VA Grade 12 Study Notes MG

CONTENTS
PREFACE ......................................................................................................................... 2
INTRODUCTION ............................................................................................................... 2
TIME MANAGEMENT ....................................................................................................... 4
1. Year programme ....................................................................................................... 5
2. Requirements for formal assessment in Visual Arts .................................................. 8
A. The theoretical component ............................................................................ 10
B. The practical component ................................................................................. 22
3. Formal assessment ………………………………………………... ............................. 54
4. Study tips................................................................................................................. 56
5. Useful websites ....................................................................................................... 56
6. Where to get previous question papers ................................................................... 57
7. Contact details......................................................................................................... 57
8. Visual literacy .......................................................................................................... 57
REFERENCES ................................................................................................................ 78
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Study Notes 2023
MG ~ Visual Arts
PREFACE
RECOMMENDED BOOK
You need the following study guides throughout Grades 10 to 12:

Visual Arts Grade 10 – 12 Learner’s Guides by Louw, Beukes and Van Wyk (Future
Managers). These study guides are compiled according to the National Curriculum
Standards.
Additional books which may benefit your Visual Arts studies, include Gardner’s Art through
the Ages, which covers a broad history of art, as well as various other books on South
African artists that can be found on www.davidkrutpublishing.com.
INTRODUCTION
In conjunction with the Visual Arts Grade 10 – 12 Learner’s Guides, you need three
additional documents to complete the Visual Arts curriculum.
1. Teacher’s guide
This is the facilitator’s guide. It contains extra notes and theoretical exercises,
information on resources, assessments, previous papers and the prescribed themes
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2. Study notes (current document)

This document is your complete A – Z for Visual Arts, which you must use throughout
Grades 10 to 12. It contains the year plan, the chosen themes for each grade,
assessment information, extra visual literacy information, help with answering exam
papers, a visual diary guide and a plethora of additional information you need to
successfully pass Visual Arts.
3. Portfolio tasks
The tasks include all practical assessment tasks (PATs) and tests, and must all be
completed in the specified terms. You must download these tasks from the relevant
Impaq platform – do not complete the PATs in the Visual Arts Learner’s Book.
Important to remember when using the learner’s guides and teacher’s guides
● Eight themes are discussed in each learner’s guide, of which you must choose six to
study in depth. Follow the themes set out for each grade in the year programme and
focus on the chosen themes.
● Each theme is discussed as a chapter.
● Complete the extra theoretical exercises in the learner’s guides.
These exercises are indicated as follows:
● The answers to these exercises can be found in the teacher’s guides.

● These exercises may be done in your Visual Arts theory workbook.
● Do not follow the PATs in the learner’s guides. The PATs you must complete each
term are the portfolio tasks on my.Impaq. You may complete the PATs in the learner’s
guides as extra exercises, but you will not be assessed for marks.
● Note the glossary at the back of each learner’s guide and study these definitions.
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MG ~ Visual Arts
What do I need to complete the practical component for Visual Arts?
The candidate/facilitator is responsible for all art materials needed to complete the practical
components.
Ensure that you have a sturdy visual diary for each of the PATs. Learners/candidates are
encouraged to work on loose A2 pages and bind the pages themselves. Make sure to place
a piece of hard cardboard at the front and back. Having a separate visual diary for each PAT
will make the marking and moderation process much easier and will also ensure that you
can carry on with your next PAT while your previous PAT is being marked and moderated.
Learners/candidates are advised to each get a sketchbook in which they can do practice
sketches and exercises throughout Grades 10 – 12. This book will not be submitted to be
marked and merely serves as a centralised place for all practical exercises.
Becoming a great artist is an ongoing process that takes years to develop. You can only
become better by constant practise and observation. Art requires hard work, dedication and
passion. You will only succeed in Visual Arts as a subject and as a possible career if you
are completely dedicated. Paint, draw and play as much as you can. Explore your
surroundings and find your own voice. Make notes about what you see around you and most
of all, enjoy it.
A Grade 12 candidate is expected to have a high standard of art-making skills. You are
strongly advised to attend some form of art class or group to obtain professional assistance
with regards to drawing, painting and other art-making techniques.
The formal practical projects are called PATs. Each PAT has a theme and consists of
preparation in a visual diary and a final artwork. Learners/candidates must complete TWO
PATs in term 1 and 2. Grade 10 and 11 learners complete their practical November
examination during term 3. Grade 12 candidates complete their final practical examination
preparation work (the work in the sourcebook/visual diary) during term 3. The final artwork
is completed in scheduled practical sessions.
TIME MANAGEMENT
You must spend a minimum of four to six hours per week on Visual Arts to pass the
curriculum. You must spend one to two hours per week on theory and theory activities and
exercises. Spend the remaining three to four hours per week on practical exercises and
PATs.
Some learners/candidates will spend more time on practical projects, but you are strongly
advised to not spend less time on Visual Arts than prescribed.
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1. Year programme
GRADE 10
THEORY PRACTICAL FORMAL ASSESSMENT
PAT 1 (100) =
Chapters 1 and 2 in the study Task 2.1 (50) + Task 2.2 (50)
guide. Ongoing PAT for Term 1
Term 1
Task 1:
Theme 1: What is Visual Arts? PAT 1 (100) = Test (50)
Task 2.1 (50) + Task 2.2 (50)
Theme 2: African Art (Study all the work covered in
Term 1.)
PAT 2 (100) =
Task 4.1 (50) + Task 4.2 (50)
Ongoing PAT for Term 2
Chapter 4 in the study guide.
Term 2
Task 3:
PAT 2 (100) = June examination (100)
Theme 4: Ancient Civilisations
Task 4.1 (50) + Task 4.2 (50)
(Study all the work covered in
Terms 1 and 2.)
Task 7.1 (100)

Chapters 5 and 7 in the study Ongoing practical work for
guide. Term 3
Task 5:
Term 3
Test (50)
Theme 5: The Classical World Task 7.1 (100)
November practical examination
Theme 7: The Renaissance – completed in Term 3
Term 3.)
November examination:
Chapter 8 in the study guide. Task 7.2: Theory (100)
Term 4
Preparation and execution of

Task 6: Retrospective exhibition
Theme 8: Baroque Task 6:
Retrospective exhibition (100)
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GRADE 11

Chapters 1 and 2 in the learner’s
guide. PAT 1 (100) =
Task 2.1 (50) + Task 2.2 (50)
Revision: Visual literacy Ongoing PAT for Term 1
Term 1
Task 1:
Theme 1: Overview of the PAT 1 (100) = Test (50)
19th Century Task 2.1 (50) + Task 2.2 (50)
Theme 2: The Birth of Term 1.)
Modernism
PAT 2 (100) =
Task 4.1 (50) + Task 4.2 (50)
Ongoing PAT for Term 2
Chapter 3 in the learner’s guide.
Term 2
Task 3:
PAT 2 (100) = June examination (100)
Theme 3: Early 20th Century Art
Task 4.1 (50) + Task 4.2 (50)
Terms 1 and 2.)
Chapters 5 and 6 in the learner’s

Task 7.1 (100)
guide. Ongoing practical work for
Term 3
Task 5:
Term 3
Theme 5: Between the

Test (50)
World Wars Task 7.1 (100)
November practical examination
Theme 6: A Survey of – completed in Term 3
Term 3.)
Post-1946 Art
November examination:
Task 7.2: Theory (100)
Chapter 7 in the learner’s guide. (Study all work covered

Term 4
Preparation and execution of

throughout the year.)
Task 6: Retrospective exhibition
Theme 7: New Media
Task 6:
Retrospective exhibition – Final
PAT (100)
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GRADE 12

Chapters 1 and 2 in the
learner’s guide.
Task 1:
Getting started: Ongoing PAT for Term 1.
Test (50).
Visual literacy.
Term 1
Task 2: Sourcebook for PAT 1

Term 1.)
Theme 1: The voice of (100).
emerging artists Task 6.1: Artwork for PAT 1
Task 2: Sourcebook for PAT 1.
(100).
Theme 2: South African artists Task 6.1: Artwork for PAT 1.
influenced by African and/or
indigenous art forms
Chapters 3 and 5 in the
learner’s guide.
Task 4: June examination –
Ongoing PAT for Term 2.
Theme 3: Socio-political art, theory (100)
including ‘Resistance Art’ of the
Term 2
Task 3: Sourcebook for PAT 2

1970s and 1980s Task 3: Sourcebook for PAT 2
(100).
(100).
Theme 5: Multimedia and New Task 6.2: Artwork for PAT 2
Task 6.2: Artwork for PAT 2
Media – alternative, (100).
(100).
contemporary, and popular art
forms in South Africa
Ongoing practical work for
Theory preliminary
Term 3.
Chapters 6 and 7 in the examination:
learner’s guide. Task 5: Theory (100).
Task 7: Sourcebook for the final
(Study all work covered
practical examination set by
Term 3
Theme 6: Post-1994 – throughout the year.)

SACAI (50). Completed at
Democratic Identity in South
home/school/tutor throughout
Africa
the term.
Task 6.3: Retrospective
Theme 7: Gender issues Exhibition (100).
Task 6.3: Retrospective
Must be completed in Term 3.
exhibition.
Task 7:
Final practical examination
(100) (Sessions are scheduled
before the final examination
starts – outside the normal
timetable. The visual diary must
be completed at
Final practical examination:
Term 4
home/school/tutor before the

Revision and final examination. artwork is done in scheduled
first session takes place.)
sessions.
Sessions usually take place at
the end of September (subject
to change).
Final theory examination (100)

(Study all work covered
throughout the year.)
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2. Requirements for formal assessment in Visual Arts
Assessments are divided into continuous assessment and summative assessment.

Continuous assessment is part of the daily activities in the curriculum. These would typically
be the theory questions supplied at the end of each unit. Summative assessment includes
all the tasks that make up your final marks for Visual Arts for the year. These portfolio tasks
are available on my.Impaq.
Grade 10 and 11
There are SIX portfolio tasks, all of which must be completed to pass Grades 10 and 11.
The practical portfolio work must be kept until the end of each grade for the retrospective
exhibition. You must complete the following tasks:
Term 1
● Task 1
Test (Term 1’s theory)
● Task 2
PAT 1 (practical assessment task)
Practical tasks which consist of preparation work in the visual diary (Task 2.1) and a
completed artwork (Task 2.2).
Term 2
● Task 3
June theory examination
● Task 4
PAT 2 (practical assessment task). Visual diary (Task 4.1) and artwork (Task 4.2).
Term 3
● Task 5
● Task 7.1
November practical examination – completed during the third term.
Term 4
● Task 6
Final PAT mark
Retrospective exhibition – Exhibition of the year’s practical work.
● Task 7.2
November theory examination
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Grade 12
These are the tasks that must be completed to pass Grade 12. The practical portfolio work
must be kept until the end of Grade 12 for the final exhibition. You must complete the
following seven tasks:
Term 1
● Task 1
● Task 2
Conceptual work for PAT 1
● Task 6.1
PAT 1 – Artwork
Term 2
● Task 3
Conceptual work for PAT 2
● Task 4
June examination
● Task 6.2
PAT 2 – Artwork
Term 3
● Task 5
Preliminary theory examination
● Task 6.3
Retrospective exhibition – Exhibition of sourcebooks and artworks: PAT 1 and 2 and
one/two additional artworks that may be a Grade 11 PAT.
● Task 7
Final practical exam: sourcebook done during Term 3 and artwork done in practical
sessions.
Term 4
● Final theory examination
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A. The theoretical component
Grade 10 – What to study
The theoretical work for Visual Arts is divided into themes. All of these themes focus on
various art movements that span from the antique civilisations to Baroque as well as a very
important chapter on visual literacy. There are eight themes covered in the learner’s guide
and a minimum of six of these themes must be studied. Impaq’s tests and examinations
focus on specific themes that are based on the learner’s guide. The following themes and
chapters are discussed in Grade 10:
Theme 1: What is Visual Arts? Theme 5: The Classical World

