Briefing Session on 2016 HKDSE Visual Arts Public Examination. Nov 2016

Transcription

1 Briefing Session on 2016 HKDSE Visual Arts Public Examination Nov 2016

2 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

3 PAPER 1 VISUAL PRESENTATION OF A THEME 3

4 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

5 The mark allocation of Part A 5

6 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

7 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

8 The mark allocation of Part B 8

9 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

10 Paper One, Question 1 (A) Describe, analyse and compare the forms and expressions of Plate (1a) and Plate (1b); interpret and evaluate these works. (20 marks) Plate (1a) Li Wei Han ( 李慧嫻 ). Yuanyang Café ( 鴛鴦冰室 ) Stoneware and mixed media, variable dimensions.. Plate (1b) Alberto Giacometti. Piazza Bronze, 21 x 62.5 x 42.8 cm. 10

11 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

12 Comparison Commonalities Differences Li Wei Han s Yuanyang Café Alberto Giacometti s Piazza 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 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

13 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

14 (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

15 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

16 Paper One, Question 2 (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 ) Ink and colour on paper, 85.7 x 91.8 cm. Plate (2b) Tara Donovan. Untitled (Plastic Cup) Plastic cup, variable dimensions. 16

17 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 17

18 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

19 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 19

20 (B) Create a piece of two-dimensional work based on the theme An Abandoned Village. (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 20

21 General performance of candidates (Paper 1, Question 2) 19% of the candidates attempted this question. 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

22 Paper One, Question 3 (A) Describe, analyse and compare the forms and expressions of Plate (3a) and Plate (3b); interpret and evaluate these works. (20 marks) Plate(3a) James Allen. Skulduggery ( 75 Years of DC Comics: The Art of Modern Mythmaking) Book excavation, 79 x 58 x 9 cm. Plate (3b) Sahibdin. The Awakening of Kumbhakarana Opaque watercolour on paper, 23 x 39 cm. 22

23 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 23

24 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

25 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 25

26 (B) Create a piece of two-dimensional work based on the theme The Sorrow of a Hero. (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 26

27 General performance of candidates (Paper 1, Question 3) 21% of the candidates attempted this question. 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

28 Paper One, Question 4 (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 Oil and ink on canvas, 182 x 230 cm. Plate (4b) Victor Vasarely. Vega Acrylic on canvas, 200 x 200 cm. 28

29 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 29

30 Comparison Kim Tschang-yeul s Water Drops Victor Vasarely s Vega 200 Commonalities Differences painting paintings are composited of patterns of different shapes in variable sizes create three-dimensional effect on a picture plane natural water droplets as the subject squares, circular and oval patterns matter as elements use the neat and tight patterning of arrangement of geometric shapes water droplets and their reflections to create a chessboard pattern with to create a sense of reality a three-dimensional optical illusion use of natural colours use of primary light colours in red, the rich, vital and translucent water blue and green droplets are sparkling as if they are use of tonal contrasts, i.e. darker at formed naturally on the plate the centre and gradually lighter use of long shades of the water towards the edges, to strengthen drops to strengthen their threedimensional effects the geometric shapes stretching the optical illusion across the picture plane forming an illusion of a three-dimensional sphere in the middle 30

31 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 31

32 (B) Create a piece of two-dimensional work based on the theme Positive and Negative Spaces. (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 32

33 General performance of candidates (Paper 1, Question 4) 6% of the candidates attempted this question. 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

34 Paper One, Question 5 (A) Describe, analyse and compare the forms and expressions of Plate (5a) and Plate (5b); interpret and evaluate these works. (20 marks) Plate (5a) Gustave Courbet. Still Life with Apples and a Pomegranate Oil on canvas, 44.5 x 61 cm. Plate (5b) Louise Moillon. Still Life with a Bowl of Curacao Oranges Oil on panel, 46 x 64 cm. 34

35 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 35

36 Comparison Commonalities Differences Gustave Courbet s Still Life with Apples and a Pomegranate still life painting Louise Moillon s Still Life with a Bowl of Curacao Oranges fruits and fruit plate as subject matter use of dark background to the foreground the objects 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

37 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 37

38 (B) Create a piece of two-dimensional artwork based on the theme Dining Table after a Feast. (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 38

39 General performance of candidates (Paper 1, Question 5) 19% of the candidates attempted this question. 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

40 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

41 Overall performance in Paper 1 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

42 Overall performance in Paper 1 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

43 PAPER 2 DESIGN 43

44 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

45 The mark allocation of Part A 45

46 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

47 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

48 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

49 The mark allocation of Part B 49

50 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

51 Paper Two, Question 1 (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

52 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 52

53 Comparison PHILIPS Printed Advertisement BRUCCIANAI Family Craft Bakers & Café Printed Advertisement Commonalities Differences 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 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

54 2. Formal Analysis A reasonable depth of analysis on the aspects of 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 3. Interpretation of Meaning An in-depth interpretation from varied perspectives 4. Value Judgment An in-depth evaluation from varied perspectives 54

55 (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

56 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 56

57 General performance of candidates (Paper 2, Question 1) 53% of the candidates attempted this question. The performance was good in general. 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

