VISUAL ARTS
EXAMINATION GUIDELINES
GRADE 12
2021

1. INTRODUCTION
The Curriculum and Assessment Policy Statement (CAPS) for Engineering Graphics and Design outlines the nature and purpose of the subject Engineering Graphics and Design. This guides the philosophy underlying the teaching and assessment of the subject in Grade 12.
The purpose of these Examination Guidelines is to:

• Provide clarity on the depth and scope of the content to be assessed in the Grade 12 National Senior Certificate (NSC) Examination in Engineering Graphics and Design.
• Assist teachers to adequately prepare learners for the NSC examinations.

This document deals with the final Grade 12 external examinations. It does not deal in any depth with the School-based Assessment (SBA), Performance Assessment Tasks (PATs) or final external practical examinations as these are clarified in a separate PAT document which is updated annually.
These Examination Guidelines should be read in conjunction with:

• The National Curriculum Statement (NCS) Curriculum and Assessment Policy Statement (CAPS): Engineering Graphics and Design
• The National Protocol of Assessment: An addendum to the policy document, the National Senior Certificate: A qualification at Level 4 on the National Qualifications Framework (NQF), regarding the National Protocol for Assessment (Grades R–12)
• The national policy pertaining to the programme and promotion requirements of the National Curriculum Statement, Grades R–12

1.2 Aims
Grade 12 Visual Arts learners aim to:

• Explore, develop and realise creative ideas in response to both externally set and self-generated projects, drawing on own experience and own knowledge of visual culture in the past and present
• Explore and manipulate materials, techniques, processes and technology in the making of imaginative and innovative artworks of personal expression
• Explore materials, processes and techniques in an efficient, economical, safe and responsible way
• Manage their own working process
• Observe, assess and analyse art forms, processes and products
• Communicate effectively using visual, oral and written language skills
• Critically appraise their own work and that of others
• Develop entrepreneurial skills and professional practice within art to explore a variety of career options
• Be exposed to the diversity of visual arts traditions in international and South African contexts and use it as a resource
• Appreciate the critical role visual arts play in the enrichment of the visual environment of the school and community
• Understand the links between visual arts and the creative industries, such as design and advertising
• Understand the social and historical role of visual arts in transforming societies

CHAPTER 2: ASSESSMENT
2.1 Assessment Objectives
As outlined in the CAPS document, assessment is meant to:

• Enable the teacher to make reliable judgement about a learner's progress
• Inform learners about their strengths, weaknesses and progress
• Assist teachers, parents and other stakeholders in making decisions about the learning process and progress of the learners

2.2 Overview of Topics

2.3 Formal Assessment for Grade 12

At the end of Grade 12, a Visual Arts learner will be marked on the following:

• SBA mark: raw marks and totals for assessment tasks from Term 1 to Term 3 and convert to 100
• PAT (retrospective exhibition): minimum of 2 artworks + 1 to 2 works from Grade 11) – 100
• Practical examination: sourcebook and artwork, externally set and marked – 100
• Theory examination: externally set and marked – 100

Consult the GUIDELINES FOR PRACTICAL ASSESSMENT TASKS for more information.
2.4 School-based Assessment (SBA)
All SBA tasks must be moderated internally. Provincial and national moderation will be done by the National Department of Basic Education (DBE) and/or the respective provincial education departments (PEDs). This process will be managed by the provincial education department. Tasks 1, 2, 3 and 4 will make up the SBA mark.

2.5 Cognitive Levels

• All tests and examinations must follow the following range of cognitive levels. Questions will have different degrees of challenges – easy, medium and difficult.
• As learners have a choice of questions in the Trial and Final Examinations, each question should comply with the range of cognitive levels.