Theme 2: African Art Theme 7: The Renaissance
Theme 4: Ancient Civilisations Theme 8: Baroque
TERM 1 TEST | TASK 1

Subject
Total Time Format
Includes all theory work done in term 1
Theme 1: What is Visual Arts? (Visual Literacy) Answer all
50 1 hour
Theme 2: African Art questions
JUNE EXAMINATION | TASK 3

Subject
Total Time Format
Includes all theory work done in terms 1 and 2
Theme 1: What is Visual Arts? (Visual Literacy) Answer all
Theme 2: African Art questions
100 2 hours
OR choice of
Theme 4: Ancient Civilisations
questions

Subject
Total Time Format
Theme 5: The Classical World Answer all
50 1 hour
Theme 7: The Renaissance questions
NOVEMBER EXAMINATION | TASK 7.2

Subject
Total Time Format
Includes all theory work done throughout the year
Theme 1: What is Visual Arts? (Visual Literacy) Answer FIVE
Theme 2: African Art of the six
Theme 4: Ancient Civilisations questions.
100 2 - 3 hours
Theme 5: The Classical World OR
Theme 7: The Renaissance Answer all
Theme 8: Baroque questions.
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The theoretical work for Visual Arts is divided into themes. All of these themes focus on
various international art movements from the 19th century to now. There are eight themes
covered in the learner’s guide and a minimum of six of these themes must be studied.
Impaq’s tests and examinations focus on specific themes that are based on the learner’s
guide. The following themes and chapters are discussed in Grade 11:
Theme 1: Overview of the 19th Century Theme 5: Between the World Wars
Theme 2: The Birth of Modernism Theme 6: A Survey of Post-1946 Art
Theme 3: Early 20th Century Art Theme 7: New Media

Subject
Total Time Format
Theme 1: Overview of the 19th Century Answer all
50 1 hour
Theme 2: The Birth of Modernism questions

Subject
Total Time Format
Includes all theory work done in terms 1 and 2
Theme 1: Overview of the 19th Century
Answer all
Theme 2: The Birth of Modernism 100 2½ hours
questions
Theme 3: Early 20th Century Art

Subject
Total Time Format
Theme 5: Between the World Wars Answer all
50 1 hour
Theme 6: A Survey of Post-1946 Art questions
NOVEMBER EXAMINATION | TASK 7.2

Subject
Total Time Format
Theme 1: Overview of the 19th Century Answer FIVE
Theme 2: The Birth of Modernism of the
Theme 3: Early 20th Century Art six/seven
Theme 5: Between the World Wars 100 2½ - 3 hours questions.
Theme 6: A Survey of Post-1946 Art OR
Answer all
Theme 7: New Media
questions.
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MG ~ Visual Arts
The theoretical work for Visual Arts is divided into themes. All of these themes focus on the
development of South African art. There are eight themes covered in the learner’s guide and
a minimum of six of these themes must be studied. Impaq’s tests and examinations focus
on specific themes that are based on the learner’s guide. The following themes and chapters
are discussed in Grade 12:
Theme 1: The voice of emerging artists

Theme 2: South African artists influenced by African and/or indigenous art forms
Theme 3: Socio-political art, including ‘Resistance Art’ of the 1970s and 1980s
Theme 5: Multimedia and New Media – alternative contemporary and popular art forms
Theme 6: Post-1994 – Democratic Identity in South Africa
Theme 7: Gender issues

Subject
Total Time Format
Answer all
Theme 2: South African artists influenced by African and/or 50 1 hour
questions

Subject
Total Time Format
Theme 2: South African artists influenced by African and/or
Answer all
Theme 3: Socio-political art, including ‘Resistance Art’ of the 100 3 hours
questions
1970s and 1980s
Theme 5: Multimedia and New Media – alternative
contemporary and popular art forms in South Africa
PRELIMINARY EXAMINATION | TASK 5

Subject
Total Time Format
Theme 3: Socio-political art, including ‘Resistance Art’ of the Answer FIVE
1970s and 1980s 100 3 hours of the eight
Theme 5: Multimedia and New Media – alternative questions.*
*All 8 themes are asked in this exam – answer the themes you studied.
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FINAL EXAMINATION – SET BY SACAI

Subject
Total Time Format
Theme 3: Socio-political art, including ‘Resistance Art’ of the
Answer FIVE
1970s and 1980s 100 3 hours
questions.
Theme 5: Multimedia and New Media – alternative
*All 8 themes are asked in this exam – answer the themes you studied.
What to expect
The examination papers will include short and longer essay questions. The papers are set
in such a way that even though you are presented with an image you haven’t seen before,
the theme of the question will lead you to the answer.
Look at the question and see which theme you are being tested on, for example:
Question 1: South African artists influenced by African and/or indigenous art forms.
When you read the question, read it carefully and underline keywords so that you are clear
on what is required of you. You will not only be tested on what you studied, but also your
ability to give insight, opinions and interpretations. Carefully analyse the question to see
which aspects are demanded from you that isn’t rote learning. Do not make personal
judgements that are random and without justification.
Important information to look out for
● Biographical detail is only important if it directly influences the artwork.

● Influences on the artist that impacts on their work.
Various important things could impact on an artist’s work.
● Contextual factors: other artists’ works/movements that influenced the artist.
● Political/social/economic context.
● Stylistic characteristics:
o Themes (subject matter)
o Formal art elements
o Style
o Technique
● Concept: some artists speak freely about what their work is about, or it is well
documented.
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General tips
● Answer questions in full sentences. Answers in bullet form will not get the full mark,
even if the information is correct.
● Use formal language in your tests and examinations and present your essays as
professionally as possible.
General tips for Grade 12
● In Grade 12, you must show a clear understanding of international art movements and
local styles and how these local styles were influenced by international art (the theory
you studied in Grades 10 and 11). You must know what resistance art, propaganda
art, appropriation in art and the neglected tradition entail.
● A good rule to follow is to know artists per art movement very well and to be able to
discuss two artworks by each of the chosen artists. Then, make sure to know ten
characteristics of the movement and the chosen artists as well as ten facts/discussion
points about the chosen artworks.
● Write neatly and legibly.
● The best guideline to know what to expect in examinations is to work through all the
examination papers found on the websites of SACAI and the Department of Basic
Education (DBE). You may also download previous Impaq papers from my.Impaq.
Download the portfolio study notes. This document is set per

grade and contains a detailed summary of the work you must study.
This is a very important document that shows you what work you should focus on.
Reading and understanding questions in a test/examination
Terminology used in examination

Look at the keywords used in the phrasing of the question to know how to approach the
question. These words are also defined in the glossary of your examination papers. You do
not have to study them for the examination, but you need to know what they mean.
● Analyse
A detailed and logical discussion of the formal art elements, including:
o Line
o Colour
o Texture
o Composition
o Shape
o Etc.
Discuss the work in great detail.
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● Compare
Point out differences and similarities in an ordered sequence within the same
argument. You usually need to compare two artworks and their respective movements.
● Contextualise
Relating to/depending on the framework of information; relating to the situation, time
(era) and location to which the information belongs.
● Discuss
Present your point of view and give reasons for your statements by referring to the
theory you have studied and substantiate your views with facts.
● Explain
Clarify and give reasons for your statements.
● Interpret
Analyse and evaluate (give an informed opinion) an artwork. Contextualise it
historically, culturally, socially, etc. and substantiate your findings by referring to similar
specific examples.
● Motivate
To substantiate.
● Reflection
To think back on the past and to comment on the impact thereof.
● State
Provide exact facts and say directly what you think – give your opinion, as well as an
explanation.
● Substantiate
To support/motivate with proof or evidence by relying on the theory you have studied.
The examination format for Grades 10 and 11
Each question is set to a specific chapter. Each question usually counts 20 marks, but could
count more or less, depending on how the test or exam was set. The questions usually
consist of a few sub-questions. These will include shorter questions, especially in Grade 10
(e.g., define a term, discuss a technique, name and discuss characteristics of the movement,
etc.) as well as paragraph and essay questions. A question can also start with a quote or
statement pertaining to the movement or period. You need to refer to this quote or statement
in your answer.
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MG ~ Visual Arts
The examination format for Grade 12
A question counts 20 – 25 marks. This question can be broken down into smaller sections.
A question can start with a quote, statement or images and specific questions are asked
directly underneath. This quote/statement/image is given for a reason. You should
deliberately include it into your answer, as it will lead your response to the question. All the
information you need for your essay is outlined in the question; you just have to read it very
carefully. Underline certain words to highlight what is important.
Each main question consists of two components. Ensure that you discuss the right artists
under the right themes. Sometimes, artists may appear in more than one theme (an artist
can typically be discussed under two or more themes). It is also important to remember that
you can only discuss an artist once. You will not be awarded any marks if you give the same
information again in another question. (There is more than enough information about
different artists in your learner’s guides, even if they overlap in different themes.)
It is strongly recommended that you do a little extra reading on the themes and artists that
you choose to study (pre-select the artists you want to focus on). You will receive marks for
accurate, relevant information, whether they appear in your learner’s guides or not.
(Candidates across the country use different source materials, so assessors have to take
all the relevant information into account.)
Here is an explanation on how to read a question to fully understand what is expected from
you. The explanation is from the final 2017 SACAI Visual Arts paper.
The chapter/theme. Make sure to answer

the questions on the themes you studied.
The quote/statement/excerpt that gives you more

info on the unseen work to which you may have to
refer in your answer for 5.1. Figure 5b will be on
the next page of the exam paper.
What you need to discuss in your essay.
The second sub-question will always be to discuss

your chosen artists. The question will tell you how
many artists and artworks to discuss and what to
focus on in your discussion. For this specific
question, you must discuss both your chosen
artists from this chapter and ONE artwork of each
artist, focusing on the discussion points listed.
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Categories typically found in examination papers
Name of artists and titles of artworks: Give the artists’ full names and the correct titles of
their artworks. Underline both the name of the artist and the title of the artwork. You must
provide these details in any essay.
Subject matter: What is happening in the artwork? Imagine you are standing in front of the
artwork and you have to explain what you see to someone over the phone.
Style of artworks: The style of the artwork relates to the movement that the artwork is from
and the characteristics of the movement. This refers to naturalism, figurativeness,
expressionism, abstraction, decorative works, stylisation, etc.
Context of work: The set of circumstances or facts that surround a style/movement. This
could be a particular event or situation – social, political and even economic. This could
include when an artwork was made, as well as where, how, and for what purpose the artwork
was made. This could include historical information on the artist or issues or things to which
the artist refers.
Medium: The medium that the artist used to create the artwork, e.g., oil paint, water paint,
installation art, sculpture, charcoal, etc.
Technique: The way the artist manipulated the medium to create the artwork. This could be
expressive, visible brushstrokes, depicting realism or photorealism, or it can be
impressionistic, smooth or stippled, or it can include the use of collages, pointillism, impasto,
etc.
Influences: What had a direct impact on the artist or on the movement? This could be other
artists, literature, events that happened in the world at the time, inventions, etc.
Content: The content is the emotional or intellectual message carried by the artwork. It
includes the expression, essential meaning, significance or aesthetic value of the artwork.
Content refers to the sensory, subjective, psychological or emotional properties we feel in
the artwork. Content is not just a description of the subject matter.
Formal art elements: These are all the ‘parts’ used to make a piece of the artwork. These
include line, shape, form, tone, texture, pattern, colour and composition. They are often used
in conjunction and the way they are organised in an artwork determines what the finished
product will look like.
Composition: This refers to the combination of the art elements to form a pleasing whole.
The arrangement of colours, forms, etc. must form a visually pleasing or stimulating unity.
How are the different elements arranged in this specific artwork to form the composition?
What is the focal point? What is happening in the foreground, middle ground and
background?
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Mark allocation (questions and the amount of writing)
These are the essay length requirements as set out in SACAI’s final paper
● 6 – 8 marks: a minimum of a ½ – ¾ of a page (paragraph)
● 10 – 14 marks: a minimum of 1 – 1½ pages (short essay)
● 20 marks: a minimum of 2 pages (essay)
Marks are based on the specifications asked in the question, e.g., subject matter, art
elements, style, technique, etc. Marks for essay questions are sometimes awarded by using
a rubric. This means that a mark is awarded for the general discussion of each discussion
point provided in the question. You will therefore not be awarded a mark for each singular
point mentioned. You cannot write ten sentences and expect to be awarded ten marks.
Here is an example of the rubrics that are sometimes used to mark essay questions:
Unachieved Elementary Satisfactory Average Substantial Meritorious Excellent

