Visual Arts PAT GR 12 2018 Eng

Downloaded from hlayiso.com VISUAL ARTS VISUAL ARTS GUIDELINES FOR PRACTICAL ASSESSMENT TASKS GRADE 12 2018 These guidelines consist of 29 pages. Copyright reserved Please turn over

Downloaded from hlayiso.com Visual Arts 2 DBE/PAT 2018 NSC TABLE OF CONTENTS 1. INTRODUCTION 3 2. TEACHER GUIDELINES 3 2.1 Ideas and approaches for guiding Topic 1 5 2.2 Ideas and approaches for guiding Topic 2 6 2.3 How to administer PATs 7 2.4 Retrospective exhibition 8 2.5 How to mark/assess the PATs 9 2.6 Moderation of PATs 12 3. LEARNER GUIDELINES 13 3.1 Instructions to the learner 13 3.2 Requirements: PATs for Visual Arts 17 3.3 Assessment 18 3.4 Absence/Non-submission of tasks 19 3.5 Requirements for presentation 19 3.6 Timeframes 19 3.7 Declaration of Authenticity 19 4. LIST OF RESOURCES 20 5. CONCLUSION 20 ADDENDUM A: DECLARATION OF AUTHENTICITY 21 ADDENDUM B: PAT EXAMPLE 22 ADDENDUM C: TEACHER'S GUIDE TO MANAGING THE PAT: METAMORPHOSIS 29 ACRONYMS CAPS Curriculum and Assessment Policy Statement FET Further Education and Training NCS National Curriculum Statement NSC National Senior Certificate PAT Practical Assessment Task POA Programme of Assessment SBA School-based Assessment Copyright reserved Please turn over

Downloaded from hlayiso.com Visual Arts 3 DBE/PAT 2018 NSC 1. INTRODUCTION The 16 Curriculum and Assessment Policy Statements subjects which contain a practical component all include a practical assessment task (PAT). These subjects are: ● AGRICULTURE: Agricultural Management Practices, Agricultural Technology ● ARTS: Dance Studies, Design, Dramatic Arts, Music, Visual Arts ● SCIENCES: Computer Applications Technology, Information Technology ● SERVICES: Consumer Studies, Hospitality Studies, Tourism ● TECHNOLOGY: Civil Technology, Electrical Technology, Mechanical Technology and Engineering Graphics and Design A practical assessment task (PAT) mark is a compulsory component of the final promotion mark for all candidates offering subjects that have a practical component and counts 25% (100 marks) of the end-of-year examination mark. The PAT is implemented across the first three terms of the school year. This is broken down into different phases or a series of smaller activities that make up the PAT. The PAT allows for learners to be assessed on a regular basis during the school year and also allow for the assessment of skills that cannot be assessed in a written format, e.g. test or examination. It is therefore important for schools to ensure that all learners complete the practical assessment tasks within the stipulated period to ensure that learners are resulted at the end of the school year. The planning and execution of the PAT differs from subject to subject. 2. TEACHER GUIDELINES CREATIVITY – Learners show creativity when they play with ideas and generate different approaches, responding to purposeful tasks in imaginative and personal ways to produce original images and artefacts. Originality can be defined in relation to learners' own previous work, the work of their peer group, or what others have produced in a range of historical contexts. The National Department of Basic Education (DBE) has decided that Visual Arts teachers will set their own SBA tasks due to the creative nature of the subject. ● Teachers must design THREE separate practical assessment tasks (PATs) which are undertaken during the academic year, i.e. ONE PAT will be completed in Terms 1 and 2. In Term 3, PAT 3 is the trial examination. ● Each task must include both Topic 1: Conceptualising and Topic 2: The making of creative artworks. ● Marks must be allocated to both the conceptualising (Topic 1) and the making of creative artworks (Topic 2). NOTE: Teachers must comply with CAPS, whereby one PAT must be completed in each of the three terms. PAT 1 may NOT be done in Grade 11, NOR may the trial examination be completed in Term 2. Copyright reserved Please turn over