Explanation of cognitive levels: Bloom's Taxonomy

Bloom's Revised Taxonomy

Internally set tests and examinations

• A test for formal assessment should not consist of a series of small tests. It should cover a substantial amount of content and the duration should be 45 to 60 minutes.
• Each test and examination must cater for a range of cognitive levels and must also include paragraph-type responses.
• It is recommended that the same format be used as in the final Grade 12 end-of-year theory examination in internally set examinations.
• Questions should include unseen visual images to test learners' visual analysis skills. These images should relate to the learners' theme of study, e.g. thematically or stylistic, as well as works/movements that they have studied.
• Ensure that enough or more facts are included for each question in the marking guidelines in order to become a proper tool for marking and future teaching.

2.6 External Examinations
All Visual Arts candidates will complete the PAT Retrospective Exhibition – TASK 5:

     
All Visual Arts candidates will complete TWO external papers as prescribed:

CHAPTER 3: SUBJECT CONTENT
3.1 PAT (Retrospective Exhibition)
Topic 2: Making of Artworks
According to the CAPS, Grade 12 learners must display, exhibit or present their own work in a manner which enhances and complements the expressive and conceptual impact of the work.

• At the end of year, learners must present a PAT exhibition of their work as part of their examination mark.
• This exhibition shows substantial evidence of the learners' Visual Arts conceptualisation, technical skills and knowledge developed over the period of the grade. It showcases the learners' practical development in presenting a cohesive body of work similar to a small one-man exhibition.
• The artworks (Topic 2) from the two practical tasks are compulsory and minimum requirements. One or two Grade 11 artworks must be included to show development and progression.
• As the nature of the subject is creativity and self-expression, learners may not be boxed in by the minimum requirements, but must be allowed to do more works related to the two themes they have investigated. Self-expression and individuality of learners in this exhibition must be encouraged.
• Grade 12 learners should use the opportunity to further develop and extend their practical work into a cohesive and holistic body of work that is seen in the context of an exhibition environment. Therefore, learners may exhibit more works that provide evidence of this process, e.g. work done on their own and/or extend their theme(s) into more artworks.
• The sourcebook(s), although assessed already, must be displayed to demonstrate the development to the final artwork(s).
• This body of work will be assessed holistically.

Checklist for the exhibition

• Grade 12: The artworks (Topic 2) from the two practical tasks are COMPULSORY.
• One or two Grade 11 artworks must be included to show development and progression.
• Learners have the opportunity to further develop and extend their practical work into a cohesive and holistic body of work that is seen in the context of an exhibition environment. Therefore, learners may exhibit more works that provide evidence of this process, e.g. work done on their own.
• The sourcebook(s), although assessed already, must be displayed.

Presentation

• Teachers should provide the space for the exhibition, e.g. the school hall or art classroom OR it can be an online presentation as decided by the PED.
• Teachers should make learners aware of the importance of presenting their work and provide guidelines for a neat, professional exhibition.
• Learners must curate their exhibition.
• Framing of works is unnecessary, but in many cases simple mounting will enhance the work.
• Learners must refrain from using props, accessories, etc. The exhibition must show an awareness of professional exhibition practices.
• If computers are necessary to show digital work, learners must make sure that they work and that they know the passwords.

Assessment
The following is a guideline of aspects that will result in the final valid mark:

• Overall progress and development of the learner to independent and individual solutions
• Creativity and originality
• Technical skills
• Personal involvement and expression in the process and final works
• Substantiation in the sourcebook: conceptualisation, exploration and experimentation of media, techniques, styles, etc. Sufficient exploration of drawing.
• Full marks cannot be awarded if all required artworks are not presented. Marks should be adjusted according to the presented works.
• The descriptive rubric, Assessment Criteria for Practical Work, MUST be used to ensure standardisation.

Assessment Criteria
This body of work will be assessed holistically:

• Marking must be done according to the DBE rubrics by a panel (peer teachers or external panel).
• All learners must be individually moderated, i.e. face-to-face or online moderation, to verify the process, products and marks. This moderation must be done by provincial officials and/or persons appointed by the province.
• The provincial education department manages this process.