Criteria
0–2 3 4 5 6 7–8 9 – 10
Description 4
Clues supplied
by title
5
Recognisable
symbols
6
Composition 1
Style and
technique
4
Use of colour 7
27 /60 converted to 5 /10
For this question, the candidate had to discuss the following:

● Description of the artwork
● Clues supplied by the title
● Recognisable symbols
● Composition
● Style and technique
● Use of colour
A mark is awarded for each section and a total is tallied. The total is then converted to the
question total. As you can see, the candidate sufficiently discussed the use of colour,
symbols and clues, but did not expand enough on the composition, style and technique and
description. The marks were calculated as follows:
27 out of 60 converted to a mark out of 10 = 4,5 out of 10. The candidate was awarded 5/10
for the question. This shows how important it is to mention enough about each discussion
point set out in each question.
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How to write an essay
An essay’s format consists of an introduction, a body and a conclusion. In your introduction,

you address the question in your paper. If there is a quote, you can briefly refer to it as well
as to the various points you will focus on in your essay.
The body consists of paragraphs with each paragraph focusing on a specific idea.
Throughout your essay you must refer to the question. If there is a statement/quote included
in the question, refer to its various aspects, as this will be interpreted as your response to
the question. Throughout your essay, you must refer to examples of artworks you have
studied. Remember to give the correct spelling and the correct titles of the artworks and
artist. (Underline the names of artists and artworks, as previously mentioned).
In your conclusion, you can briefly summarise about what you wrote in your essay.
Do not introduce new ideas in your conclusion.
It is important to note that throughout your essay you are expected to make judgements.
These judgements must be justified with reasons based on the information and facts you
studied and must not be purely subjective/personal. Do not make fleeting statements such
as ‘he was the best artist of the 21st century’ or ‘his work is abstract, and anyone could have
created it’. When you mention artworks as examples in your essay and when you discuss
artworks included in the question paper, you must give a visual analysis of these artworks.
Refer to the section Visual Literacy to see how to conduct a visual analysis.
When writing an essay, write as if the reader knows nothing about your topic. In other words,
discuss and explain statements and briefly define the different terminology you are using –
this shows that you know what you are talking about. It is extremely important to write
enough information for each answer. A general guide would be to write at least one full page
for 10 marks. Also, make sure not to repeat facts, findings or discussion points. You will only
be awarded a mark for it once.
TIP: If you run out of time in a test/examination, simply list the points you wanted to make next to
each another (not in bullet form). You will lose marks for not writing full sentences, but at least you
will be rewarded for the information.
Biographical details are important to include in your answer, as it gives a holistic idea of who
the artists were and in what time they lived. However, it seldom happens that this type of
information is included in your essays. This type of information can be relevant to the
question at hand, for example, if the artists lived in the time of a war or were part of a political
resistance group, it is most likely that their artworks were influenced by their specific
biographies. Information about where they grew up and where their primary art training took
place will most likely not be relevant. Read your question carefully to see what the question
requires from you.
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Unseen images of known or unknown artists
Questions consist of work you have studied as well as work that you have not studied, e.g.,
in unseen images. Here, you must apply visual literacy. Refer to the Visual Literacy section
in this guide as well as your Grade 10 Visual Arts Learner’s Guide and the Visual Literacy
Revision sections in both the Grade 11 and 12 Visual Arts Learner’s Guides.
When you get an unseen image, study the title of the artwork, name of artist, date and
medium, if they are included. This might give you clues to what the artwork is about and
from which era it comes, which might help you to assign characteristics to the artwork. Read
the question carefully to see what the most important parts of the artwork are, e.g., if they
ask you to write about the colour, carefully look at the characteristics of colour used in the
artwork. Do not waste time writing any information that is not asked.
Meaning and interpretation must be based on your visual analysis and not on elaborate
philosophical mumbo jumbo that you make up without any relation to the artwork. If the
mood of the artwork is sombre in your opinion, a good justified reason could be that the artist
used a monochromatic colour scheme of tints and shades of blue. Blue is a cold colour,
which creates a sombre mood. Do not mention obscure, thumb-sucked or unjustified
interpretations without any real relation to the work – a small vertical line in the background
does not represent or portray strength and power. Rather concentrate on the main art
elements and the specified discussion points. The theme of the question is there to help
you, e.g., if the question is about multimedia, apply your knowledge of multimedia to the
unseen work.
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Example of a discussion of unseen work
QUESTION
Study fig. 1A and write a short essay in which you do a visual analysis and interpretation of
the artwork. Use the following as guideline in your answer:
● Line
● Texture
● Colour
● Composition
● Technique (10)
Fig. 1A: Leonid Afremov, Paris of my Dreams, Oil on canvas
ANSWER
The lines used in the artwork are horizontal and vertical. The lines used to create the Eiffel
Tower, divert the eye to the top of the painting. The diagonal lines used to create the road
and its perspective causes the attention to be diverted to the tower.
The texture alternates between being smooth and rough. The texture in the background
made by using a unique technique creates a rough and lively texture, while the texture
created for the tower, road and water, is smooth. The difference in texture causes a clear
contrast between the foreground and background and accentuates the rough, lively texture
of the background.
The rich use of colour in the painting is bright and lively, and cold and warm colours are
mixed. The white added to the colour used for the tower and lights create the illusion that
they are shining.
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The composition is symmetrical, and the attention is immediately focused on the tower, as
it has been placed in the centre of the painting.
Leonid Afremov’s technique is very original and unique. The markings in the background
– made with a palette knife – create a lively feeling (as if you are in a dream world). The
specific technique creates an almost 3D effect. The texture and use of colour, which makes
the background look ‘alive’, creates a feeling of happiness in the viewer. Symbolism is not
used and there is not necessarily a deeper meaning to the painting – the artist painted a
famous landmark in a famous city and made it his own by using his unique technique and
use of colour; the Eiffel Tower as it looks in his world, the Paris of his dreams.
B. The practical component
Practical assessment tasks
This guide has been compiled with reference to the Department of Basic Education’s PAT guidelines as well
as guidelines for practical assessment tasks, as set out by SACAI.
Practical assessment tasks (PATs) are a compulsory component of Visual Arts and counts
towards the SBA mark. It is imperative that time is managed well for completing these tasks,
as they are very time-consuming. There are two aspects to a PAT, the conceptual and
creative process documentation in the 1) visual diary (also referred to as a sourcebook),
as well as the 2) making of the artwork itself. The PATs are completed throughout the
year and is used for the assessment of art-making and conceptualising skills that cannot be
assessed in any other way, e.g., as in a written format like a test or an examination. For you
to be able to complete these tasks in the given time frame, you must start with the PATs as
soon as possible.
Essentially, these PATs are creative tasks where you are required to think of different ideas
and different ways of showcasing these ideas by responding to the set themes outlined in
each portfolio task. It is important to remember that these ideas are personal and as original
as possible when it comes to the visual interpretation. This does not mean that you cannot
draw from other artists’ ideas and existing artworks. It means that when you draw from other
ideas and existing artworks, you consciously make these your own. You can combine
different images to form a new image and you can take your own photos and create artworks
in the style of established artists. By merely copying from others is plagiarism and cannot
be assessed as being creative, nor original. You must draw from your own experiences and
your own environment as well as influences from ideas of different visual cultures that you
are subjected to, such as the art theory you have learned and the world around you (media,
social networking, community, etc.).
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Themes
In Grades 10 and 11, the themes can be interpreted in various ways. In Grade 10, the
mediums are prescribed to a certain extent – this is to ensure that a learner is exposed to
various mediums in Grades 10 and 11 for them to be able to choose the medium in Grade
12 with which they are most comfortable and through which they are able to best express
themselves.
In Grade 12, the themes of the PATs are open-ended; you may choose your own materials,
medium, techniques, focus of the theme and format. It is recommended that a Grade 12
candidate completes all their artworks for the Grade 12 year using the same medium,
however this is not mandatory.
● Materials/mediums
o Painting: Painting with oil paint, acrylic paint, watercolour paint, etc.
o Sculpture: Sculptures from clay, ceramic, wood, bronze, alternative materials.
o Printmaking: Etching on Perspex, lino tiles, glass, etc. and then printing onto
surfaces such as paper, material, wood, etc.
o Drawing: Creating drawings with pencil, pen, ink, charcoal, etc.
o Installation: Creating installations using the chosen materials. Keep in mind that
the artwork must be able to be transported to where the assessment will take
place and must be durable and easy to handle.
o Mixed media: Creating artwork using more than one medium. This could include
painting on a flat surface and then drawing over the paint with pen/ink/pencil,
using more than one type of paint, using more than one type of drawing tool,
creating a 3D surface with different objects and then painting over the newly-
made surface, taking an original photo, printing it out and then painting or
drawing onto the printed photo, etc. The options are endless. Just be mindful of
not creating craft projects instead of artworks.
o You may also choose photography as a medium, however, a specialist teacher
is required and special arrangements must be made to complete the final
practical examination in Grade 12. If you want to choose photography as
medium, it is advised that the photos are used as part of a mixed media work.
Impaq does not encourage choosing photography as medium. Contact the
subject specialist for more information if needed.
● Techniques: Expressionistic, realistic, photorealistic, stylised, painterly, abstract,

pointillistic, etc.
● Focus of the theme: You must take the theme of the PAT through your creative
process and come up with a creative interpretation of the theme. This is the who?
what? and why?. You are trying to get a message across with your artwork by either
asking a question or confronting the viewer with a personal viewpoint.
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● Format: This is the size of the artwork and how many artworks you want to make. For
example, you can make eight small A5 paintings, or two A3 paintings, which will be
equivalent to one A2 painting. There is no set size for Grades 10 to 12, as long as your
format complements your theme and interpretation. Do not work on a size smaller than
A3. Ensure that you submit enough work to be assessed on. Candidates are also
encouraged to think outside the box when it comes to the format of their artwork. Plain
paper and canvas are great to work on, but keep in mind that there is a plethora of
other interesting surfaces and formats to create your artwork on. You are not restricted
to conventional formats. The key is to ensure that no matter what surface area you
work on, there is enough work to assess you on and that you have used the formal art
elements. Here are alternative ideas:
Bird painting on pages from an old book Painting on a piece of tree trunk
Various paintings on pieces of wood Portrait on wood incorporating the

grains
Paintings on Perspex Painting on a wall clock
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Visual diary
What is a visual diary?
The visual diary is also referred to as a sourcebook or visual journal and must be created/
compiled together with each PAT and practical examination. The visual diary provides the
necessary evidence of the prep work undertaken prior to the making of the artwork.
What does the actual visual diary look like?
The recommended size for the visual diary is A2. You can buy a pre-bound diary or complete
the different elements of the diary on loose A2 paper and then have the papers ring-bound
with a hard back and cover. You can also use alternative methods, such as ribbons, cable
ties, small keyrings, etc. to bind the A2 papers and cardboard. A3 visual diaries are also
accepted.
Conceptualising – documenting the creative process
The visual diary is where you document every step of your creative process. You may feel
that the visual diary should be perfect and neat and that only the parts of the process that
will be used in the final artwork, should be documented. This is not true. The visual diary is
where you document every idea and inspiration – good or bad – that you have when starting
with the PAT. This means that even your bad ideas must be documented and if you discard
an idea, write next to it that you won’t be using it, as it is limiting/immature/boring or whatever
the case may be.
There is no one way of approaching your visual diary. Every Visual Arts candidate will have
a different creative journey and think in a different way. This is why there are only a few set
requirements for the visual diary. How you approach the visual diary is going to reflect your
own artistic stamp. Content is much more important than decoration. In other words, if you
only have two hours to work on your visual diary on a day, rather than cutting out coloured
paper and ‘decorating’ your visual diary with patterns, do research on an artist and write
down your findings or do a few mock-up sketches on a double page relating to the theme.
Questions that your visual diary must be able to answer:

