the theme

Able to master the

materials and the skills

appropriately and

effectively in

outstanding the key


Able to master the

materials and the skills

appropriately in

delivering the key


Able to use the materials

and the skills relevant to

the theme

Unable to use the

materials and the

skills to cope with

the theme

Selection and Use of

Visual Elements and

Principles of Design

Able to select and master

multiple visual elements

and principles of design,

accurately and effectively

in implementing the key


Able to master multiple

visual elements and

principles of design

appropriately and

effectively in

outstanding the key


Able to master the visual

elements and principles

of design appropriately in

delivering the key


Able to use the visual

elements and principles

of design relevant to the

theme

Unable to use the

visual elements and

principles of design

to cope with the

theme

Relationship

between Practical

Artwork and

Appreciation &

Criticism

Able to assimilate various

context of artworks or

ideas from the

appreciation & criticism

into the relevant theme,

explore their own way of

painting and looking for

their own painting

language

Able to integrate

various context of

artworks or ideas from

the appreciation &

criticism, and challenge

the problems in

implementing the

theme

Able to introspect

particular form or idea of

the appreciation &

criticism of the artwork by

carrying out reflection &

considerations as filter on

presenting the theme

Able to refer the form or

idea of the appreciation

& criticism of the artwork

to present relevant theme

Unable to refer

appreciation &

criticism of the

Artwork to relevant

presentation

Creativity &

Imagination

Able to demonstrate

personality characteristics

through originality and

unique imagination

Able to demonstrate

personality

characteristics through

originality and rich

imagination

Able to demonstrate

personality

characteristics through

originality and by means

of transference or

association

Able to demonstrate

personality

characteristics or

originality

Unable to show

personality

characteristics or

originality

Communication of

Theme

Able to integrate relevant

forms of artistic creation

in different emotions or

idea

Able to use multiple,

relevant and coordinate

forms of artistic creation

in different emotions or

idea

Able to use relevant and

coordinate forms of

artistic creation in

different emotions or idea

Only use irrelevant forms

of artistic creation in

different emotions or idea

Unable to use any

relevant forms of

artistic creation in

different emotions or

idea 93

Mark Allocation of 4 Marking Criteria

(Effective from 2018 HKDSE)

High Middle Low Not

Shown

17-20 13-16 9-12 5-8 1-4 0

Selection and

Use of Materials

& Technique

Able to select and master the materials and the skills accurately and effectively in implementing the key message of the theme

Able to master the materials and the skills appropriately and effectively in outstanding the key message of the theme

Able to master the materials and the skills appropriately in delivering the key message of the theme

Able to use the materials and the skills relevant to the theme

Unable to use the materials and the skills to cope with the theme

Selection and

Use of Visual

Elements and

Principles of

Design

Able to select and master multiple visual elements and principles of design, accurately and effectively in implementing the key message of the theme

Able to master multiple visual elements and principles of design appropriately and effectively in outstanding the key message of the theme

Able to master the visual elements and principles of design appropriately in delivering the key message of the theme

Able to use the visual elements and principles of design relevant to the theme

Unable to use the visual elements and principles of design to cope with the theme

Creativity &

Imagination

Able to demonstrate personality characteristics through originality and unique imagination

Able to demonstrate personality characteristics through originality and rich imagination

Able to demonstrate personality characteristics through originality and by means of transference or association

Able to demonstrate personality characteristics or originality

Unable to show personality characteristics or originality

Communication

of Theme

Able to integrate relevant forms of artistic creation in different emotions or idea

Able to use multiple, relevant and coordinate forms of artistic creation in different emotions or idea

Able to use relevant and coordinate forms of artistic creation in different emotions or idea

Only use irrelevant forms of artistic creation in different emotions or idea

Unable to use any relevant forms of artistic creation in different emotions or idea

94

Changes in Mark Range

• No change in the requirements

of the four marking criteria • Revised mark range for each criterion

(from 3 to 4 marks each)

• The total marks for Part B (Visual Arts

Making/ Design ) remains unchanged as

being 80 marks

i.e., 4 criteria X 20 marks = 80 marks

95

Aims of the Pilot Study

To prepare for the above-mentioned change in the marking

criteria, a pilot study has been conducted to:

• try out the updated assessment criteria and

• develop exemplars for standards illustration

96

• 10 VA teachers and subject experts were invited to trial mark

the samples in accordance with the revised Part B marking

rubrics

• The background of the teacher members:

‒ With over 10 year’s teaching experience

‒ Most of them are VA panel heads

‒ They teach in EMI or CMI schools

‒ Most of them have Public Exam making experience

‒ They taught students taking Paper 1 and/or Paper 2 in previous

HKDSEs

97

Types of Samples Trial Marked

Types Numbe

r

Marked

Using

Sample

Set

2016 HKDSE VA exam

live scripts (S6) 107 5 criteria 1

4 criteria 2

Scripts with no reference to

Part A (S5)

• from 11 schools

• 2 government schools, 9

aided schools

• 1 EMI schools, 10 CMI

schools

• 1 boys school, 1 girls schools,

9 co-ed schools

123 4 criteria 3

98

Findings and Observations

• The implementation of 4 criteria in marking was

smooth in general, markers experienced no difficulties

in marking both the S6 and S5 samples;

• No significant difference in marks were awarded to the

S6 samples (set 1 & set 2); i.e., students’

performances are broadly comparable with or without

the need to link Part A with Part B;

• In marking the S5 samples, markers found the layout

and written explanations provided by students in the

creative /design brief informative and useful.

99

Samples 1 (Design Brief)

100

Design

1 H M L NOT SHOWN

17-20 13-16 9-12 5-8 1-4 0

Media Elements Creativity Theme

101

Samples 2 (Creative Brief)

102

6 H M L NOT SHOWN

17-20 13-16 9-12 5-8 1-4 0


Visual Arts Making

103


104

105

7 H M L NOT SHOWN

17-20 13-16 9-12 5-8 1-4 0


Visual Arts Making

106

Samples 4 (Design Brief)

107

8 H M L NOT SHOWN

17-20 13-16 9-12 5-8 1-4 0


Design

108


109

10 H M L NOT SHOWN

17-20 13-16 9-12 5-8 1-4 0


Visual Arts Making

110

Date Event Place

27 January 2017

TO

28 February 2017

Exhibition of Artworks

and Scripts of HKDSE

in Visual Arts 2016

Young Achievers’

Gallery,

EDB Kowloon

Tong Education

Services Centre,

19, Suffolk Road,

Kowloon

2017 HKDSE Visual Arts –

Professional Development Programme

111

Q & A

112

Thank You

113

Documents

Briefing Session on 2016 HKDSE Visual Arts Public Examination€¦ · articulation of art media, the technique, the visual effect and visual communication; evaluate the candidates’