Downloaded from hlayiso.com Visual Arts 4 DBE/PAT 2018 NSC Learners must receive the PAT in the form of a written brief to inform them of the following before commencing with the work: ● The exact aim or end product expected regarding medium, size, etc. ● Sources available for reference/research/investigations/experimentation ● Assessment procedures and criteria to be used ● Exact, non-negotiable dates for handing in work; checkpoints along the way ● Any possible limitations and/or guidelines for the assignment ● Appropriate media, techniques and/or approaches for the assignment General guidelines in setting the PAT: ● ADDENDUM B in the CAPS document provides options for the setting of PATs. ● In Grade 12 tasks should be open-ended briefs that allow learners to choose the materials, tools, techniques, themes and processes within their specialised practical options, e.g. painting, sculpture, printmaking, etc. ● It is strongly advised that Visual Arts teachers set their own PATs, to inspire creativity and originality. Contextual factors should be taken into account, namely the materials, equipment and facilities at a school, resources, cost, experience of learners, etc. ● Appropriate media, techniques and/or approaches should be chosen for the task. ● The exact aim or end product expected of the task regarding medium, size, etc. should be communicated to learners. Remember to give scope to innovative and personal interpretations. Originality and creativity are of the utmost importance. ● When themes are decided on, take the learners' interests, experiences and context in account to challenge them. Artworks tell us about artists' experiences, ideas and feelings. Encourage 'honesty' so that learners' artworks speak of their experiences, ideas and feelings, so that they do not produce 'second-hand' works. ● Many teachers may decide on a broad theme for the annual practical work and then subdivide it into specific aspects of the theme, i.e. one per term. This can result in a more coherent body of work in the retrospective exhibition. Copyright reserved Please turn over

Downloaded from hlayiso.com Visual Arts 5 DBE/PAT 2018 NSC ● Although learners must receive a written brief, it is sometimes a good idea to give the brief to them just before starting with the final artwork. Topic 1 would consist of a series of 'building blocks' (step-by-step activities as part of the process work) given at consecutive times to ensure experimentation. Learners may not know where the topic is leading, which creates an aspect of surprise. This prevents the tendency of learners getting stuck on their first idea without experimenting and researching other possibilities. ● Set expectations, minimum requirements and deadlines regarding the end product. ADDENDUM B has an example of a practical assessment task. Teachers can use this task as one of their PATS for 2018. ADDENDUM C gives specific guidelines for teachers regarding this PAT. 2.1 Ideas and approaches for guiding Topic 1 Informal and formal preparation for practical work must be recorded in a sourcebook/ visual diary kept specifically for Visual Arts. This sourcebook is NOT a formal, neat notebook, but is an expressive, personal 'diary' of ideas and stimuli which reflect an individual's own style, interests and personality. It should be full, exciting and a useful source of ideas and images for use in practical assignments. Learners should put all their conceptual ideas, planning, 'playing around' and exploratory work in their Visual Arts sourcebook. 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. The sourcebook should include the following: ● Sketches and preparatory drawings. Drawing is a compulsory part of all practical options in Visual Arts. ● Images, articles, excerpts, samples, photographs, etc. collected by the learner. ● Objects (pieces of paper, packaging, etc.) which the learner has found interesting, stimulating, of personal significance or which may prove useful for a practical project at some stage. ● Doodles, words, sketches and writings related to the learner's experiences and context. ● Research on a wide variety of artists, as well as examples that will inform their practical work. ● Anything else which the learner may find stimulating and/or interesting and which may function as a source for his/her practical work. ● Investigation of different techniques and materials. ● Mind maps to generate ideas. ● Documentation of any process work. Copyright reserved Please turn over

Downloaded from hlayiso.com Visual Arts 6 DBE/PAT 2018 NSC Visual research, investigation and practical process work Teachers should: ● Encourage experimentation with different media. These could include small paintings, collages, etc. ● Encourage learners to use the sourcebook for writing and making sketches in order to go beyond the set brief. ● Place emphasis on the fact that this is a personal expression and that there is not only one way of doing it. Do not be too prescriptive, but allow learners to find their own way of creating the sourcebook within the guidelines. Boys often prefer a more 'no-nonsense' approach, while many girls put emphasis on creating 'beautiful' pages. Be aware of this and guide accordingly. ● Expose learners to a variety of artists' books and emphasise that the process of developing the artwork is more important than just a neat 'scrapbook'. There are no prescriptions regarding the size – it can be A3, A4 or any other size. 2.2 Ideas and approaches for guiding Topic 2 ● Grade 12 is the accumulation of a three-year study and learners should have adequate technical skills. ● Demonstrate, explain and refer to the work of relevant artists when introducing specific themes to integrate with Visual Culture Studies. ● Very few learners can complete a brief on their own. You as the Visual Arts teacher are expected to guide the creative process from start to finish. Be open-minded about divergent solutions to practical projects. ● Continuously do informal assessment by discussing the progression of learners' work. Try to guide learners to come up with their own solutions, rather than imposing your ideas on them. ● Have regular 'critique sessions' during which you facilitate and teach learners to talk and discuss the work of their classmates in a constructive way. ● Remember that you as the Visual Arts teacher must guide the aesthetic qualities of any tasks. It is the duty of the teacher to help the learner to find his/her own creative voice. ● Try to lead them to individual and innovative approaches/solutions. ● Guide them to develop ideas by working from first-hand observation. ● Also guide learners to eliminate source material that lacks aesthetic appeal. Aesthetic does not mean 'pretty'; some of the 'ugliest' imagery can be stunningly rendered in an artwork. ● Learners should take confident and calculated risks, trying out new ideas and processes without fear of failure. ● It is important that the Visual Arts teacher teaches confidence so that learners will feel comfortable in taking risks and learn from their mistakes when exploring and experimenting with ideas, materials, tools and techniques. ● Creative activity may proceed from a number of different levels, from the lower end producing a pastiche of an existing idea or work, to the upper level, developing an entirely fresh and individualised process and/or outcome. ● It is important to view and discuss the body of work by a learner continuously throughout the year. It helps to identify their strengths and weaknesses. ● Beware of damaging critiques. It is advisable to start with the positive and then move to areas that can be improved. Also go into a dialogue with a learner, e.g. 'I think it will be more effective if you change this … What do you think?' This makes them feel part of the process and makes them think about their work. ● It is important that you understand and know your learners and develop their particular strengths. Some learners will be careful planners, while others work more intuitively. Copyright reserved Please turn over