● What did you choose as focus of the theme for the artwork? (Concept)
● Why did you choose this specific focus?
● How did you prepare for the artwork?
● How much planning did you do throughout the process of conceptualising?
● What problems did you experience and what were the solutions to these obstacles?
● What did you learn and what were the weaknesses of the practical work?
● What was exciting about the practical work? What were the strengths?
TIP: Do not include random drawings and ideas that you do in your own time, but rather ideas and
drawings that relate to your project and your theme.
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The requirements for the visual diary
● The project brief must be included in your visual diary. This is the PAT or practical
examination you have to download from my.Impaq.
● A contents page will help the assessors to find anything they are specifically looking
for. Number the pages.
● Your rationale is your initial reaction to the project brief and does not necessarily
reflect your final artwork. Your ideas will grow and mature throughout your conceptual
and creative process. Your rationale must be one written page (approximately 100
words) in which you describe the concept and planning for your project.
● Mind maps to generate ideas: Your mind map is part of your initial investigation and
can comprise of many different aspects of the broader theme. You must start your
conceptual research (your visual diary work) by brainstorming. As soon as you start
breaking down the broader theme into smaller categories, you will be able to realise
what it is that interests you about the theme. You can incorporate many different ideas
in your mind map, even if you know you won’t want to investigate it later on. Things
that you can add to your mind map are definitions, theories, synonyms, antonyms,
socio-political issues related to the theme, philosophy, drawing from your own context
and the broader South African/international context. You can also add images and
drawings to your mind map. The purpose is to familiarise yourself with the theme and
possible interpretations of the theme. The main purpose of an artwork is to
communicate a message. This message won’t mean anything if it isn’t personal to you
or if you cannot relate with your message. With this step, it is easier to throw out the
ideas that are cliché, cheesy, overdone, insincere and which does not have enough
‘body’ – the type of idea that does not mean anything to you and will later discourage
you from working on your artwork.
● Collage, mood pages and visual references: These are the pages you create to
establish a specific mood for the theme and your artwork. You can paste the images
and info that you gather that serves as inspiration for the project. The mood pages can
include images from magazines, the internet, books, lyrics, poems and your own
photos – anything that has inspired you for the project. Creating your own source
material is an invaluable ingredient to create a good visual diary. Take many photos of
your process and include it in your collage, mood pages and process. Collect images,
articles, excerpts, samples, photos, pieces of paper, packaging with interesting
textures or designs, tickets or any other inspiration you find on your journey. Visual
references will play a core part in how you get to your final idea. Visual materials have
its own symbolic language – make notes next to the materials explaining what it is you
find interesting/how you want to use this/what you like and dislike about it, etc. This is
not a scrapbook! These pages must be two A2 pages or three A3 pages.
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● Research and study one or two artists or an art movement who also used this theme
as inspiration in their work. This can be a local or international artist. Do not include
random artists that have no significance to your work. Artists and artworks can relate
to you or your theme either conceptually (dealing with the same idea) or physically (the
style/technique used). Remember to state why you included this artwork/artist in your
process. You may use well-known, established artists as well as unknown, new artists
as inspiration. Do not include too much information about their history – rather focus
on their work and style and why it inspired you. Do not print their Wikipedia page or
website biography as is. Do research and write in your own words. This must be two
A2 pages or three A3 pages.
● Drawings, mock-ups, line sketches, preparatory sketches, compositional sketches

and proper drawings: Drawing counts a lot of marks for your visual diary and shows
the assessor your technique and a quick visual representation of an idea, no matter
the medium you chose for your artwork. You must have at least 4 × A6, 1 × A4,
1 × A3 and 1 × A2 sketches in your diary. Note that this is the absolute minimum –
you are encouraged to include more work.
o Process and detail drawings: Specific drawings of your final idea that shows
the development of your artwork.
o Experimentation of materials and techniques: Complete sketches as well as
small detail sketches where different media, techniques and compositions are
used to display different variations of your ideas. Experiment with alternative
mediums, e.g., coffee/tea, bleach, oxides, ink and watercolour in the background
and draw over with charcoal, pastels, graphite, coloured pencils, etc.
o Compositional sketches and/or paste-ups: A few different compositions are
explored through these sketches and the best one is chosen. Compositional
sketches can be quick line sketches or may be replaced with a paste-up that
consists of a combination / more than one image/photo that you arrange and
overlap and possibly want to use as a final composition for your artwork.
● The final A3/A2 tonal drawing must be a detailed drawing that depicts aspects of
your final artwork (but not a copy of your final artwork) and must give a clear indication
of your technical skills and drawing abilities. Use different hatching techniques, stark
contrast in tone and activate the background. The tonal drawing must show evidence
of enough time and effort and must be the most ‘finished’ drawing in your diary. The
tonal drawing may be done in any drawing medium and may be done in colour.
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● Notes/annotations are added to your visual diary/sourcebook so that the assessor

can understand your thoughts and decisions as your artwork developed throughout the
visual diary/sourcebook. Describe the specific element (e.g., detail sketch, final paste-
up, media experimentation, etc.) using short statements and art terminology but also
offer your views. Example: Drawing of a face: I like the person’s expression – this is a
landscape image I took, and I think the dramatic light and colour in the sky has
potential. Observational drawing focusing on tone, the light is strong and creates
dramatic shadows – I looked at texture and recreated it using pen and I am pleased
with the effect. You should also add shorter notes, descriptions and reflections on the
process thus far and reminders for yourself at every step of the process.
● Reflection of your artwork: Your reflection explains your final artwork. Your reflection
encompasses critique on the strengths and weaknesses of your final work. You can
also include a visual analysis of your artwork (analysing the use of colour, line, texture,
shape, form, composition, space, etc.) to show how you intentionally planned the
layout of your artwork.
Tips to the facilitator
● Inspire candidates to experiment with a range of media and techniques in their visual
diary – they can make collages, small paintings, sketches and prints.
● Motivate candidates to use their visual diaries for writing and sketching regularly so
that they can manage their process without running out of time or trying to rush it over
a weekend.
● Encourage candidates to go beyond the set brief outlined in the portfolio task and do
not limit their creativity.
● The whole process is about personal expression and projecting yourself or your own
context onto your work. When candidates do this effectively, their visual diaries
become very interesting and they will also be more excited about the execution of their
artwork. This will, in turn, produce an artwork of good quality.
● Emphasise that everyone approaches their visual diary differently and that it is not
supposed to be ‘neat’. Content and experimentation are key to a successful visual
diary.
● There is no prescribed size for the artworks and the most appropriate size or number
of artworks should be chosen.
● Some candidates prefer to finish most of their creative process before starting with
their artwork, while others prefer working on both the artwork and visual diary at the
same time. Both methods are correct.
● Motivate candidates to annotate drawings and other sources on the thought process
during this phase. This can be full sentences or short notes. Use proper spelling and
prevent texting language.
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Examples of visual diaries
Example 1
Theme and contents page Rationale/reflection Mind map
Research on two different artists who influenced the candidate with this specific project. Note the
handwritten info and examples of the artists’ work. Supply a brief history of the artist, but focus
mainly on their work and its characteristics. Also explain how the work specifically influenced you.
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Pages showing the candidate’s thought process

and own photos. Generating and using your
own content (photos, written work, etc.) are vital.
Process, detail and practise sketches using various mediums.

The candidate made notes and observations about each sketch.
This is a vital way of communicating your process to the
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Quick compositional sketches the candidate made to

play around with the composition – the placement of
the various elements in the work.
The final compositional sketch or

paste-up showing exactly what
the final composition of the
artwork will look like.
A picture of the final artwork. This was done using pastels

and crayon pencils on an A2 board. Please note that the
artwork does not need to be placed inside the visual diary.
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Example 2
This visual diary was done by Chené Gericke, a Grade 12 candidate from 2015. Only
a few pages of her visual diary were selected as examples. This candidate received
100% for her visual diary for PAT 1.
Left: Collage with pictures that inspired her.

Right: Her complete list of sources. It is very important to indicate all your sources. Sources
can be placed together with each picture OR at the back of the visual diary.
Left: The mind map with the initial ideas and thoughts regarding the theme.
Middle: Research on the meaning of the theme – a deeper investigation.
Right: Inspirational images with explanatory notes on why she found the image inspirational.
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Left: Process sketches.

Middle: Numbered visual sources for the final idea with the reference list on the next page.
Right: Candidate’s own photos.
Preparatory sketches experimenting with different compositions and elements for the final artwork.
Experimentation with media and technique. The candidate made explanatory notes on the media,
technique, colour, texture, line, shape and emphasis.
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Left: The A2 tonal drawing.

Right: Photos of the artwork’s progress.
Below: The final artwork.
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Example 3
Candidates may work on loose A2 pages

and then bind them by placing a cardboard
at the back and front and using innovative,
cost-effective ways of binding the pages.
This candidate used cable ties to bind the
pages and cardboard.
The candidate’s creative mind map,

handwritten rationale and handwritten
research about an artist who influenced her.
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The candidate took many of her own photos

and used them as inspiration throughout her
process drawings and detail sketch pages.
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The candidate did extensive experimentation with

various mediums and materials. She used, among
others, pen, Tipp-Ex, charcoal, oil pastel, ink and
tea to experiment with.
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Here, we see her different ideas for compositions

as well as her final composition/paste-up and
then, her final artwork on the right.
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Artworks
In Grade 12, you choose your own medium for your PATs and your practical examinations.
Possible mediums include drawings, paintings, sculptures, printmaking, multimedia, ceramic
sculptures, installations and new media. Choose a medium that suits your concept and will
showcase your technical skills. It is strongly advised not to choose a medium that you know
you will struggle with or know nothing about. In Grades 10 and 11, mediums are prescribed
to some extent for the various PATs. This is done to ensure that learners are subjected to a
variety of mediums. In Grades 10 and 11, you may choose any mediums for the final
practical examination. Do not choose a medium like photography, new media, digital art or
installations because you are under the impression that you won’t have to draw as much as
part of your visual diary. All mediums have the same drawing requirements as part of your
visual diary.
Your artwork can be a series of works or it can be one artwork. Think of your concept when
deciding the format of your artwork.
When starting with the artwork, ensure that you have adequate visual references (images
to draw and paint from). Working from your imagination will not be successful as you start
to rely on what you think something should look like instead of what the object actually looks
like. This can result in drawings looking very childlike with incorrect proportions, perspective
and 3D rendering. Some artworks sometimes benefit from deliberate abstraction of
proportion, perspective and modelling of realistic form but you can’t benefit from it if this isn’t
planned and executed professionally. After you have documented your extensive process
in your visual diary, you will hopefully have accumulated interesting visuals combined with
your own photographs. Artworks merely copied from photographs or other artworks from the
internet are generic and not personal. Professional artists have different ways of exploring
a theme to decide on how they want to depict their message.
Here are some keywords to consider:
● Remember: To look at past experiences and how they influence you in your theme.
● Feel: What kind of emotions does the theme evoke?
● Experiment: To put to the test the experimentation with different ideas on the theme
and different ways of showing your idea within the broader theme of the PAT.
● Observe: Observe people around you and decide how the theme relates to what you
observe in everyday life.
● Invent: Invent a new way of seeing something – perhaps you can explore an original
view to an old idea.
● Transform: Transform old images or images that we are used to seeing into new
images.
● Analyse: Look at the different ways in which a theme can influence you.
● Imagine: Think up a new world where your idea can take on a dreamlike form or
imagine a scenario that will communicate your idea effectively.
● Distort: Distortion is a very powerful tool; you can over-simplify or exaggerate an
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image to make your point clearer.

