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ART AND DESIGN
GCE Advanced Subsidiary Level
Introduction
For the first November session of the syllabus the results were very encouraging. Although the work
received for components 1 and 2 covered a wide range of marks, over a third of candidates achieved
competent to very high levels. Most submissions consisted of work on paper, employing a variety of media
and processes such as oil paint, acrylic, water colour, crayon, pastel, printmaking, textiles, collage and
photography.
Paper 8704/01
Controlled Test
General comments
The majority of the starting points of the question paper attracted substantial numbers of candidates. All but
a few chose their questions well from the appropriate section of the paper, enabling them to develop distinct
and individual ideas. Thorough preliminary research from first hand sources nearly always preceded good
use of the 15 hours of the examination, with beneficial evaluations of the work as it progressed. Less able
responses tended to flounder because of weak primary research or a heavy dependency on secondary
sources, which inevitably inhibited the confidence to make personal judgements.
More than a few candidates failed to identify the question chosen on the label attached to the front of the
work. Teachers and Supervisors are asked to check that this essential information is included in the future.
Comments on specific questions
Section A – Open-ended starting points
Question 1
Hollow or cavernous
Most interpretations focused on specific forms such as pottery, drums or skulls, although a few were seen
based on geological structures. The best work, usually of skulls, made good use of strong preliminary
studies to develop distinct and personal ideas on the theme. Some weaker attempts offered little more than
a still life arrangement where relationships of form and space were poorly considered.
Question 2
Players
This was interpreted in a variety of contexts such as sport, music and drama, for which the use of
popularised secondary sources inhibited idea developments. There were, however, a number of excellent
submissions focusing on more intimate themes, such as chess or draughts players or groups of musicians,
thoroughly studied from first hand observation.
Question 3
Contrasts of light and shade
Inevitably, photographic imagery was employed in preliminary research for this question. When it was
clearly the personal photographic research of the candidate, positive evaluations usually followed, but when
a single magazine image was simply just copied, such work failed to meet the Assessment Objectives
evenly. Most interpretations focused on the human head with some work reaching very high levels of
characterisation and portrayal.
http://www.xtremepapers.net
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Question 4
Livestock
This was not a very popular question, but one which gave a number of candidates the opportunity to focus
on rural environments. The most advanced work seen, sought stimulation in markets and even
slaughterhouses.
Question 5
Circularity
An interesting variety of interpretations was received. Dance, life cycles and other socio/political themes
were developed through confident communication and the imaginative organisation of visual elements.
Some graphic design specialists also chose this question to produce very crisp imagery through computer
aided processes.
Question 6
Long-distance, or close-up
This was the most popular question in this section, focusing on a variety of sources such as natural forms,
human and animal heads and reflections on the surfaces of vehicles or other shiny objects. A wide range of
achievement was noted, with weaker work suffering from similar secondary source limitations referred to in
the questions above. While better work made good use of directly observed information, ideas had often not
been developed sufficiently to enhance judgements during the 15 hours of the examination. The best
submissions, a few of which were outstanding for this level, were the result of much more exhaustive
investigation and experimentation.
Section B – Specific starting points
Question 7
The natural form option of different fish or crustaceans being prepared for cooking encouraged thorough first
hand observation in preliminary work and examination pieces alike. Very few unsuccessful attempts were
received, as most candidates were able to achieve a competent level of analysis and recording. An
encouraging number of submissions achieved high levels through the ability to define intricate structures and
make use of evocative gradations of tone and colour to render light, shade and surface qualities.
Question 8
The still life arrangement of tools and materials associated with a specific craft was by far the most popular
question in this section, although not usually chosen by the most able candidates compared with Question
7. Some work seen was actually very poor, with little evidence that candidates had progressed beyond an
elementary understanding of spatial relationships or the structures of forms. Many competent studies were
received, the most successful focusing on the themes of Ceramics and Carving.
Question 9
Candidates rarely attempted the human figure option without previous coursework experiences.
Consequently, most of the work seen was of a very high level. The theme of washing or drying the hair was
researched boldly and thoroughly from direct observation and a few very personal developments led to some
outstanding final pieces.
Question 10
There were only a few responses to the environmental question of a view from inside a shop. Those
received, however, were well researched and thoughtfully composed. Some higher level developments
made excellent use of reflecting surfaces of windows and glass display cabinets, as well as the spaces,
intervals and cropping between the shop interior and the view outside.
Question 11
Only one very poor attempt was made to interpret part of the quotation given.
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Section C – Specific Design briefs
Question 12
The CD cover design was a popular choice for graphics specialists. Levels of achievement, however, varied
widely, depending on the thoroughness of research, the development of ideas and the use of appropriate
materials in executing the final design. While the better submissions showed some concern for the
integration of lettering and imagery, the less successful tended towards illustrations derived from secondary
sources.
Question 13
The repeat pattern question was the most popular in this section. The majority of submissions showed a
competent ability to develop first hand studies of flowers and plants into a design for wrapping paper for a
florist. Those with previous coursework experience could focus successfully on the requirements of the brief.
The most advanced work abounded with rhythm, intricacy and fluency, and colour or tonal counterchanges.
Less able work had usually been inhibited at the preliminary stage, as positive-negative shape and colour
relationships had been inadequately explored or experimented with before the examination.
Question 14
Only one, quite interesting, attempt at the costume design question was received.
Question 15
There were no responses to the packaging design question.
Paper 8704/02
Coursework
General comments
Most Centres had offered candidates very stimulating courses, which encouraged experimentation and
exploration. When work was also based on thorough investigation from first hand sources, the potential to
develop personal ideas was either emerging or already clearly apparent. References to contemporary or
historical practice by artists and designers also informed most candidates’ personal judgements positively.
Weaker submissions relied heavily on secondary sources, with much time spent on slavish copying. While
personal photographic research was often beneficial, the use of magazine images at the expense of first
hand investigation led to work of an uncertain and uneven level of competence. There was also evidence
that some candidates engaged in adequate research but then jumped into completing their final pieces
without developing their ideas in terms of the relationships of formal visual elements. Teachers are therefore
advised that Coursework A needs to offer the experience of developing ideas in a systematic way, in order to
encourage their students’ critical evaluations as the work progresses.
Internal assessments for Component 2 were introduced with the start of the syllabus. All Centres entering
candidates for the November session offered assessments based on a realistic Order of Merit. Many
Centres’ levels of assessment made good use of the criteria in the syllabus for awarding marks to achieve
accuracy. Most internal assessments, however, needed some adjustment because of a slight or generous
application of the Assessment Objectives. In a few cases, the Moderators adjusted certain levels of a
Centres’ mark range upwards. Teachers are advised to modify future internal assessments in the light of the
Moderators’ reports to individual Centres concerning the reasons for recommended adjustments as well as
the information on scaling supplied by the Board.
While the majority of Centres entered less than ten candidates, all of whose work was sent to the Board for
moderation, there were several Centres entering much larger numbers who were only required to send ten
samples plus one sample in ten thereafter. One very large Centre, however, sent the work of every
candidate, which was unnecessary, as only twelve were required for the moderation process. When a
selection needs to be made, Teachers are reminded that it is important to include the work at the highest and
the lowest end of the mark range. Some Centres, for example, sent samples which did not fully reflect the
range of marks awarded.
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