Visual Arts PAT GR 12 2024 Eng

VISUAL ARTS
GUIDELINES FOR
PRACTICAL ASSESSMENT TASKS
GRADE 12
2024
These guidelines consist of 40 pages.

These guidelines must be printed in full colour.
Copyright reserved Please turn over

Visual Arts 2 DBE/PAT 2024
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TABLE OF CONTENTS
1. INTRODUCTION 3
2. TEACHER GUIDELINES 4
2.1 Ideas and approaches for guiding Topic 1 6
2.2 Ideas and approaches for guiding Topic 2 7
2.3 How to administer the PATs 8
2.4 Retrospective exhibition (PAT exhibition) 8
2.5 How to mark/assess the practical tasks 11
2.6 Moderation of practical tasks 13
2.7 Declaration of authenticity 14
3. LEARNER GUIDELINES 15
3.1 Instructions to the learner 15
3.2 Requirements: Annual plan 23
3.3 Assessment 24
3.4 Absence/Non-submission of tasks 25
3.5 Requirements for presentation 25
3.6 Timeframes 25
3.7 Declaration of authenticity 25
4. LIST OF RESOURCES 26
5. CONCLUSION 26
ADDENDUM A: DECLARATION OF AUTHENTICITY 27
ADDENDUM B: PRACTICAL TASK EXAMPLE 27
ADDENDUM C: THE USE OF AI-GENERATED IMAGERY/INFORMATION 39

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1. INTRODUCTION
The 18 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,
Technical Sciences, Technical Mathematics
 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-the-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 it
also allows for the assessment of skills that cannot be assessed in a written format,
e.g. test or examination. It is therefore important that schools 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.

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2. TEACHER GUIDELINES
CREATIVITY – Learners show creativity when they play with ideas and generate different
approaches to respond to purposeful tasks in imaginative and personal ways. Originality can
be defined in relation to learners' 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.
For Visual Arts, TWO practical projects must be completed in Term 1 and Term 2 – Artwork 1
and Artwork 2. Each practical task must consist of Topic 1 (Sourcebook) and Topic 2 (Artwork).
Both practical projects are set internally and assessed by the teacher per term.
The marks are allocated as follows:

 Topic 1 (Sourcebook): recorded as part of the SBA mark
 Topic 2 (Artwork): recorded as part of the PAT mark and only reflected at the end of the
year
The PAT will be presented in the form of an exhibition at the end of the year. The exhibition
consists of the artworks completed during Term 1 and 2 (minimum requirement), plus two
Grade 11 artworks. The artworks (Topic 2) of Term 1 and 2 for the PAT exhibition are
assessed internally in each term and will be externally marked and moderated in Term 4.
TASK 6
PAT
(Continuous assessment from Term 1 to Term 3)
TERM 1 TERM 2 TERM 3 TERM 4
ARTWORK 1 ARTWORK 2 PAT EXHIBITION PAT EXHIBITION
Topic 2 Topic 2 PROCESS
(informal formative (informal formative
assessment) assessment)
PAT exhibition (externally assessed in Term 4)
100

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Owing to the creative nature of the subject and the value placed on self-expression, learners
should not be boxed in by the minimum requirements and they should be allowed to do more
works relating to the two themes they have investigated. Teachers need to encourage self-
expression and individuality of learners in this exhibition. In Term 3, 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.
Learners must receive the practical task in the form of a written brief to inform them of the
following:
 The exact aim or end product expected of the task with regard to 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
 Assessment procedures and criteria to be used
It can be a good idea to give the written brief after an activity or series of activities. Topic 1
could consist of a series of 'building blocks' that are given at consecutive times to experiment
and develop skills. With careful planning, the teacher can provide tasks that encourage
experimentation and research of a range of possibilities to prevent learners from getting stuck
on a first idea. It will help with the pacing of the process and can help to ensure that the
sourcebook will be almost completed before starting with the final artwork.