Downloaded from hlayiso.com Visual Arts 7 DBE/PAT 2018 NSC ● There are many ways of creating artworks. Some artists do meticulous planning before starting with the artwork, while others, e.g. some Surrealists and Abstract Expressionists, start more 'free' and develop a work as they go along. Be flexible enough to allow learners to use different ways of creating artworks. Stronger individual interpretations and styles are expected from Grade 12 learners. ● Guide learners to be effective, independent, critical and reflective thinkers. ● Do not underestimate your learners, but challenge them as they often rise to the occasion. ● Reflection: - At the end of each PAT there should be some form of reflection/feedback on work produced by each learner to ensure future development of the learner. This may be written and/or verbal feedback that comments on strengths and weaknesses. - This could be in the form of self-reflection, class/teacher reflection and marking, peer reflection or open critique sessions guided by the teacher as well as the learner. - Feedback could be in the form of a mini-exhibition. 2.3 How to administer the PATs ● Ensure the availability of art media. ● Sufficient time (select contact time during and/or after school). ● Ensure that check points and due dates are adhered to. ● Informal continuous assessment. ● Complete formal assessment according to the rubric. ● Complete spreadsheets provided by the province. ● Follow school policy regarding the submission of marks. ● PAT marks and teacher portfolios should always be available for cluster/provincial moderation. ● Safe storage for practical work must be provided by the school. ● All artwork should be available at all times for exhibitions, eisteddfods and art festivals, and remains the property of the DBE until the final results are released. Safekeeping of the artworks is the responsibility of the school. Copyright reserved Please turn over

Downloaded from hlayiso.com Visual Arts 8 DBE/PAT 2018 NSC 2.4 Retrospective exhibition At the end of Grade 12 learners must present a retrospective 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 a period of time. It showcases the learners' practical development in presenting a cohesive body of work similar to a small one-man exhibition or student graduate exhibition. The exhibition specifically addresses the management of the process and presentation that forms part of Topic 2. Topic 2: Making of artworks According to 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. Checklist for the exhibition: ● Grade 12: PATs 1 and 2, Trial Examination Practical are compulsory. This includes the artworks and sourcebooks. ● One or two Grade 11 artworks to show development and progression. ● Learners have the opportunity to further develop and extend their PATs 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. Presentation: ● Teachers should provide the space for the exhibition, e.g. the school hall, art classroom, etc. ● Teachers should make learners aware of the importance of presenting their work and provide guidelines for a neat, professional exhibition. ● The learner's name should be clearly displayed and the Grade 12 PATs clearly labelled. ● 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, teachers must make sure that the computers work and that they know the passwords. Assessment: This body of work will be assessed holistically. 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. Copyright reserved Please turn over