● Play: By playing with different aspects of your theme, you will most probably stumble
upon something exciting.
● Symbolise: Symbolism can be very interesting, and many people will be able to
understand a symbolic message. Colour can also be symbolic of different emotions.
● Appropriation: This means using existing images and objects from artworks and
giving them new meaning by appropriating it to a new context. (An example would be
Michelangelo’s Pieta that was appropriated by Wim Botha and called Mieliepap Pieta.
You can google this artwork to read more about it.) Appropriation is only effective when
the original concept is used to understand the new artwork created from it.
(Visual Arts PAT Grade 12 guide, DBE)
Things to consider
● Composition: Do not simply use the first composition that jumps to mind; experiment
with your composition.
● Consciously consider the art elements and design principles: line, texture, shape, form,
colour, space, rhythm, balance, harmony, proportion, etc.
● Your idea might be brilliant, but if it isn’t properly executed with technique and
application, your idea will not communicate successfully. Spend a lot of time on your
artwork to ensure that you show your skills.
Elements/images to avoid
● Erotic/pornographic/distasteful images as well as fully naked bodies (both genders).

● Crude language and written words.
● Foetuses
● Religious imagery and/or satanic/evil images and symbols.
● Drugs, drug paraphernalia and marijuana leaves.
● Cartoon characters, animation, computer game characters, etc.
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Examples of Grade 11 and 12 work from previous years
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Checklists
VISUAL DIARY/SOURCEBOOK
 Your name on the diary as well as the completed barcoded task cover page.
 The project brief.
 A contents page.
 A short rationale.
 Mind maps to generate ideas.
 A collage: Images, articles, excerpts, samples, photographs, etc. that you collected.
 Research on one or two artists whose work have inspired your practical work for this
specific artwork.
 Process drawings, detail sketches, mock-up sketches and preparatory sketches,
compositional sketches, quick line sketches and the tonal drawing.
 Notes or annotations.
 Investigation of different techniques and materials.
 Documentation of any process work.
 Reflection/proposal/rationale of your work as well as your experience of creating,
compiling and completing your project.
 Your visual diary should be a minimum of 8 – 10 pages.
ARTWORK
 Your name and student number on the back or bottom of the artwork.
 Choice and use of materials/techniques: Your work must show technical skill and the
choice of medium and technique must be suitable to your concept.
 Use of formal art elements.
 Overall impressions of work: originality, creativity and innovation.
 Interpretation and practical implementation of research: Your visual diary must reflect
in your artworks and vice versa.
 Completion of presentation of artwork: Your work must appear finished, and it must
look like you spent enough time on it.
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What is the assessment criteria for the PAT?
ASSESSMENT CRITERIA FOR PRACTICAL WORK

Exceptional ability, richness; insightful; fluent; high skill; observation and
knowledge powerfully expressed; supported by an original or unusual
Outstanding 90 – 100
selection of relevant visual references. Outstanding and original
presentation.
Striking impact; most of the above; detailed; well organised and
coherent; polished; skill evident; supported by original/unusual/relevant
Excellent 80 – 89
visual references; presentation original and considered. Some minor
flaws evident.
Well organised, as above, but lacks ‘glow and sparkle’; good level of
competence and selection of content; supported by a good selection of
Very good 70 – 79
relevant visual references; obvious care and effort taken with original
presentation. Some obvious inconsistencies/flaws evident.
Interesting visual presentation; clear intent; convincing; simple direct use
of medium; displays understanding but tends towards the pedestrian and
Good 60 – 69 stereotyped response at times; adequate selection of relevant visual
references; reasonable effort taken with presentation.
Distracting/obvious inconsistencies.
Adequate; feels mechanical; derivative or copied; little insight;
Average 50 – 59 unimaginative; some visual references not always clearly identified; fair
presentation. Many distracting inconsistencies.
Enough material/works to pass; not logically constructed; some flashes
of insight; limited selection of information; poor technical skills might be a
Below average 40 – 49
contributing factor; little use of visual information; clumsy or careless
presentation. In need of support/motivation to pass.
Visually uninteresting; uncreative; limited/poor technical skill used; little
attempt to present information in an acceptable manner; little or no
Weak 30 – 39
visual information/reference; general lack of commitment. In need of
support/motivation to pass. Very weak.
Very little information; jumbled; not easy to view; little or irrelevant
Very weak/fail 20 – 29 work/visual information. No effort made to present work in an acceptable
manner; general lack of commitment/cooperation. Unacceptable.
Incoherent; irrelevant, very little or no work; lack of even limited skills
Unacceptable/fail 0 – 19
being applied; no commitment/cooperation. Unacceptable.
(Visual Arts subject guidelines, SACAI, 2018)
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Visual diary/sourcebook rubric
ASSESSMENT CRITERIA MARKS
● Candidate’s intention/proposal/rationale/reflective
Concept development report 10
● Brainstorming and mind maps
Collage/own photographs 5
Research, investigation,
Artist investigation 5
experimentation
Exploration and experimentation of materials and
5
techniques
Line/contour/detail studies/composition/tonal
Process drawings 15
drawings/colour studies (related to concept)
● Visually interesting, personalised approach
● Planning is well organised and presentable,
Presentation and overall view includes contents page and headings and page 10
layout is good
● Sufficient number of pages/work done
TOTAL 50
Artwork rubric
ASSESSMENT CRITERIA MARKS

● Suitability of materials and techniques according
Choice and use of materials
to the concept development 10
and techniques
● Technical skill
Line, shape, colour, texture, space, rhythm,
Use of formal art elements 10
harmony, proportion, composition
Overall impression of work:
Generation of new, unique and novel
originality, creativity and 10
responses/solutions
innovation
● Personal interpretation of the theme
Interpretation and practical
● Experimentation 10
implementation of research
● Trying new challenges
● Attention to detail
Completion and presentation of
● Task completed in allocated time 10
artwork
● Presentation according to task
TOTAL 50
*subject to change
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General feedback on PATs sent to candidates in the past
● Time management is of utmost importance, and the general feel was that there was
not enough time spent on the research process or the artwork. Remember, the more
in-depth your research, the better your concept, and the more interesting your artwork
will be.
● Very literal interpretations of the theme: Make the theme your own. Do not simply
depict the theme literally. Be creative, explore other possibilities, and think laterally. Do
a broad internet search on the theme, visit different websites about the theme, find
synonyms and antonyms about the theme and research everything. Also look at the
philosophy/psychology and other views of the theme.
● Be careful of sticking objects/materials/glitter onto a canvas or artwork. If not done

properly, it may easily come across as kitsch, gimmicky or a craft project. If you use
these materials, you must have a logical reason for doing so.
● Painting/drawing is all about layers. Elements presented in layers play a vital role in
the success of your final artwork. Use references when creating an artwork. Not even
professional artists work from imagination (unless it is a specific genre). Dianne Victor
says that if you want to draw something well, you have to draw it 1 000 times from an
image/photograph or from life before you can draw it from memory. Also, try to take
your own photos on which you can base your drawing. Print all your photos and paste
them into your visual diary.
● The process drawings and experimentation of media and techniques must always be
relevant to the theme. For example, if you want to do a portrait drawing for your PAT,
draw different angles of the portrait or focus on certain facial features, draw a couple
of different portraits, etc. Do not draw random objects that are unrelated to the PAT.
Do many drawings to show the assessor that you have considered many possible
compositions and techniques (rough, fine, realistic, expressionistic, impressionistic,
etc.). Simply dabbing a few splotches of paint on paper will not benefit you at all.
● When finding visual inspiration for your diary, incorporate your own photos and
findings. Talk to people and write down what they think to make it more personal. Write
notes next to sketches, photos, and images about what it is that interests you about it,
how it links to your concept and what else it makes you think of.
● Do not stick to the basic requirements. If you do this, you will receive a basic mark.
Research different artists and include why they are relevant to you. (E.g.: Are they
using the same idea as you, or how does it differ from what you are trying to say? Do
you want to work with the same technique?) Research artists who work with different
mediums, etc. Do visual analysis of the artwork (discuss the line, colour, texture, etc.).
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● Your visual diary must explain everything about your theme, your idea and your
artwork. Start with a broad brainstorming of your theme and look at different aspects.
Then you can start to refine the direction of your concept by choosing a few ideas and
again, elaborating on them. This is a process of elimination. What do you want to say?
Why is it important? Why are you using specific visuals in your artwork? Going through
this process and asking all these questions are important because when you start with
the artwork, you know that your idea is developed, personal and interesting and the
assessor will see that you went on a journey with the theme and did not make an
artwork of the first thing that came to mind. You need to have a mature approach to
your art.
● Your rationale is a descriptive essay. If there are 20 artworks on the wall, the assessor
must be able to know which artwork goes with which rationale. Describe your artwork,
its physical characteristics, the art elements, the design principles, what your artwork
is about and how all this is portrayed in your artwork. Your research will come in handy
as well. Let’s say your theme was ‘thoughts’ and after a lengthy research process you
chose to depict Sigmund Freud’s theory of the subconsciousness. Summarise it in the
rationale of your artwork and indicate how you will apply it in your artwork.
● When are you finished with your artwork? Imagine putting your artwork and your visual
diary on display for everyone to see. If you imagine that you will be proud standing next
to it, you know you are done.
Retrospective exhibition
WHAT IS THE RETROSPECTIVE EXHIBITION?

The retrospective exhibition is a practical assessment task where candidates display all their
practical work done during the year, together with the relevant visual diaries. It is an art
exhibition through which the audience can walk and see the artworks and page through the
visual diaries. Candidates must label their artworks with the title and theme so the audience
can better understand what it is about. Candidates must work on their PATs after receiving
their marks throughout the year; the exhibition is an opportunity to receive better marks for
the PATs.
Suggestions: Do a separate visual diary per PAT, as you will only receive your submitted
work the next year and Impaq will not be able to mail your visual diary back to you. You can
collect your work at Impaq after it has been assessed and moderated. Use a new diary for
your final examination practical. After submitting your PATs to Impaq, you can collect it again
to work on for the exhibition. This is an opportunity to improve your marks.
The retrospective exhibition is a compulsory formal assessment.
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Grade 10: Each learner must partake in an exhibition during term 4. Learners may organise
their own exhibitions at their schools/centres or at their homes and have it assessed. The
facilitator who assessed the PATs throughout the year must give a mark for the exhibition.
Use the rubric provided in the portfolio task.
Grade 11: The Grade 11 exhibition is assessed in the same way that the Grade 12 exhibition
is assessed. Learners may either take part in the Impaq-organised exhibition in Gauteng
OR may organise their own exhibition and get an approved assessor to assess the
exhibition. Refer to the detailed explanation of the different methods of assessment under
‘Formal assessment’. The artworks and visual diaries made during the year must be
displayed together with any other work done during Grade 11 or previous years, which the
learner feels will add value to the exhibition. The exhibition must be held during term 4.
Grade 12: The retrospective exhibition is usually held in August and is a very important
assessment which must not be underestimated. The retrospective exhibition is a
compulsory formal assessment. Candidates may either take part in the Impaq-organised
exhibition in Gauteng OR may organise their own exhibition and get an approved assessor
to assess the exhibition. Refer to the detailed explanation of the different methods of
assessment under ‘Formal assessment’. The artworks and visual diaries made during the
year must be displayed together with any other work done during Grade 12 or previous
years, which the candidate feels will add value to the exhibition.
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Examples of how candidates have set up their exhibition spaces
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Tips for setting up your exhibition space
● Exhibit all the practical work done during the year as well as any work done during the
previous year which you think will add value to your exhibition.
● It is advisable to exhibit three to six artworks, along with their visual diaries.
● Ensure that the visual diaries are easily accessible for the assessor and that it is easy
to page through.
● Ensure that your name and student number are clearly visible.
● It is also a good idea to have the theme of each work visible on the artwork, as this
makes it easier for the assessor when assessing the work.
● Ensure that your space is neat and presentable.
● Do not display too much extra décor or objects that have nothing to do with your art.
● Be creative with how you display your art. Easels, plinths, tables and chairs may be
used, but you are not limited to using these – think outside the box!
● Remember to clean up your space once the exhibition is over.
Practical examinations
GRADE 10 PRACTICAL NOVEMBER EXAMINATION
The Grade 10 practical November examination brief will be available to download at the end
of term 2. Learners must work on the visual diary and artwork during the term 3. At this point,
the Grade 10 final practical examinations are not done at a school or under the supervision
of an invigilator. If this changes, the same rules will apply to Grade 10 as to Grade 11.
GRADE 11 PRACTICAL NOVEMBER EXAMINATION
The Grade 11 practical November examination brief will be available to download at the end
of term 2. Learners must complete the visual diary and artwork during term 3. The final
artwork must be made under the supervision of an approved invigilator or at a registered
centre or school (where the rest of the examinations are written). The session must be a
minimum of 18 hours and a maximum of 24 hours and can be broken up into shorter
sessions over a few days, as the school/centre/invigilator and learner see fit. There will not
be an allocated time slot for the practical examination on the examination timetable.
The visual diary must be finished before the first session starts, must be submitted
at the beginning of the first session, and may not be taken home or worked on. The
visual diary may be consulted throughout the sessions. All materials needed to complete
the final artwork must be supplied by the learner and brought with to the first session. The
artwork may not be taken home. Impaq or an approved assessor must mark the work.
Consult the explanation of the two assessment methods for more information.
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GRADE 12 FINAL PRACTICAL EXAMINATION
The practical examination brief will be made available to you as soon as SACAI completes
it. You may start with the visual diary conceptual process as soon as you have completed
PAT 2. The sourcebook is completed during term 3 and the final artwork is completed in
practical, invigilated sessions.
SECTION A: Examination visual diary