3.2 Paper 1: Visual Culture Studies (Topic 3)

• The written theory examination is set by the DBE on designated content taught during the year. Only Grade 12 content will be assessed. However, prior knowledge from Grades 10 and 11 may be necessary to interpreted and answer some of the questions.
• The time allocation for this question paper is 3 hours.
• The question paper will consist of eight questions. The learner must select FIVE questions to answer on that which they have studied in Grade 12.
• Each question will count 20 marks with a total of 100 for the paper.
• Questions appear on the left-hand pages, with visual sources in colour on the right-hand pages.
• All questions are to be answered in essay style, using full sentences and paragraphs according to the instructions for each question. Lists of facts will be severely penalised.
• Questions will consist of shorter and longer essay-type questions.
• Questions will consist of visual literacy and content that has been studied.
• The examination is externally assessed and moderated provincially and nationally.
• The examination is assessed according to national marking guidelines.

The mark allocation for the Grade 12 November Theory Examination paper is shown below.

Guidelines:

• Learners should study a minimum of FIVE out of eight themes.
• The learners must be acquainted with, and be able to apply concepts relevant to international and South African art. They should have a clear, balanced understanding and knowledge of traditional international art movements and the meaning of emerging local styles using terms, such as resistance art, propaganda art, appropriation, the 'neglected tradition', etc.
• Learners should be made aware of problematic terminology, issues, assumptions and bias in relation to the art that they study.
• At least two artists (or architects) must be addressed in each chosen theme with a minimum of two works by each artist (or architect).
• The examination panel has taken note of the huge variety of resources available by setting broad questions in which learners can select and utilise their knowledge in a relevant way, justify their interpretations and opinions or solve problems through applied knowledge and knowledge construction.
• Visual literacy underpins the study of all themes, therefore the study of specific artworks must be used to explain the historical, political, social and/or economic background of civilisations/ styles/movements and individual artists.
• In the study of artworks emphasis must be placed on:
  
  • Visual literacy terminology – how elements of art help to communicate meaning and message
  • Materials and techniques
  • Different styles, such as naturalism, expressionism, abstraction, stylisation, etc.
  • Function of the work
  • Contextual factors
  • Ideas, meaning and message
• Learners should be exposed to all art forms, such as two-dimensional art (painting, drawing, printmaking, etc.), three-dimensional art (sculpture, etc.), architecture and applied arts/craft (functional objects in a fine-art context).
• Although specific artworks must be studied in depth in each theme, learners should be exposed to a wide range of examples from each theme to illustrate art as visual communication.
• As the focus is mainly on South African art in Grade 12, teachers must relate themes to the learners' community, where possible.

Assessing the learner's ability to analyse and respond to examples of visual culture:

3 Adequate 40–49%

3.3 Paper 2: Practical Examination (Topics 1 and 2)
The question paper consists of TOPIC 1 (Sourcebook) and TOPIC 2 (Artwork).
TIME:
Topic 1: Conceptualising at school and/or home during Term 3.
Topic 2: Final artwork done under controlled conditions only at school for a maximum of 24 hours.
HAND OUT: Will be stipulated by the DBE.
DUE DATE: Will be stipulated by the DBE.