Downloaded from hlayiso.com Visual Arts 9 DBE/PAT 2018 NSC 2.5 How to mark/assess the PATs ASSESSMENT CRITERIA FOR PRACTICAL WORK Outstanding 90–100 ● The learner generated many ideas; tried unusual combinations or changes before choosing one idea; made connections to previous knowledge; mastery of problem-solving skills. ● Effort far beyond that required. ● The 'WOW' factor is evident. ● Works show great innovation. ● Content/Conceptual richness of the work is excellent. ● The work as a whole is confident and evocative: it engages the viewer with excellent visual qualities. ● The work clearly demonstrates original vision, a variety of innovative ideas and/or risk taking, and inventive articulation of a broad range of the elements and principles. ● Outstanding and original presentation. Exceptional ability, creativity richness, insightful, fluent, high skill, observation and knowledge powerfully expressed; supported by an original or unusual selection of relevant visual references. Excellent 80–89 ● Striking impact: most of the above; detailed; well organised and coherent; polished; skill evident; supported by original/ unusual/relevant visual references; presentation original and considered; less resolved; some minor flaws evident. ● Often excellent technical abilities, but not as innovative OR very innovative, but lacking technical richness. Very Good 70–79 ● Well organised, as above, but lacks the 'glow and sparkle' (less convincing in terms of imagination, creativity and innovation); good level of competence and selection of content; supported by a good selection of relevant visual references; obvious care and effort taken with original presentation; some obvious inconsistencies/ flaws evident. ● Good evidence of effort and commitment. Interesting/Innovative/ Creative, but not technically resolved. ● Technically good, but lacks conceptual richness or vice versa. Work may be creatively innovated, but lacks technical skill. Good 60–69 ● The work demonstrates some originality; clear intent; convincing; simple direct use of medium; displays understanding but tends towards the pedestrian and stereotyped response at times; adequate selection of relevant visual references; reasonable effort taken with presentation; distracting/obvious inconsistencies. ● Sound level of competence. Average 50–59 ● Adequate; feels mechanical; derivative or copied; little insight. ● Unimaginative; some visual references not always clearly identified. ● Fair presentation; many distracting inconsistencies. ● Average level of technical competence. Possibly limited commitment in terms of time and effort. ● Imagery is copied from another source with little transformation of images. ● Little evidence of trying anything unusual. ● Scope of work is narrow and/or repetitive. Copyright reserved Please turn over

Downloaded from hlayiso.com Visual Arts 10 DBE/PAT 2018 NSC Below 40–49 ● Enough material/works to pass; not logically constructed. Average ● Limited selection of information; poor technical skills and/or a lack of time on task might be contributing factors. ● Little use of visual information, clumsy or careless presentation in need of support/motivation to pass. ● Imagery is copied from another source with very little transformation. ● Composition is weak and undeveloped; no evidence of planning, or incomplete planning. Weak 30–39 ● Just enough material/works to pass. ● Visually uninteresting, uncreative; limited/poor technical skill used. ● Little attempt to present information in an acceptable manner; little or no visual information/reference. ● General lack of commitment; in need of support/motivation to pass. ● Insufficient time on task. Standard below the acceptable. ● Poor solutions to problems; artwork is copied and superficial. No evidence of original thought. Very Weak; 20–29 ● Very little information; jumbled; not easy to view; little or irrelevant Fail work/visual information. ● No effort made to present work in an acceptable manner; general lack of commitment/cooperation. ● Very poor skills level. ● Project very weak or incomplete. ● Poor artistic decision-making. ● Classes were missed and learner failed to make up the time. Unacceptable; 0–19 ● Incoherent; irrelevant; very little or no work; lack of even limited Fail skills; no commitment/cooperation. ● Work incomplete. ● Poor artistic decision-making/learner put forth no effort. ● Most classes were missed and learner failed to make up the time. Copyright reserved Please turn over

Downloaded from hlayiso.com Visual Arts 11 DBE/PAT 2018 NSC All the artworks in this document were created by Grade 12 learners in 2016 from various provinces. Copyright reserved Please turn over

Downloaded from hlayiso.com Visual Arts 12 DBE/PAT 2018 NSC 2.6 Moderation of PATs Moderation is essential for quality assurance and should take place on a regular basis. The template below can be used for internal (school) and external (provincial) moderation of the PAT. VISUAL ARTS: MODERATION OF PRACTICAL ASSESSMENT TASK SCHOOL SUBJECT GRADE DATE TEACHER MODERATOR 1 THE PAT BRIEF √ OR x Subject name, grade and year Clear instructions of what is expected, relevant to the specific grade Realistic expectations for the specific grade Visual inspiration The brief based on Williams' taxonomy caters for the development of/gives opportunity for the following: ● Fluency (the generation of ideas, answers, responses, possibilities to a given situation/ problem) ● Flexibility (the generation of alternatives, variations, adaptations, different ideas/ solutions/options) ● Originality (the generation of new, unique and novel responses/solutions) ● Elaboration (the expansion, enlargement, enrichment or embellishment of ideas to make it easier for others to understand or make it more interesting) ● Risk-taking (experimenting, trying new challenges) ● Complexity (the ability to create structure out of chaos, to bring logical order to a given situation and/or to see the missing parts) ● Curiosity (the ability to wonder, ponder, contemplate or puzzle) ● Imagination (the ability to build mental pictures, visualise possibilities and new things or reach beyond practical limits) Clear assessment criteria Due dates and time management COMMENTS: 2 ASSESSMENT OF PATs Relevant to the specific grade in line with standard of province, e.g. realistic marking Use of assessment criteria 50 marks for Sourcebook including assessment of the following: ● Concept development ● Research, investigation, experimentation ● Process drawings ● Presentation, overall view If all or some of the above was not expected of learners, was there a meaningful and/or creative alternative? 50 marks for Artwork(s), including assessment of the following: ● Choice and use of materials/techniques ● Use of formal art elements ● Overall impression of work – originality, creativity, innovation ● Interpretation and practical implementation of research ● Completion and presentation of artwork If all or some of the above was not expected of learners, was there a meaningful and/or creative alternative? COMMENTS: Copyright reserved Please turn over