(This may be completed at home or at school/centre during term 3).
Section A (the process – the visual diary) has the same weighting as section B (the final
product – the artwork).
SECTION A (the process) in the visual diary

● Start early and in advance with the preparation in your visual diary.
● You may work on the source material at home and discuss your ideas and get advice
from the facilitator.
● The visual diary must be completed prior to the commencement of the practical
examination. Use your own visual diaries as reference when making the artwork, but
do not add anything or change information in the diary. Once you start with the making
of the artwork, the diary is left unchanged but is used as the guide as all the preparation
for the artwork is documented in your visual diary.
● No source material may be submitted after the examination process has commenced.
● Submit a written proposal (a minimum of one page) in which you reflect your intentions
and planning for the final product for the examination.
● Any form of direct copying/plagiarism or work that you did not produce will be strictly
penalised.
● A facilitator may be involved in this process to help guide you.
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SECTION B (practical examination)

(Estimated time: Maximum 24 hours)
The examination work must be done under the active supervision of a facilitator within the
confines of a room/centre and within the time limit of 24 hours.
● The practical examination (section B) must be done on a continuous basis during

contact time, e.g., during four consecutive days of 6 hours each or during three
consecutive days of 8 hours each.
● You may discuss the question paper with your Visual Arts facilitator prior to the
examination, but no discussion of work may occur during the examination period.
● No examination work may be taken out of the room/centre. The final artwork may be
presented as a single piece, or possibly in the form of a series of works that read as
one work.
● You must demonstrate an advanced degree of technical skill in the use of a range of
materials and techniques chosen.
● Your work is not restricted regarding size, but it must be a substantial body of work
representing at least 12 hours and no more than 24 hours of work.
● A facilitator may not be involved in any way in the making of the artwork.
A few important things to know
● The sourcebook/visual diary must be completed during term 3 and submitted prior to
the commencement of the final practical examination (the final practical examination
sessions usually take place at the end of September).
● The visual diary must be signed in on a register and may not be removed from the
school/centre once submitted.
● No source material may be submitted into the visual diary after the examination has
commenced. The diary may, however, be consulted throughout the sessions.
● You need to write a written proposal for your intentions for the examination as well as
a reflection at the end (a minimum of one page). The reflection may be added to the
visual diary.
● The final artwork must be started and completed during these sessions.
● All materials needed to complete the final artwork must be supplied by the candidate
and brought with to the first session.
● No examination work (visual diary and final artwork) may be taken out of the
examination room.
● The final artwork may be presented as a single piece, or in the form of a diptych,
triptych or as a series of artworks that can be read as one piece of art, in candidates’
chosen practical disciplines. The final artwork does not have to fit into the visual diary.
A variety of media, techniques, disciplines and approaches are allowed.
● Candidates can work on any size, but the artwork must at least show 12 hours of work.
Also keep in mind that the artwork must be manageable and durable in terms of
transport to the examination centre.
● There are no specific prescriptions regarding the style of the work. Candidates can
either work in the form of naturalism, expressionism, decorative, etc. It is advised that
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candidates stay away from abstract art. Candidates may also incorporate other media
to create mixed media work in any of the practical disciplines.
● Remember that direct copying is prohibited. Direct copying of an image that is not a
candidate’s own will be penalised. This is a form of plagiarism and is unacceptable.
● Extreme importance is placed on the transformation of source material. Candidates
may use appropriate images and combine and transform them. At least 60% of an
image must be transformed/changed.
● Preparatory sketches, drawings and experimentation of technique and materials are
very important.
● There must be a clear link between the final artwork and the visual diary. The visual diary
must visually tell the story of how the artwork was imagined, developed and produced.
3. Formal assessment
GRADE 10 ASSESSMENT
● PAT 1, PAT 2 and the November practical examination may be marked by the
facilitator, although Impaq strongly recommends that the practical work be marked by
a qualified Visual Arts facilitator*.
*At some stage, all Grade 10 PATs and examinations will have to be marked by Impaq or
by an approved assessor. When this change is made, learners will be notified. Impaq
suggests that all Grade 10 practical work be marked by a qualified Visual Arts facilitator,
despite this rule not being instated yet. Having your work marked by a qualified assessor
will result in a much higher standard of work in Grade 12.
GRADE 11 ASSESSMENT
● PAT 1, PAT 2 and the November practical examination must be assessed by Impaq or
an approved assessor.
● Have a look at the descriptions of the two assessments in the Grade 12 section below.
GRADE 12 ASSESSMENT
All practical work done in Grade 12 must be assessed by Impaq OR by an approved

assessor.
Assessments that must be marked by an approved assessor or by Impaq:

● PAT 1
● PAT 2
● Retrospective exhibition
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Impaq assessment
Submit the above-mentioned work to Impaq for assessment. All our assessments are done
by a qualified, experienced Visual Arts facilitator. The marks are then captured on my.Impaq.
Candidates are encouraged to collect their practical work once the moderation process is
complete to make the necessary changes and improvements before the exhibition.
The Impaq exhibition will be held in Gauteng during term 3 (in August). More
information about the exhibition will be sent via email. All practical work must be finished
before the exhibition takes place. It is compulsory to partake in an exhibition in term 3
– failure to do so will result in you failing the subject.
Private assessment
Find a qualified and experienced Visual Arts facilitator who is willing to assess your work.
The assessor’s qualification documentation, SACE registration and CV must be sent to
assessors@impaq.co.za, along with the assessor approval application form, for approval.
Once approval has been granted, you will receive a confirmation email.
The assessor must have the following:

● A relevant qualification.
● A SACE registration.
● A minimum of three years’ Visual Arts teaching and assessment experience in the FET
Phase (CAPS curriculum).
You are directly responsible for scheduling and discussing your assessment and payment
with the approved assessor. The following documentation must be sent to Impaq after
assessment has taken place:
● The completed and signed barcoded task cover page.
● The rubrics used and completed by the assessor.
● Photocopies/printed photos of the final artwork.
● Photocopies of each page of the visual diary (black and white or colour, in A4)
● The email granting approval to the assessor.
Please take note that the final artwork and visual diary may still be subject to moderation by
SACAI, in which case the original works must be sent to Impaq.
Organise your own exhibition and invite the assessor to mark the exhibition. The task cover
page, completed rubrics, as well as printed photos of your exhibitions must be sent to Impaq.
Failure to provide an exhibition mark will result in you failing the subject.
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4. Study tips
It would be useful to make summaries of the Visual Arts theory, but you also need the ability
to answer questions in full sentences. When answering the theory exercises and questions
in tests and examinations, you are expected to relay information with an interpretive
approach, where you engage with the artworks and discuss it in an educated, informed
manner.
You are expected to be able to apply Visual Arts terminology to given artworks. It is vitally
important that you develop the skills of thinking about, engaging with, and interpreting
artworks.
In many theory questions, you are given the choice which artist you will discuss in your
essay, and for this reason, marking rubrics are included in the facilitator’s guide to assist the
facilitator to be able to assess these essays, and thus also to better prepare you for tests
and examinations.
Note that most questions on this level of Visual Arts will be centred on your visual literacy
and your ability to write about artworks in an informed manner. You will be penalised for
answering in bullet or table form. You must answer the questions in full sentences, essays
and paragraphs.
Consult the various study tips given in the section on the theoretical component.
5. Useful websites
The following is a list of useful websites that will assist both the facilitator and candidate in
the journey of discovering Visual Arts. Visit these websites regularly.
● khanacademy.org/humanities/art-history
● new.artsmia.org/art-artists/
● walkerart.org/collections
● toledomuseum.org/education/visual-literacy/art-seeing-art
● wikipaintings.org
A large referencing site for all European and historical art with information on artists
and artworks.
● www.artthrob.co.za
A website dedicated to South African art and artists, including artist biographies,
examples of their work, current news on exhibitions, etc. Visit this site regularly and
subscribe to their newsletters to keep up to date with current news in the South African
art world.
Regularly visit art galleries in your area.
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6. Where to get previous question papers
www.my.impaq.co.za www.thutong.doe.gov.za www.education.gov.za
7. Contact details
Contact the education specialist for further information on 087 405 2233 or send an email to
academics@impaq.co.za. Impaq is at your disposal if you need any advice or support.
8. Visual literacy
Important terminology
Aesthetics Theory of beauty and art and the understanding of beautiful things.
A detailed and logical discussion of the formal art elements, such as line, colour,
Analyse
tone, texture and composition of the artwork.
Point out differences and similarities in an ordered sequence within the same
Compare
argument.
Relating to/depending on the framework of information; relating to the situation,
Contextualise
time (era) and location to which the information belongs.
Discuss Present your point of view and give reasons for your statements.
Showing insightful and analytical commentary, as to the comparative worth of

Evaluate
an artwork, in the broad world picture.
Explain Clarify and give reasons for your statements.
Analyse and evaluate (give an informed opinion) an artwork. Contextualise it