• The practical examination is set by the DBE.
• NOTE: The maximum duration for the entire practical examination process will be stated on the national practical question paper, Paper 2.
• The theme will be a wide, open-ended theme to cater for diverse solutions in the different specialisation disciplines.
• Specialised options include drawing, painting, sculpture, printmaking, multimedia work, photography, ceramic sculpture, installations, new media work, etc.
• As Topic 1 (Conceptualising) has the same weighting as Topic 2 (The artwork), it should be given enough time to acknowledge its importance.
• The teacher may be involved in this preliminary preparatory session. Due to the preparatory nature of Topic 1, learners are allowed to also work at home.
• All Topic 1 work must be completed and ready before the commencement of the Topic 2 examination work. Learners may use the Topic 1 sourcebook as a point of reference during their Topic 2 examination. Both Topic 1 and Topic 2 examination work must be submitted to the examination officer/teacher immediately after the Topic 2 examination has been completed. This date will be stipulated by each province in an official letter.
• The teacher may NOT assist the candidate IN ANY WAY during the final production of the artwork (Topic 2).
• Topic 2 must be done on a continuous basis during contact time, e.g. during four consecutive days of six hours each. The choice of examination time division or options must be negotiated within each school.
• Topic 2 must be done at the learner's examination centre or registered art centre, under the supervision of the school teacher. Topic 2 work must NOT be done at home and must NOT leave the examination venue.
• Each province will determine the marking process of Topic 1 (sourcebook/conceptualisation) and Topic 2 (final artwork). Schools will be notified by the provinces concerning date, time and venue for the submission of works to the examination centres, where applicable.
• Learners' work is not restricted regarding size, but it should be a substantial body of work representing at least 12 hours and no more than 24 hours. Adhere to the mark allocation when marking.
• The final practical examination for Grade 12 represents the culmination of learners' art studies throughout the year.

GUIDELINES
TOPIC 1: Sourcebook

• This must be completed at school and at home during Term 3.
• The teacher must introduce the question paper
• The teacher can guide the learners in their choice of subject matter, media and techniques used in Topic 2 regarding the specific context of the school.
• The teacher must encourage the learners to explore as many different interpretations as possible. Closely monitor and guide the learners as they research the theme.
• The sourcebook provides insight into the way that the learners have formed ideas, how many alternatives they have investigated and other processes leading to the final work. The sourcebook should clearly communicate all thought processes leading to the making of artworks.
• There are no restrictions on size and it can be presented in any form.
• It is important to forbid direct copying from magazines, the internet, etc. Direct copying of an image that is not the learner's own will be penalised. This is a form of plagiarism and is unacceptable.
• The transformation process of the source material is extremely important. Learners can, however, use appropriate images from magazines and other sources and combine them with other images to create their own interpretations.
• There should be a clear link between the final artwork and the visual/written information in the sourcebook.
• Emphasis should be placed on preparatory sketches, drawings, experimentation with techniques and materials that will be used in the final work.
• In the sourcebook the learner should VISUALLY tell the 'story' of how the artwork was CONCEIVED, DEVELOPED and PRODUCED. This should be done through drawing, writing, experimenting, etc.
• The sourcebook should reflect individuality and creativity.

The following is a guideline of items that could be included in the sourcebook:

TOPIC 2: Artwork

• The examination work must be done in the presence of the Visual Arts teacher within the confines of the art room.
• All materials needed for the examination must be brought into the examination venue, but NO examination work may be taken out of the classroom. This is regarded as an examination irregularity.
• Learners may discuss the question paper with their Visual Arts teacher prior to the start of the examination, but no discussion of work may occur during the examination period.
• The learners are required to produce ONE artwork in the practical discipline that they have chosen for the year.
• The final artwork may be presented as a single piece, or possibly in the form of a diptych, triptych or a series of works that read as one work.
• Learners are not restricted regarding size, but the artwork must be manageable and durable in terms of transport to the examination centre, if required by the province.
• Allow for a variety of media, techniques, disciplines and approaches.
• The learners must demonstrate an advanced degree of technical skill in the use of a range of materials and techniques chosen.
• There are no specific prescriptions regarding the style of the work. The learner can work in the form of naturalism, expressionism, decorative, etc.
• Learners may also incorporate other media to create mixed media work in any of the practical disciplines.
• Artworks that are removed from the art room/school for foundry work, firing of sculptures, digital printing of photographs, etc. must be closely monitored by the art teacher, signed out when removed and signed in when the artwork is returned to the art room.
• Of great importance are the art elements and principles of art, such as line, shape, colour, texture, space, rhythm, balance, proportion and composition.
• Creativity and individuality must be emphasised. The artwork should be an expression of the candidate's interests/ideas and concerns at the level of an 18- to 19-year-old.
• A successful artwork is a combination of the concept and realisation. Beware of illustrative work. The aesthetic qualities, 'freshness' and energy of the artwork should be emphasised.
• In all digital/multimedia/new media work, concept development and realisation must play an important role. When marking, evidence of the candidate's thought processes leading to the final realisation of the concept should be visually apparent.