Downloaded from hlayiso.com Visual Arts 13 DBE/PAT 2018 NSC 3. LEARNER GUIDELINES 3.1 Instructions to the learner 'An idea is our visual reaction to something seen – in real life, in our memory, in our imagination, in our dreams.' – Anna Held Audette in the book, The Blank Canvas TOPIC 1 – SOURCEBOOK (Conceptualising through the development and realisation of creative ideas) The sourcebook provides insight into how you have formed ideas, how many alternatives you have investigated and other processes leading to the final work. The sourcebook should clearly communicate all thought processes leading to the making of artworks. You should visually tell the 'story' of how your artwork was conceived, developed and produced through drawing, experimentation and writing. It should reflect your individuality and creativity as a Visual Arts learner. By Grade 12 you should know how to use the sourcebook. The sourcebook must give answers to the following: ● What was selected as a subject for the artwork? ● Why was it selected? ● How much planning was done? ● How did you prepare for the practical work? ● What difficulties were experienced and how they were overcome? ● What was enjoyable/exciting/positive about the practical work? ● What was learned during the making of the artwork? The following are a few ideas and approaches to follow: Brainstorm, select and evaluate ideas ● You should start by writing all possible ideas, activities, issues, etc. relating to the theme in a mind map or summary. ● It is important to stress that the purpose of any artwork is to communicate a message – to comment, scream or sing about the world we find ourselves in. ● It is important that you personalise themes. You should concentrate on things you care about, which moves you. Copyright reserved Please turn over

Downloaded from hlayiso.com Visual Arts 14 DBE/PAT 2018 NSC ● While you are gathering ideas, try to lead your thought processes to that which is personal, unusual, challenging and that which fills you with passion. ● When evaluating your ideas, eliminate those that are 'cheesy' (e.g. the pink hearts and sweet things), insincere (e.g. world peace) or overtly pretty or lacking in substance (e.g. a bunch of roses). ● In order to create artworks, you need access to high quality imagery. Try not to use only photographs of others. It is always better to explore a topic first-hand. A lot of images taken from the internet are of a poor quality or are generic. Learners should be encouraged to take and generate their own source material. ● Eliminate sources that are overdone. Nothing in art is new, but you can give it a fresh look. There is often a magic in that which others have discarded, overlooked or forgotten. ● A real artist makes art that matters to him/her. ● Ensure the extensive use of drawing to express perception and invention, to communicate feelings, experiences and ideas, and for pleasure. HOW TO GENERATE IDEAS: Mind maps A mind map is a good tool for coming up with ideas that are connected to a central topic. The end result should be a web-like structure of words and ideas and even images. As you continue branching out, you may discover new solutions. A few quick guidelines ● Start by placing the theme in the middle of the page (write the word and/or draw an image of it). ● Draw at least four thick organic branches radiating outwards from the central word/image. You can use different colours to represent each branch. ● Draw additional branches that extend from your main branches. The words on these branches are subtopics of the words you wrote on your main branches. This template highlights triggers such as ● Keep expanding the mind 'personal', 'creative', etc. to create map outwards with additional associations to a given theme. subtopics/keywords and branches. Useful websites include: http://blog.iqmatrix.com/how-to-mind-map http://www.studentartguide.com/articles/how-to-make-a- mindmap-creative-ideas Drawing There should be extensive use of drawing in your sourcebook which reflects at least 30% of your proposal for your final work. These drawings could reflect the following: ● To create and invent, e.g. to visualise, dream and imagine ● For perception, e.g. to observe, investigate, contemplate, remember ● To explore ideas and possibilities Copyright reserved Please turn over

Downloaded from hlayiso.com Visual Arts 15 DBE/PAT 2018 NSC ● To design for pleasure ● To communicate feelings, experiences and ideas to others, e.g. visualise, use codes and symbols There should be enough evidence of drawing skills which includes: ● Naturalistic tones where there are many layers and ranges from very dark to pure white ● Exaggerated tone; sharp contrast between dark and light (chiaroscuro) ● Expressive lines Experimentation ● Experiment with media and processes, including trial examples and colour charts. ● Exploring should be purposeful. Influences from historical, contemporary and cultural factors ● Ensure that you include historical and/or contemporary examples that inspired you. A guideline would be to investigate/research two to three artists/artworks revealing your own personal responses. ● No internet printouts of information are to be pasted into your sourcebook. ● Demonstrate good use of subject vocabulary (phrases such as 'strong contrast', 'draws the eye' and 'focal point'). Copyright reserved Please turn over