Interpret historically, culturally, socially, etc. and substantiate your findings by referring to
similar specific examples.
Substantiate To support/motivate with proof or evidence.
Provide exact facts and say directly what you think – give your opinion, as well
State
as an explanation.
Visual sources The reproduced images that are provided.
The important terminologies above are terms that you would typically encounter in a theory
test and/or examination. Ensure that you understand what is expected of you with each term.
This section gives guidelines on how to give a written response to an artwork, in other words,
analyse and/or describe an artwork.
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A few things to remember when answering theory questions
1. Information and artworks discussed in one answer may not receive credit if it is
repeated in another answer.
2. Focus your answers on your own experiences, culture and interpretations of the
artworks within the context of the question.
3. You must answer all questions in full sentences or paragraphs, according to the
requirements of each question. Point form answers cannot receive full marks.
4. Refer to the following table as a guideline for the levels of achievement on how your
answers will be assessed:
ACHIEVEMENT
VISUAL CULTURE STUDIES, EMPHASIS ON VISUAL LITERACY
RATING CODE
● Demonstrates exceptional ability to respond to and analyse artworks in relation to
7 their cultural, social, political and historical contexts.
Outstanding ● Shows outstanding ability in the use of appropriate art terminology.
80 – 100% ● Demonstrates extremely well-developed writing and research skills in the study of art.
● Shows exceptional insight and understanding and uses divergent approaches.
● Demonstrates a well-developed ability to respond to and analyse artworks in relation
6 to their cultural, social, political and historical contexts.
Meritorious ● Shows excellent ability in the use of appropriate art terminology.
70 – 79% ● Demonstrates highly developed writing and research skills in the study of art.
● Shows excellent insight and understanding.
● Demonstrates substantial ability to respond to and analyse artworks in relation to their
5 cultural, social, political and historical contexts.
Substantial ● Shows substantial competence in the use of appropriate art terminology.
60 – 69% ● Demonstrates well-developed writing and research skills in the study of art.
● Shows a good level of insight and understanding.
● Demonstrates moderate ability to respond to and analyse artworks in relation to their
Moderate ● Shows moderate competence in the use of appropriate art terminology.
50 – 59% ● Demonstrates competent writing and research skills in the study of art.
● Shows a fair level of insight and understanding.
● Demonstrates adequate ability to respond to and analyse artworks in relation to their
Adequate ● Shows adequate competence in the use of appropriate art terminology.
40 – 49% ● Demonstrates adequate writing and research skills in the study of art.
● Shows an adequate level of insight and understanding.
● Demonstrates only basic ability to respond to and analyse artworks in relation to their
Elementary ● Shows little ability in the use of appropriate art terminology.
30 – 39% ● Demonstrates basic writing and research skills in the study of art.
● Shows an elementary level of insight and understanding.
● Demonstrates little or no ability to respond to and analyse artworks in relation to their
Not achieved ● Shows extremely limited ability in the use of appropriate art terminology.
0 – 29% ● Demonstrates limited writing and research skills in the study of art.
● Shows little or no insight or understanding.
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ART ELEMENTS AND DESIGN PRINCIPLES
When we look at images, photos and artworks, there are certain ‘tools’ we use to understand
what the image is trying to communicate. These ‘tools’ are called art elements and design
principles. Being able to do a visual analysis of an artwork and relaying this information in
a well-written essay, is a big part of answering theoretical exams in Visual Arts. Your
essay/answer must show that you understand the artwork and that you are able to use the
theory you learnt as part of visual literacy and apply it to the analysis of the artwork. This
plays a big role when answering questions about unseen artworks.
Analysing and understanding an image is like reading a story. Before we can read, we need
to learn the letters of the alphabet. We then need to use these letters to form words, and
once the words are put together, they form sentences. Art also has an ‘alphabet’, but instead
of letters, we have elements like line, colour, shape, texture, space, form, value, etc. Once
we know this visual alphabet we can ‘read’ an artwork so much better. These elements of
art are the building blocks used by artists to create an artwork and these elements enable
us to describe what the artist has done, analyse the artwork and communicate our thoughts
and findings using a common language.
The art elements
Line: A line is any mark made on a surface and can be 2D, 3D or implied. There are also
various types of lines including outlines, contour lines. The line direction could also be
horizontal, vertical or diagonal.
Colour: We see colour when it is reflected or absorbed by a surface. Colour has three
properties, namely hue, value and intensity and can be classified as primary, secondary and
complementary colours.
Shape and form: Shape is 2D (flat) and form is 3D (has perceived form). Shape/form can
be organic or geometric.
Texture: The surface quality of an object; used to describe how something looks or feels.
Space: The area between and around objects. Positive space is the object itself, while
negative space is the space around the object.
Value: The degree of lightness or darkness of a colour. Chiaroscuro is an Italian word
describing the use of stark contrast between light and dark in an artwork.
Contrast: The difference between the elements of art in a composition; two aspects of the
artwork are compared with each other to explain the contrast.
Emphasis: The area of the composition that is visually dominant and commands the
viewer’s attention.
Balance: Refers to the way the elements are arranged in an image or the visual weight of
the elements. Balance can be symmetrical or asymmetrical.
Rhythm and movement: Rhythm is created by movement implied through the repetition of
elements of art. Movement refers to how the viewer’s eyes move around within the artwork.
Diagonal or curvy lines, edges and repetition all create a sense of movement.
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Consult the Visual Arts Grade 10 Learner’s Guide – Chapter 1: What is Visual Arts? for extensive
info on Visual Literacy. The Visual Arts Grade 11 and 12 Learner’s Guides have summarised
versions of this chapter at the start of the book. Consult this information.
Now that you are familiar with the basic terminology, we can look at how we are going to
use this to analyse an artwork.
As an example of a visual analysis, we will look at Giovanni Bellini’s Madonna of the

Meadow. We are referencing Khan Academy’s analysis of the painting. For the full video
analysis, visit bit.ly/2XspqwL.
Giovanni Bellini, Madonna of the Meadow (Madonna del Prato), oil and tempera on panel, 67 × 85 cm, 1505
Firstly, for the visual analysis, we will focus on the things we can see within the painting. We
will focus on:
● Composition ● Colour
● Pictorial space ● Light
● Form ● Tone
● Line ● Texture
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Composition
The female figure/Madonna is the focal point of the painting. She fills a third of the frame
and her draped clothing covers almost the entire bottom length of the painting. Her figure
creates a pyramid. The base of the pyramid is broad and a stable form. The child in her lap
is also contained within the base of the pyramid. This creates an intimacy between the
Madonna and the child.
Madonna and child = focal point

Pyramid shape
Base of the pyramid
The Madonna is clearly the primary subject and focal point because she towers over the
horizon line and is placed extremely close in the foreground. The significant amount of
landscape in the background frames her. The background is made up of various horizontal
bands.
Band of clouds
Band of buildings and trees
Band of tilled farmland
Band of pebbles
Band of greenery
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Pictorial space
The artist creates an illusion of 3D space on a flat surface. The Madonna is seated on the
ground with the child on her lap. This gives us the sense of one thing (child) in front of the
other (Madonna) because of overlapping. The pictorial space is also defined by what we
would call atmospheric and linear perspective. The sky at the top of the painting (the sky
closest to us) has deep, rich blues. As the sky moves back in space (towards the horizon),
it becomes paler. The mountains in the distance also become paler and bluer. This is a
technique meant to replicate the natural phenomenon of what happens when looking
through more atmosphere – atmospheric perspective. Details become less vivid and colours
become paler.
Sky becomes paler
Mountains become bluer
Linear perspective
The linear perspective is created by the diagonal lines of the ploughed field disappearing
behind the Madonna. These lead the eye back into space.
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Study Notes 2023
MG ~ Visual Arts
Form
In this painting we see natural forms – trees, grass, mountains, fields, clouds. We also see
figurative forms – the Madonna and child – in the foreground and then we also have built
forms – the architecture – in the background. Some forms in the painting are rounded and
curvilinear (the Madonna, child and clouds) and others are rectilinear (the architecture in the
background). Some of the forms feel solid (the figures in the foreground) and some forms
feel delicate (like the leaves on the trees in the background).
Basic lines of bare tree branches

and soft shapes of the leaves
Rectilinear forms and hard-

edged lines of the buildings
Contour lines separate

the dress from the grass
Line
Form is often defined by line and in this painting, there are contour lines used to demarcate
and separate forms, e.g., the line separating the Madonna’s draped clothing from the grass
on which she sits. We also see line on its own in the branches of the trees. Line is also
sometimes the corners of forms, like we see in the corners of the buildings in the
background.
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Study Notes 2023
MG ~ Visual Arts
Colour
We are immediately drawn to the rich blue of the Madonna’s draped robe and the deep blue
of the sky. This contrasts with the earthy colours we see in the browns and greens used for
the fields around and behind her. There are three main colours or colour groups seen in this
painting: blue (drapery and sky), red (dress/tunic) and yellow (skin tones, fields and
architecture) – the three primary colours. We also see white in the clouds and in the shawl
around her head, symbolising that she is connected to the heavens.
Shades of blue
Shades of red
Shades of yellow
Light
Colour is in a sense a function of light. Here, the artist has created the sense of the broad
light of a clear day. The light from the sun seems to be coming from the left and we see that
the clouds are illuminated from above. We also see a shadow falling on the Madonna, as if
she is illuminated from above. There is thus a consistent use of light and shadow. The
shadow is always in accordance with the source of light.
Illuminated
In shadow
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Study Notes 2023
MG ~ Visual Arts
We also see the use of chiaroscuro in the Madonna’s face (tonal contrasts between light
and dark to model 3D form). This assists in creating a form that appears to be 3D.
Smooth texture and varying

tones of the Madonna’s skin
Tone
Tone refers to the amount of light and darkness in a colour. Tone is closely related to light
and colour and we see the beautiful differences in tone in the blue of the Madonna’s dress
and the expert painting of the tonal differences in the flesh of the Madonna and the baby.
Texture
The smooth brushwork in the Madonna’s face accentuates the variety of textures the artist
used in this painting. The texture of the flesh and the smooth texture created in the cloth,
contrasts beautifully with the rough, pebbly surface that we see in the middle ground.
Another texture to note is the featheriness of the leaves on the trees. Texture is a tool that
artists can use to create a sense of veracity (truthfulness or accuracy) as they define different
kinds of form. Texture is also closely related to the materials the artist uses. Bellini used oil
paint, which is well-suited to the depiction of different textures. (Zucker and Harris, 2019)
Rough texture of grass

and pebbly surface
Smooth texture of flesh/skin

and material/cloth
65 © Optimi
Study Notes 2023
MG ~ Visual Arts
Describe what you see
Another component to visual literacy and answering theory tests and examinations in Visual
Arts is describing what you see. This sounds easy and straightforward, but accurately
describing an artwork in detail and expanding on the elements you have identified in an
eloquent, understandable and descriptive manner, is a skill that you need to learn and hone.
We will again reference a Khan Academy lesson as an example of how to describe an
artwork. View the full video here: bit.ly/2XQElAa.
A good way to practise this skill is by visiting a museum or an art gallery and having
conversations about what you see with the people you are with. In addition to purely
describing the work/what you see, consider the associations you have with what you see.
For this exercise, we will use Henry Moore’s Reclining Figure, 1951.
What is the first thing you see?

The first thing I see is a rather large human body in a reclined position. Although it is not a
realistic rendering of a human body and is abstract, I can see that it is a human body. I see
what looks like arms bent at the elbows and legs bent at the knees. I also see a torso,
shoulders and a neck and head.
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Study Notes 2023
MG ~ Visual Arts
Upon looking closer / further inspection, what observations can you make?
Although the sculpture resembles a human figure, it is not an actual elbow, what we perceive
to be a neck isn’t really a neck, and the head also isn’t really a head, but we still see it that
way. There is also a giant cavity / open space where the torso/trunk of the body should have
been. There are no feet or hands, although we perceive where these would have been,
almost as if the artist is inviting us to fill in the blanks.
What can you describe about the material and surface of the sculpture?
The sculpture is a dirty white and very smooth. The smooth surface and the beautiful
curvilinear forms almost coax us into touching the sculpture. The dirty white / ivory colour
makes you think of bone and gives the sculpture an organic feel. This plays a trick on the
viewer, as bone material would usually be on the inside of a body, but we are seeing the
entire ‘human’ form (the outside of it) made up of a bone-like material. There are also
geometric lines made on certain parts of the body – perhaps to draw our attention or to
symbolise specific body parts. These seem to have been carved or burned into the surface.
These lines are essentially drawings made onto the form and contrast with the soft curves
of the figure itself.
What comments can you make about the space the sculpture occupies and the space used
within the sculpture?
This sculpture is quite large and occupies an almost larger-than-life space. It is big enough
that the viewer can walk around it and view it from all angles – which is what the artist wants,
as you can only see certain elements from certain angles. The negative space created by
the areas of the body that haven’t been included in the sculpture almost feel just as
substantial as the actual forms themselves; the space where the torso should be and the
negative space behind the ‘spine’, gives us a sense of the body being lifted up.
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MG ~ Visual Arts
What do you feel when you look at this sculpture? (Find the words that describe what you
see – these will lead you to an interpretation and meaning of the work)
When I see this sculpture, I imagine a figure lying in the sun, in nature. The ‘head’ with its
representation of eyes and open mouth looking upward, as if looking into the sun. The
uplifted spine/chest that is pushed forward and the positioning of the elbows and knees give
me the idea that this figure is lifting itself up to catch the rays of the sun. The sculpture also
creates a feeling – the feeling I have when I arch my back. I can feel that ‘pulling’ when I
look at the sculpture. The artist was able to create a physical memory and an association
with basic, abstract line and form.
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Study Notes 2023
MG ~ Visual Arts
By simply spending time looking at an artwork, you can develop a whole set of associations
(match words with what you see) and those words form a unique description and
interpretation of the work. If you spend time looking closely and describing an artwork, even
an artwork you don’t necessarily like or understand, you develop an appreciation for what
the artist has done and start seeing the work in a different way. (Zucker and Harris, 2019)
Simply going through these two examples of a visual analysis and a description of an artwork
will not equip you to answer questions like these on unseen artworks in your tests and
exams. Select various artworks (in different mediums) and do visual analyses and complete
descriptions of the selected artworks. Also visit art galleries and museums and discuss the
art that you see with friends and family.
Here are a few visual literacy activities on well-known paintings. Answer these and then
research these artworks on the internet for analysis, descriptions and interpretations by
other commentators and art historians.
Answers to these visual literacy activities cannot be provided, as each candidate will
interpret and discuss this in a different way. Candidates and facilitators are encouraged to
research these artworks and compare the analyses to their own. Look at the things other
people saw and commented on that you may have missed and vice versa. Do you agree
with the analysis you found on the internet or not? How could you have improved on your
discussion and analysis?
The questions below could also be applied to any artwork. Ensure to visually analyse various
unseen artworks on a regular basis to hone this skill.
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Study Notes 2023
MG ~ Visual Arts
VISUAL LITERACY: ACTIVITY 1
Salvador Dalí, The Persistence of Memory, oil on canvas, Surrealism, 1931
1. What is the THEME of this artwork?