ASSESSMENT CRITERIA
TOPIC 1: SOURCEBOOK

TOPIC 2: THE ARTWORK/PRACTICAL

ASSESSMENT CRITERIA FOR PRACTICAL WORK
This descriptive rubric must be used in ALL practical assessments (Sourcebooks, Artworks and PAT exhibition) to ensure standardisation.

Paper 2: Marking and Moderation

• Marking must be done according to the DBE rubrics by a panel (peer teachers or external panel).
• All learners must be individually moderated, i.e. face-to-face or online moderation, to verify the process, products and marks. This moderation must be done by provincial officials and/or persons appointed by the province.
• The provincial education department manages this process.

CHAPTER 4: GENERAL SUBJECT INFORMATION
4.1 Explanation of Terminology
Visual literacy: The first level of visual literacy is simple knowledge: basic identification of the subject or elements in a work of art. But while accurate information is important, understanding what we see and comprehending visual relationships are as important. These higher level visual literacy skills require critical thinking.
Formal analysis: A detailed and logical discussion of the formal elements in an artwork, such as line, colour, composition, etc.
Visual analysis: It is not only a formal analysis, but also include style, technique, contextual influences, meaning and interpretation.
The following are some of the key concepts that learners must understand and be able to identify and explain in artworks.

• Formal elements of art:
  
  • Line (different qualities of lines, contour lines, etc.)
  • Shape and form (positive and negative shapes, organic and inorganic)
  • Tonal values (chiaroscuro)
  • Texture (implied and tactile texture)
  • Colour (colour theory, e.g. primary, secondary, complementary, tertiary, monochromatic, cool and warm colours and their influence on an artwork)
  • Space (line and aerial perspective)
  • Pattern
• Principles of design (such as unity, rhythm, movement, proportion, emphasis, contrast, etc.)
• Composition and focal point
• Different media of artworks (oil painting, marble sculpture, etc.)
• Techniques (e.g. blended areas or definite brushwork in a painting; carving or modelling in a sculpture)
• Styles (such as naturalism, expressionism, stylisation, symbolism, abstract)
• Frontality, distortion, simplification, etc.
• Understanding of concepts/ideas such as Western Art, Non-Western Art, Indigenous Art, modernism, postmodernism, functionalism, propaganda art, appropriation, etc.
• Concepts/Ideas/Ideologies specifically relating to South African history and art, such as apartheid, resistance art, the 'neglected tradition', etc.
  (Consult glossary in approved textbook and/or in art books for explanations.)

4.2 Resources
Approved textbook by Department of Basic Education

• Visual Arts Grade 12 Learner Guide. Future Managers.

Consult the Visual Arts CAPS document for a comprehensive list on relevant books and websites.
Other resources