Downloaded from hlayiso.com Visual Arts 16 DBE/PAT 2018 NSC Writing ● Annotate drawings, sources and experimentations to provide your thoughts during conceptualising. Communicate with clarity. It doesn't matter whether you jot down notes or use full sentences, but never use 'txt' or slang/sms language. Layout ● In appearance a sourcebook should be reminiscent of what you might expect an artist to create. ● Vary page layouts to provide variety and visual interest. ● Each page of your sourcebook must reflect creativity. The sourcebook forms half of your mark for all the PATs. Although the choice of size and format (A2, A3, A4 or any other size) is left to you and/or your teacher, it should be a substantial body of work. A general guideline would be a minimum of 8–10 pages per PAT. It must clearly show the development of your ideas and relate directly to your artwork. At least 30% must consist of drawings. TOPIC 2 – CREATING THE ARTWORK (Making of creative artworks, management of the process and presentation, following safe practice) What do artists do? Create Imagine Observe Distort Invent Play Transform Investigate Analyse Symbolise THIS IS HOW YOU CAN EXPLORE YOUR THEME ● The artwork should relate to your own experiences. ● Art is the product of a process. ● Composition is the foundation of image-making. Discuss your compositions and ways to make it more exciting with your teacher. ● An idea is only as good as its execution. Poorly made work will ruin a good idea. ● An artwork is first and foremost an expression of its medium. In all great work the subject and the means by which it is rendered are inseparable. You should master techniques to protect your content. ● Remember the importance of the elements and principles of art such as line, shape, colour, texture, space, rhythm, balance, harmony, proportion and composition. Be creative and innovative. ● Enjoy what you are doing and always strive towards a personal interpretation of a theme. ● Time is a factor when you are doing the practical work. Do not waste it; otherwise you will be handing in unfinished work. ● Be inspired by Visual Culture studies. ● It is advisable to reflect on the strengths and weaknesses of the work once you have completed the PAT. Copyright reserved Please turn over

Downloaded from hlayiso.com Visual Arts 17 DBE/PAT 2018 NSC 3.2 Requirements: PATs for Visual Arts TERM 1 TERM 2 TERM 3 Practical Assessment Task Practical Assessment Task Trial Examination (Practical Task) (done at beginning of term) Topic 1 – Conceptualising (50) Topic 1 – Conceptualising (50) Topic 1 – Conceptualising (50) Topic 2 – Artwork(s) (50) Topic 2 – Artwork(s) (50) Topic 2 – Artwork(s) (50) At least ONE or more major At least ONE or more major At least ONE or more major artwork(s) must be artwork(s) must be artwork(s) must be completed in this PAT, with completed in this PAT, with completed in this PAT, with substantive process work substantive process work substantive process work shown in the sourcebook. shown in the sourcebook. shown in the sourcebook. The Visual Arts PAT consists of THREE separate tasks which are undertaken during the year. Each task must include both Topic 1: Conceptualising and Topic 2: The Making of Creative Artworks. Marks must be allocated to both the conceptualising (Topic 1) and the practical processes (Topic 2). Copyright reserved Please turn over

Downloaded from hlayiso.com Visual Arts 18 DBE/PAT 2018 NSC 3.3 Assessment TOPIC 1: SOURCEBOOK ASSESSMENT CRITERIA THIS INCLUDES THE FOLLOWING: SUGGESTED MARK ALLOCATION Concept development ● Mind maps, annotated sketches and 10 drawings to show concept development. Research, investigation, ● This should include some or all of the 15 experimentation, etc. following: ● Sketches, drawings, photos, images, collected poems, lyrics and any other material that inspires you ● Research on artists that have inspired you ● Experimentation of media and/or different techniques ● All material must relate to the development of your work, substantiating your decisions Process drawings ● At least 30% should be drawings to explain 15 your concept development. Presentation and overall ● Visually interesting showing a personalised 10 view approach. ● Your sourcebook should consist of an average of 8–10 pages. TOTAL 50 TOPIC 2: THE ARTWORK ASSESSMENT CRITERIA THIS INCLUDES THE FOLLOWING: SUGGESTED MARK ALLOCATION Choice and use of ● Suitability of material and technique 10 materials/techniques according to the concept ● Safe and manageable ● Technical skill Use of formal art elements ● The importance of the elements and 10 principles of art such as line, shape, colour, texture, space, rhythm, balance, harmony, proportion and composition Overall impression of work ● Generation of new, unique and novel 10 – originality, creativity, responses/solutions innovation Interpretation and practical ● A personal interpretation of a theme 10 implementation of ● Experimenting research ● Trying new challenges Completion and ● Attention to detail 10 presentation of artwork ● Task completed in allocated time ● Presentation according to task TOTAL 50 Copyright reserved Please turn over