58 Paper Two, Question 2 (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

59 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 59

60 Comparison Commonalities Differences Hani Douaji s Trident Gum Packaging Series commercial design a series of designs 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 Wella Hair-Dye Product Printed Advertisement Series 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

61 2. Formal Analysis A reasonable depth of analysis on the aspects of The usage of colour, shape and symbols, and composition of the designs The relation between graphic and colour selection and organization s nature and image 3. Interpretation of Meaning An in-depth interpretation from varied perspectives 4. Value Judgment An in-depth evaluation from varied perspectives 61

62 (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 design should include: 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

63 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 63

64 General performance of candidates (Paper 2, Question 2) 22% of the candidates attempted this question. The performance was good in general. 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

65 Paper Two, Question 3 (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 Paper. Plate (3b) Yena Lee ( 李英娜 ). Butterfly Tea

66 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 66

67 Comparison Seulbi Kim s TOGO BURGER Yena Lee s Butterfly Tea Commonalities Differences packaging design for food paper 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

68 2. Formal Analysis A reasonable depth of analysis on the aspects of The usage of colour, shape, materials and structure of the designs The relation between materials and structure selection and product s nature 3. Interpretation of Meaning An in-depth interpretation from varied perspectives 4. Value Judgment An in-depth evaluation from varied perspectives 68

69 (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 design should include: 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.1) A Piece of Biscuit 6 cm (diameter) x 0.5 cm (thickness) Plate (3c.2) A Tea Bag 4 cm (L) x 1.5 cm (W) x 6 cm (H) Plate (3d) Vending Machine 69

70 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 70

71 General performance of candidates (Paper 2, Question 3) 12% of the candidates attempted this question. The performance was good in general. 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

72 Paper Two, Question 4 (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 Bronze and glass, 58 x 153 x 91cm. Plate (4b) Ototo. Nessie. Plastics, 24.5 x 8 x 9 cm. 72

73 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 73

74 Comparison Commonalities Mark Stoddart s Hippo Coffee Table home ware three-dimensional design Ototo s Nessie 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

75 2. Formal Analysis A reasonable depth of analysis on the aspects of The usage of colour, shape and symbols, and composition of the designs The relation between graphic and colour selection and organization s nature and image 3. Interpretation of Meaning An in-depth interpretation from varied perspectives 4. Value Judgment An in-depth evaluation from varied perspectives 75

76 (B) Design a set of kitchenware based on the theme Forest. The design should include: 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

77 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 77

78 General performance of candidates (Paper 2, Question 4) 8% of the candidates attempted this question. The performance was good in general. 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

79 Paper Two, Question 5 (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 Plate (5b) Shanghai Tang ( 上海灘 ) Imperial Collection, Clutch Bag. Sequins, beads, cloth, plastic and metal, 9 x 16.5 x 6 cm. 79

80 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 80

81 Comparison Moschino Menswear Shanghai Tang Imperial Collection, Clutch Bag Commonalities Differences fashion products emphasis on decoration 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 cloudlike pattern Colour: gold, silver and white Materials: sequins, beads, cloth, plastic and metal Meaning: present a feel of traditional Chinese premier and auspicious 81

82 2. Formal Analysis A reasonable depth of analysis on the aspects of 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 3. Interpretation of Meaning An in-depth interpretation from varied perspectives 4. Value Judgment An in-depth evaluation from varied perspectives 82

83 (B) Design a set of outfits for a man based on the theme Humorous Asian Gentleman. The design should include: 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

84 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 84

85 General performance of candidates (Paper 2, Question 5) 4% of the candidates attempted this question. 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

86 Overall performance in Paper 2 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

87 Overall performance in Paper 2 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

88 Overall performance in Paper 2 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

89 Pilot study on the relaxation of the linkage between art/design appreciation and criticism and art/design making

90 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

91 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

92 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

93 Mark Allocation of 5 Marking Criteria ( ) High Middle Low Not Shown 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 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

94 Mark Allocation of 4 Marking Criteria (Effective from 2018 HKDSE) High Middle Low Not Shown 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

95 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

96 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

97 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

98 Types of Samples Trial Marked Types Numbe r Marked Using Sample Set 2016 HKDSE VA exam live scripts (S6) Scripts with no reference to Part A (S5) criteria 1 4 criteria criteria 3 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 98

99 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

100 Samples 1 (Design Brief) 100

101 Design 1 H M L NOT SHOWN Media Elements Creativity Theme 101

102 Samples 2 (Creative Brief) 102

103 Visual Arts Making 6 H M L NOT SHOWN Media Elements Creativity Theme 103

104 Samples 3 (Creative Brief) 104

105 105

106 Visual Arts Making 7 H M L NOT SHOWN Media Elements Creativity Theme 106

107 Samples 4 (Design Brief) 107

108 Design 8 H M L NOT SHOWN Media Elements Creativity Theme 108

109 Samples 5 (Creative Brief) 109

110 Visual Arts Making 10 H M L NOT SHOWN Media Elements Creativity 110 Theme

111 2017 HKDSE Visual Arts Professional Development Programme 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 111

112 Q & A 112

113 Thank You 113