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General guidelines in setting the practical task:
 It is strongly advised that teachers set their own practical tasks, 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. but allow scope for learners
to innovate and give personal interpretations. In Grade 12, tasks should be sufficiently open-
ended to allow learners to develop original and creative artworks or artefacts.
 Always take your learners' interests, experiences and context into account to challenge them.
Encourage 'honesty' so that learners' artworks speak of their experiences, ideas and feelings,
so that they do not produce 'second-hand' works. Guide your learners to translate their
experiences through art making using appropriate media, subjects and approaches.
 Set expectations, minimum requirements and deadlines regarding the end product. Many
teachers may decide on a broad theme for the annual practical work and then subdivide it
into specific aspects of the theme, in other words one per term. This can result in a more
coherent body of work in the retrospective exhibition.
ADDENDUM B on page 28 has an example of a practical task. Teachers can use this task
as one of their practical tasks for 2024.
2.1 Ideas and approaches for guiding Topic 1
Informal and formal preparation for practical work must be recorded in a sourcebook kept
specifically for Visual Arts.
The sourcebook provides insight into how 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.
This sourcebook is NOT a formal, neat notebook, but is an expressive, personal 'diary' of ideas
and stimuli that 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 Learner Guidelines on page 15 in this document provide more detailed information on
the process of conceptualisation in the sourcebook.
The sourcebook should include the following:
 Sketches and preparatory drawings. Drawing is a compulsory part of all practical options in
Visual Arts. Refer to page 19 in the Learner Guidelines for a broad definition of 'drawing'.
 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, writings, related to the learner's experiences and context
 Research on and study of 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

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Teachers should:
 Facilitate and guide the process of conceptualisation in the sourcebook. 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. There is a delicate balance
required in guiding learners' practical work. Continuously do informal assessment by
discussing the progression of learners' work. We want to preserve learners' personal
expression and we want to extend them beyond their current capacity; we want to try to
guide learners to follow the artistic processes outlined in the project brief to come up with
their own solutions. You can guide and direct learners without imposing your ideas on them.
 Encourage experimentation with different media. These could include small paintings,
collages, etc.
 Expose learners to a variety of artists' books and emphasise that the process of developing
an 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 without compromising the quality and
quantity of the expectations of the Grade 12 learners.
 Encourage learners to use the sourcebook for writing and making sketches in order to go
beyond the set brief.
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.
 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.
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.
 Try to lead them to individual and innovative approaches/solutions.
 Guide them to develop ideas by working from first-hand observation.
 Learners should take confident and calculated risks, trying out new ideas and processes
without fear of failure.
 The Visual Arts teacher must teach 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.
 Have regular 'critique sessions' during which you facilitate and teach learners to talk and
discuss the work of their classmates in a constructive way.
 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.

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 We see a similar situation with artists. 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. One expects stronger individual interpretations and
styles from Grade 12 learners.
 Guide learners to be effective, independent, critical and reflective thinkers.
 Do not underestimate the learners but challenge them as they often rise to the occasion.
 Reflection:
o At the end of each practical task 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.
o This could be self-reflection, class/teacher reflection and marking, peer reflection or an
open critique session guided by the teacher as well as the learner.
o Feedback could be in the form of a mini exhibition.
CODE OF CONDUCT OF SCHOOL
 Teachers must see that all work is in line with the code of conduct of their school.
 Explicit subject matter and images must be avoided.
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 checkpoints 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.
 Practical task marks and teacher portfolios should always be available for cluster/provincial
moderation.
 Safe storage for practical work must be provided by the school.
 All artworks should be available at all times for exhibitions, eisteddfods and art festivals, and
remain the property of the DBE until the final results are released. Safekeeping of the
artworks is the responsibility of the school.
2.4 Retrospective exhibition (PAT exhibition)

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At the end of Grade 12, learners must present a retrospective (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 a period of time. It
showcases the learners' practical development in presenting a cohesive body of work similar to a
small one-person exhibition or student graduate exhibition. It specifically addresses the
management of process and presentation that forms part of Topic 2.
Topic 2: Making of artworks
According to the CAPS, Grade 12 learners must display, exhibit, or present their own work in a
manner that enhances and complements the expressive and conceptual impact of the work.
Checklist for the exhibition
 The artworks (Topic 2) from the two practical tasks are compulsory and minimum
requirements.
 One or two Grade 11 artworks 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 allowed to do more works relating to the two themes
they have investigated. We need to encourage self-expression and individuality of
learners in this exhibition.
 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 already assessed, must be displayed to demonstrate the
development to the final artwork(s).
Presentation
 Teachers should provide the space for the exhibition, e.g. the school hall, art classroom.
 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 tasks 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.
 The descriptive rubric, ASSESSMENT CRITERIA FOR PRACTICAL WORK, on pages 11
and 12, MUST be used to ensure standardisation.