Downloaded from hlayiso.com Visual Arts 19 DBE/PAT 2018 NSC 3.4 Absence/Non-submission of tasks ● Absence or non-submission of tasks will result in an INCOMPLETE mark. ● In order to ensure authenticity, 60% of the artwork (TOPIC 2) must be completed at school. ● If works are completed at home the teacher cannot approve authenticity and 0% will be awarded. 3.5 Requirements for presentation TOPIC 1(Sourcebook): Minimum 8–10 pages TOPIC 2 (Artwork): Your teacher will guide you in the presentation, mounting, exhibiting, etc. for marking purposes. 3.6 Timeframes ● Exact, non-negotiable dates for handing in work ● Checkpoints along the way 3.7 Declaration of Authenticity ● Refer to ADDENDUM A. Copyright reserved Please turn over

Downloaded from hlayiso.com Visual Arts 20 DBE/PAT 2018 NSC 4. LIST OF RESOURCES LTSM – SOURCE REFERENCES ● Textbook approved by the DBE. ● Reference books, catalogues and magazines such as Art South Africa and Art Times, photographs, PowerPoint presentations, videos, etc. to provide valuable teaching and learning support material. ● Visits to art exhibitions. Regular, continuous visits to contemporary exhibitions are strongly recommended. Where visits are impossible (schools in rural areas, etc.), newspaper reviews etc. should be consulted regularly. ● The internet: Use the search engines to find useful websites. YouTube provides many practical workshops. Inspiration for practical tasks can be found on Pinterest and Pictify. 5. CONCLUSION Upon completion of the practical assessment task learners should be able to demonstrate their understanding of the industry, enhance their knowledge, skills, values and reasoning abilities as well as establish connections to life outside the classroom and address real-world challenges. Furthermore, the PAT develops learners' life skills and provides opportunities for learners to engage in their own learning. Copyright reserved Please turn over

Downloaded from hlayiso.com Visual Arts 21 DBE/PAT 2018 NSC ADDENDUM A: DECLARATION OF AUTHENTICITY DECLARATION OF AUTHENTICITY At least 60% of the PAT was done under the supervision of the Visual Arts teacher. This statement certifies that all work submitted is original and the work of the learner. Learner School District PAT 1/PAT2/Trial examination: (Choose and encircle only ONE.) Signature Date Learner Teacher Principal School stamp Copyright reserved Please turn over

Downloaded from hlayiso.com Visual Arts 22 DBE/PAT 2018 NSC ADDENDUM B: PAT EXAMPLE Teachers may use this example as one of their PATs in 2018. Metamorphosis Meta 'change' Morphe 'form' Metamorphosis is a biological process by which an animal or insect physically develops after birth/ hatching, involving an abrupt change in the animal's body structure through cell growth and differentiation. Synonyms: transformation, mutation, transmutation, transfiguration, change, alteration, conversion, variation, modification, remodelling, restyling, reconstruction, reordering, reorganisation, sea change La Pandilla, Living Walls, The City Speaks, Atlanta, street art, 2012. Copyright reserved Please turn over

Downloaded from hlayiso.com Visual Arts 23 DBE/PAT 2018 NSC Transformation is natural Not wanting to change Is like asking a tree not to grow Or for the clouds not to rain Nature itself is change So why embrace it? How else does a caterpillar Get its wings? – JC Enno Copyright reserved Please turn over

Downloaded from hlayiso.com Visual Arts 24 DBE/PAT 2018 NSC Metamorphosis is an amazing process due to the speed of cell growth and differentiation. The metamorphosis process allows animal cells to change from one cell type to another. Complete metamorphosis is characteristic of beetles, butterflies, moths, flies and wasps. Their life cycle includes four stages, namely the egg, larva, pupa and adult. Charlotte Caron, Various portraits, photography and paint, no date. Artists who have used the theme Metamorphosis: MC Escher, Metamorphosis III, woodcut print, 1968. Escher is famous for his impossible constructions, which can be seen with one image being morphed into a tessellated pattern which becomes a new image. Copyright reserved Please turn over

Downloaded from hlayiso.com Visual Arts 25 DBE/PAT 2018 NSC Deviant Art, Metamorphosis, digital photo manipulation, date unknown. Miao Xiaochun, Metamorphosis Doubt, installation, 2011. Copyright reserved Please turn over

Downloaded from hlayiso.com Visual Arts 26 DBE/PAT 2018 NSC Ranaud Jerez, Untitled (exhibition title 'Metamorphosis'), steel, PVC, aluminium, cotton, rubber, wood and fur, 2015. Antonio Guerrero, Metamorphosis, mixed media on paper, 2013. Copyright reserved Please turn over