• The content in Grade 12 Visual Arts (Topic 3) focuses on South African art. Teachers should be on the lookout for exhibitions at art museums and galleries covering the work of established and emerging artists. There are often books on specific artists and/or brochures available at these exhibitions that are valuable resources for teaching. Also, collect reviews and articles on South African art from newspapers and magazines. Art South Africa and Art Times are two specialised magazines on South African art.
• Regular, continuous visits to and discussions of contemporary exhibitions are strongly recommended. It is important that learners experience artwork first hand and learners should be familiar with at least one recent local exhibition.
• The emphasis should be on visual images to show the interaction between art and society. The showing of visual images in the form of slides, PowerPoint presentations, large photocopies, DVDs, etc. is essential and learners must engage with these images in class.
• The emphasis on visual literacy makes this a dynamic and interactive subject. Learners must be guided to participate actively through questioning, discussions, debates, games and other interactive activities. Use visual literacy to enforce learners' practical work.
• Give learners many opportunities to write about art, to develop their writing skills and to use art terminology. This writing need not take the form of long research essays, but can involve shorter, more frequent tasks (e.g. writing about works seen at an exhibition, a visual analysis of an unseen example or examples, learners' own examples used to illustrate an issue or theme, worksheets, the making of flash cards).
• Encourage learners to visit art exhibitions and galleries, read and collect reviews of exhibitions, read and look through art books, and do research on the internet.
• Teachers should develop and use their own collection of project briefs, reference books, catalogues and magazines, photographs, slides, DVDs, etc. to provide valuable teaching and learning support material for the practical skills required by the CAPS.
• All teachers are encouraged to share and develop resources in groups or clusters – enabling a sharing of workload and information.

CHAPTER 5: GENERAL GUIDELINES FOR THE TEACHER
5.1 Paper 1 (Topic 3)

• Teach learners how to approach a question. Learners must understand the meaning of the instruction word, such as 'discuss', 'compare' or 'analyse', and ensure that they adhere to these instructions.
• Teach learners to carefully read through the questions and see how they are limited, for example whether they have to discuss two specific works of an artist OR discuss the work of any two artists.
• Teach learners to be specific and not make personal judgements that are not justified with reasons.
• Ensure that the learners really know and understand the formal elements and art principles and know how to apply them.
• They should use the correct art terminology.
• Regarding 'unseen' artworks where they need to apply their visual literacy skills:
• Learners must carefully consider the captions – captions provide the name of the artist, title of the work, date and medium. These are all clues to use.
• Example: the medium is important – is it a sculpture, painting or drawing? They are not going to discuss the background of a sculpture. If it is a painting, they can write about the style, brush strokes, etc.
  
  • Learners should carefully consider what needs to be discussed and ensure that they write on these specifically – it is of no use discussing colour only and ignoring composition (depending on what is asked). Although bullets are often used to guide learners, they must answer in a holistic way.
  • They should not be obscure – a small vertical line in the background does not portray strength and power. Instead they must concentrate on the main elements.
  • Meaning/Interpretation: Learners must be aware of unjustified stories without any relation to the artwork. The theme of the question is there to help them, e.g. if it is on gender issues, they must apply their knowledge of this issue to the unseen work. They should also beware of 'sermons' on social issues or religion that are not related to the work – women as slaves, etc.
  • Learners must be aware of the length of answers: A guide is provided in the question paper, e.g. 10 marks would be at least ONE page of writing.
• Information and artworks discussed in one answer will NOT be credited if repeated in other answers; however, artworks may be cross-referenced.
• Learners must name the artist and title of each artwork mentioned, where applicable.
• Learners must answer all their questions in FULL SENTENCES or PARAGRAPHS where applicable. Point-form answers may not receive full marks.
• Credit will be given to thoughtful, creative and personal responses. Learners should look for an informed personal dialogue, rather than an 'academic gush' of information taken from notes.
• Learners should study past question papers.

5.2 Paper 2 (Topics 1 and 2)

• Carefully study the Guidelines in 3.2 on Paper 2: Practical Examination.
• Study past questions papers.

CHAPTER 6: CONCLUSION
It is envisaged that this Examination Guidelines document will serve as an instrument to strengthen and empower teachers to set valid and reliable assessment items in all their classroom activities.
This Examination Guidelines document is meant to articulate the assessment aspirations espoused in the Amended CAPS document. It is therefore not a substitute for the CAPS document which teachers should teach to.
Qualitative curriculum coverage as expressed in the CAPS cannot be over-emphasised.