What exactly do you see? Be very specific on where in the image you see what.
E.g.: in the middle of the image, top left corner, etc. (2)
2. What is the MOOD of this artwork?

How does the image make you feel and why?
Refer to specific elements in the artwork. (2)
3. Discuss the use of COLOUR in this artwork.

Name the colours that you see and where you see it.
Is there a colour scheme?
Is it monochromatic/complementary/analogous?
What effect does this colour scheme have? (3)
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MG ~ Visual Arts
4. Discuss the use of LINE in this artwork.

Indicate where you see vertical, horizontal and diagonal lines.
How do these lines lead your eye in the image?
Are the lines curvy or straight? (3)
5. Discuss the use of SHAPE in this artwork.

Are there any geometric shapes? Geometric shapes are squares, rectangles,
triangles, circles etc. and create a sense of order and structure in an image.
Are there any organic shapes? Organic shapes are curvy and irregular and
are found in nature, such as clouds, plants, people, etc. and create a sense
of movement or a flowing image. (3)
6. Discuss the use of FORM in this artwork.

Form is 3D. Shading (different tints and shades of a colour), objects overlapping
one another and objects becoming smaller, create the illusion of depth and create
a 3D effect. (2)
7. Discuss the use of TEXTURE in this artwork.

What texture do objects have in this artwork?
Imagine you can touch the various things inside this artwork.
Name the object and say whether it is rough, smooth, sharp, etc. (3)
8. Discuss the CONTRAST (differences) in this artwork.

Are there contrasts in colour, line, shape, tone (chiaroscuro), size, etc.?
Compare two aspects of the artwork with each other to explain the contrast. (2)
9. Discuss the EMPHASIS in this artwork.

What stands out the most and why?
Possible reasons: it is in the centre of the image, it is the brightest object,
it is the only geometric shape in the image, etc. (3)
10. What is the BALANCE in this artwork?

Balance is symmetrical or asymmetrical in terms of the ‘visual weight’. (2)
TOTAL: 25
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Study Notes 2023
MG ~ Visual Arts
Example answer
The Persistence of Memory is a surreal landscape created by Salvador Dalí in 1931. Dalí is
one of the most important Surrealist artists, best known for his striking and bizarre images.
This painting is arguably his most famous painting and has become one of the most viewed
and analysed artworks ever.
A clue to the central theme of this painting is given in the title and linked to the melting
clocks. Time. The dream state and sarcasm and wordplay are central to surrealist art, and
here, Dalí uses sarcasm in the title to add a darker meaning to the painting. We see four
clocks on display in a deserted landscape. The clocks seem to be melting and their distorted
image may symbolise the erratic passage of time that we experience while dreaming. The
melting clocks could also symbolise how useless, irrelevant and arbitrary our normal concept
of time is in the dream state. If we link the clocks to the title, we could interpret the painting
to mean that memory is not persistent and melts away, just like time slips through our fingers.
Dalí has created a sombre and somewhat ominous mood here. The desolation of the
landscape gives a sense of desertion and the melting clocks leave you feeling somewhat
hopeless.
The colours are not vivid or bright, but more saturated and dark. Dalí uses shadow and
colour to create a specific experience. The colours used are primarily warm and include
yellow, gold, and varying shades of brown. We also see different shades of blue, ranging
from the vivid sky to the cool blue-grey tones in the clocks, platform and figure in the centre.
Dalí creates beautiful tone ranges in the brown cube and the blue sky. He also created
sparkles of white and gold in various objects where the sun touches them, including the
rocks and all four clocks.
Dalí uses various lines in this painting. We see geometric, hard-edged lines in the brown
cube and blue platform. We can also observe curved lines in the shaping of the clocks and
the white humanoid object. We also see organic and jagged lines shaping the tree, its
branches and the jagged rocks in the background. Most of the painting contains lines that
are relatively thin and similar in width, except for the mountains and the eyelashes of the
white figure.
This painting also contains a variety of shapes and forms, both identifiable and
unidentifiable. The blue platform and the large brown cube/table/box on the left of the
painting have hard edges. Although the object is unidentifiable, the geometric shapes can
be identified. The tree, rocks, fly and ants are all identifiable, 3D forms. The white
unidentifiable object in the centre of the painting has an organic, almost humanoid feel and
has been painted to be 3D.
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Study Notes 2023
MG ~ Visual Arts
The texture of this painting mostly focuses on senses such as sight and touch. From smooth
surfaces to rough and jagged objects, Dalí intensifies the visual experience to create an
imaginary sense of touch. The blue platform appears to have a smooth surface, with a rough,
wooden underside. The tree in front of it has a coarse exterior with deteriorating bark. The
clocks are all smooth with a metal-feel, even though they hang limply. This creates an optical
illusion, as we perceive this to be dripping metal. The golden clock is shiny and metallic,
which contrasts with the rough texture of the ants placed on top of it. The brown soil’s texture
is almost too smooth, and this adds to the surreal feeling of the painting.
The most obvious contrast in this painting is the contrast of nature versus man-made
objects. The clocks feel out of place in this landscape. There are ants on the golden clock;
this deepens the contrast of nature versus man-made objects and could symbolise a
decaying of time, as ants are a universal symbol for decay. There is also a strong contrast
between the jagged edges of the rocks as well as the hard edge of the block/table and the
soft, limp clocks. The use of shadow in the painting builds a strong contrast between light
and dark. The light projects emphasis on several objects and builds 3D using shadow and
colour.
Emphasis is difficult to single out. The entire painting / every element is emphasised,
although the three melting clocks are the most emphasised. Dalí created a set of diagonal
lines that lead the eye to the back of the painting. This was done by the line creating the
cube’s top edge, the edge of the platform and the tree branch – all coaxing the eye to the
back.
The painting has asymmetrical balance – there are more objects on the left than on the
right. However, the painting’s composition does not feel unbalanced. The rocks and the dark
landscape on the right have a heaviness that balances out the objects on the left. We also
feel a sense of balance between the negative and positive spaces in the painting.
73 © Optimi
Study Notes 2023
MG ~ Visual Arts
Francisco Goya, The Third of May, oil on canvas, Romanticism, 1814



Is it monochromatic/complimentary/analogous?
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MG ~ Visual Arts

Are they curvy or straight? (3)


a 3D effect. (2)




TOTAL: 25
75 © Optimi
Study Notes 2023
MG ~ Visual Arts
Frida Kahlo, Self-portrait, oil on board, Modern Art, 1940



Is it monochromatic/complementary/analogous?
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Study Notes 2023
MG ~ Visual Arts

Are they curvy or straight? (3)


a 3D effect. (2)




TOTAL: 25
The following websites have more information and tips on how to do a visual analysis:
● bit.ly/3279ezL
● bit.ly/2YvoAMk
● bit.ly/2XohdK1
● bit.ly/2JbeXgH
77 © Optimi
Study Notes 2023
MG ~ Visual Arts
REFERENCES
Web references
● Dr S. Zucker & Dr B. Harris, 2019, How to do visual (formal) analysis in art history –
Giovanni Bellini, Madonna of the Meadow, c. 1500, Khan Academy
[Accessed: 18 June 2019, bit.ly/2XspqwL]
● Dr S. Zucker & Dr B. Harris, 2019, Describing what you see: Sculpture (Henry Moore,
Reclining Figure), Khan Academy
[Accessed: 19 June 2019, bit.ly/2XQElAa]
Past paper references
● SACAI Visual Arts Theory Paper – National Senior Certificate Grade 12, November
2017
Academic material references
● SACAI Visual Arts Examination and Subject Guidelines, updated in 2018
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CONTENTS

You need the following study guides throughout Grades 10 to 12:

2. Study notes (current document)

● The answers to these exercises can be found in the teacher’s guides.

What do I need to complete the practical component for Visual Arts?

THEORY PRACTICAL FORMAL ASSESSMENT

Task 7.1 (100)

Preparation and execution of

THEORY PRACTICAL FORMAL ASSESSMENT

Chapters 5 and 6 in the learner’s

Theme 5: Between the

Chapter 7 in the learner’s guide. (Study all work covered

Preparation and execution of

THEORY PRACTICAL FORMAL ASSESSMENT

Task 2: Sourcebook for PAT 1

Task 3: Sourcebook for PAT 2

Theme 6: Post-1994 – throughout the year.)

home/school/tutor before the

Final theory examination (100)

2. Requirements for formal assessment in Visual Arts

Assessments are divided into continuous assessment and summative assessment.

A. The theoretical component

Grade 10 – What to study

Theme 1: What is Visual Arts? Theme 5: The Classical World

TERM 1 TEST | TASK 1

JUNE EXAMINATION | TASK 3

TERM 3 TEST | TASK 5

NOVEMBER EXAMINATION | TASK 7.2

Grade 11 – What to study

TERM 1 TEST | TASK 1

JUNE EXAMINATION | TASK 3

TERM 3 TEST | TASK 5

NOVEMBER EXAMINATION | TASK 7.2

Grade 12 – What to study

Theme 1: The voice of emerging artists

TERM 1 TEST | TASK 1

JUNE EXAMINATION | TASK 4

PRELIMINARY EXAMINATION | TASK 5

FINAL EXAMINATION – SET BY SACAI

Important information to look out for

● Biographical detail is only important if it directly influences the artwork.

General tips for Grade 12

Download the portfolio study notes. This document is set per

Reading and understanding questions in a test/examination

Terminology used in examination

The examination format for Grades 10 and 11

The examination format for Grade 12

The chapter/theme. Make sure to answer

The quote/statement/excerpt that gives you more

What you need to discuss in your essay.

The second sub-question will always be to discuss

Categories typically found in examination papers

Mark allocation (questions and the amount of writing)

Unachieved Elementary Satisfactory Average Substantial Meritorious Excellent

27 /60 converted to 5 /10

For this question, the candidate had to discuss the following:

How to write an essay

An essay’s format consists of an introduction, a body and a conclusion. In your introduction,

Unseen images of known or unknown artists

Example of a discussion of unseen work

Fig. 1A: Leonid Afremov, Paris of my Dreams, Oil on canvas

B. The practical component

Practical assessment tasks