Downloaded from hlayiso.com Visual Arts 27 DBE/PAT 2018 NSC George Grie, Inadvertent Metamorphosis or King of my Castle, digital art, 2016. Time brings all things to pass and one day, after all the life metamorphoses one finds oneself in a surreal deserted place, the place with no horizon and the place with no means to go up or down. The theme Metamorphosis is open to a wide range of interpretations within your specific discipline. Consider the following in conceptualising 'Metamorphosis': ● Personal associations/own interpretation ● Words that may trigger the idea of metamorphosis ● Interpretations of metamorphosis ● The purpose of metamorphosis ● The benefit of metamorphosis ● Your personal metamorphosis; do humans experience metamorphosis? ● Types and examples of metamorphosis ● Feelings associated with metamorphosis TOPIC 1: SOURCEBOOK ● Start by making a comprehensive mind map on 'Metamorphosis'. Consider the suggestions above or your own original interpretation. ● Start by making several sketches of your different ideas. ● Collect relevant source material. ● Make thumbnail sketches of different compositional possibilities. ● It is important to consider the mood/atmosphere you want to portray. Think of things like the contrast between open areas and cluttered areas, between dark and light, etc. Think of negative spaces, the use of diagonal lines, etc. Decide on the best solution to convey your mood/atmosphere. ● Make a tonal drawing of your final composition and annotate your intention. ● Remember: a good idea must be visually exciting. ● Start exploring and experiment with different media and materials. ● Do research on at least three artists/artworks that relate to the theme. ● Other relevant concept development. Make sure that your sourcebook work is at least 8 to 10 pages long and include at least 30% drawings. Copyright reserved Please turn over

Downloaded from hlayiso.com Visual Arts 28 DBE/PAT 2018 NSC ASSESSMENT CRITERIA THIS INCLUDES THE FOLLOWING: SUGGESTED MARK ALLOCATION Concept development ● Mind maps, annotated sketches and 10 drawings to show concept development. Research, investigation, ● This should include some or all of the 15 experimentation, etc. following: ● Sketches, drawings, photos, images, collected poems, lyrics and any other material that inspires you ● Research on artists that have inspired you ● Experimentation of media and/or different techniques ● All material must relate to the development of your work, substantiating your decisions Process drawings ● At least 30% should be drawings to explain 15 your concept development. Presentation and overall ● Visually interesting showing a personalised 10 view approach. ● Your sourcebook should consist of an average of 8–10 pages. TOTAL 50 TOPIC 2: THE ARTWORK Your Visual Arts teacher will guide the creation of the final artwork. ASSESSMENT CRITERIA THIS INCLUDES THE FOLLOWING: SUGGESTED MARK ALLOCATION Choice and use of ● Suitability of material and technique 10 materials/techniques according to the concept ● Safe and manageable ● Technical skill Use of formal art elements ● The importance of the elements and 10 principles of art such as line, shape, colour, texture, space, rhythm, balance, harmony, proportion and composition Overall impression of work ● Generation of new, unique and novel 10 – originality, creativity, responses/solutions innovation Interpretation and practical ● A personal interpretation of a theme 10 implementation of ● Experimenting research ● Trying new challenges Completion and ● Attention to detail 10 presentation of artwork ● Task completed in allocated time ● Presentation according to task TOTAL 50 Copyright reserved Please turn over

Downloaded from hlayiso.com Visual Arts 29 DBE/PAT 2018 NSC ADDENDUM C: TEACHER'S GUIDE TO MANAGING THE PAT: METAMORPHOSIS Refer to the following in this PAT document in facilitating the PAT: ● A few ideas and approaches for guiding TOPIC 1 ● A few ideas and approaches for guiding TOPIC 2 ● See that learners have access to the Learner Guidelines in this document. A few other things to consider: Pace Set mini-deadlines for sourcebook activities to ensure that learners do not spend most of the term doing sourcebook work and then have to rush the final artwork. Although a lot of the conceptualising in the sourcebook must be done before starting the final artwork, there are parts that can and should be done while working on the artwork. This includes the changes the learner makes while doing the artwork, further experimentation and reflection. Specialised options Teachers can add specific requirements for specialised practical options, such as photography, sculpture, printmaking, etc. Finding ideas ● Although the theme of this PAT might seem simple, the teacher must guide the learners to create works with meaning and not only an illustration of the theme. ● Personalise the theme with a class discussion by asking learners questions such as: o What does metamorphosis mean? o Where and how does metamorphosis take place? ● Encourage learners to gather ideas and inspiration from different sources, such as observational drawing, taking their own photos, montages, etc. ● It is always preferable that learners work from a personal perspective, but allow for different interpretations. Guide learners individually to stay clear of stereotypical interpretations. ● It is important to discuss each step of the way individually and make suggestions for improvement, but do not force one way on them to create opportunities for innovation and originality. ● The teacher's guidance in the creation of the artwork is of the utmost importance with continuous feedback. The theme is suitable for a wide range of media and techniques. Copyright reserved