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ASSESSMENT CRITERIA
This body of work will be assessed holistically.
CRITERIA
Overall impression of work – originality, creativity, innovation:
Development of new and unique responses/solutions
Choice and use of materials/techniques:
Suitability of materials and techniques according to the concept. Safety and manageability.
Technical skills shown.
Use of formal art elements:
The importance of elements and principles of art, such as line, shape, colour, texture, space,
rhythm, balance, harmony, proportion and composition
Interpretation and practical implementation of theme(s):
A personal interpretation of a theme. Experimentation and evidence that new challenges
were tackled.
Completion and presentation of artwork:
Attention to detail. Task completed in time allowed. Presentation according to task.
Curating of exhibition:
Professionalism, clarity, etc.
TOTAL: 100

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2.5 How to mark/assess the practical tasks
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, but 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.

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Below average 40–49  Enough material/works to pass; not logically constructed.

 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.

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2.6 Moderation of practical tasks

Moderation is essential for quality assurance and should take place regularly. The following
template can be used for internal (school) and external (provincial) moderation of practical
tasks.
VISUAL ARTS: MODERATION OF PRACTICAL TASKS
SCHOOL SUBJECT
GRADE DATE
TEACHER MODERATOR
1. THE PRACTICAL TASK 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 for Creative Thinking Skills caters to develop/allows
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 PRACTICAL TASK

Relevant to the specific grade in line with standard of province, e.g. realistic marking
Use of assessment criteria
100 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?
100 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:

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2.7 Declaration of authenticity
Refer to ADDENDUM A on page 27.

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3. LEARNER GUIDELINES
3.1 Instructions to the learner
TOPIC 1 – SOURCEBOOK (Conceptualising by the development and realisation of creative

ideas)
'Creativity is not a mystery. There are proven techniques for enhancing creativity, and
they are within anyone's reach.'
– Dr Keith Sawyer, a leading expert on creativity
The following is based on his eight-step creativity program to guide you in the sourcebook
process.
SOURCEBOOK TEMPLATE
TOPIC 1: ACTION
8 steps
Concept development
At least 30% should be drawings to explain your concept development

Process drawings
Presentation and overall view

1. Ask Engage with the theme/question of the
Find the problem brief.
2. Learn Brainstorm: mind maps, word games,

Gather related personal reflections, etc.
information
3. Look Research on artists that have inspired you.
Acquire the Collect: material that inspire you, e.g.
knowledge photos, images, collected poems, lyrics.
At this stage, be open-minded and collect
widely.
4. Play Experimentation of media and/or different

Incubation techniques (take inspiration from the artists
you have researched).
5. Think Find the subject matter.

Generate ideas Draw and photograph subject matter.
Start making compositional sketches
with annotations.
6. Fuse Start bouncing ideas around, looking for

Combine ideas unexpected combinations. Connecting
lots of dots, eliminate some and adding
others. Successful creativity never comes
from only one idea; rather, from a
combination of several.
Experiment further with materials to
examine new possibilities or extensions of
technique.
7. Choose Final composition drawings

Select the best idea Reflection
8. Make TOPIC 2:
Externalise ideas Creating the artwork

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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.
Let us unpack the steps in the template:
1. ASK Find the problem
Engage with the theme/question of the brief.

 You receive the brief for the practical assessment task. The first thing you usually look for
is the theme. (Remember to paste the brief in your sourcebook.)
 Theme relates to the meaning of an artwork, rather than only the subject matter. A theme is
deeper and broader than just the subject and it suggests ideas that bring together subject
matter, formal elements and materiality.
 What must you do: You must create a visual story with a starting point (the theme) and a
conclusion (your artwork) and a journey in between (your sourcebook).
2. LEARN Gather related information
 This is the beginning of the process where you will brainstorm around the theme by
gathering all ideas around the theme.
 A good idea is to start with a mind map.
 Other ways of gathering information include the following: word games, using dictionaries
and a thesaurus, making lists, research on artists, etc.
A mind map is a type of spider

diagram where you start generating
your ideas. As a rule you need at
least 50 (preferably 100) entries to
make it worth your while and fully
thought through.
Remember to start with yourself and your own personal experiences. Many artists think that
they must search extremely far and wide and come up with an immensely complicated subject
for their work to be interesting, but something with personal relevance to the artists is usually
better. It is important that you personalise themes. You should concentrate on things you care
about, which move you. Interview your family and friends, use old family photos, objects that
have special meaning, etc. Look at your 'story' – your family history, traditions, rituals and tell a
personal story. A real artist makes art that matters to them.

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3. LOOK Acquire the knowledge
Research on artists that have inspired you is a good starting point. Gather research on
relevant artists in the field or provided in the brief. Read and write about the artists, with some
attention to their material, stylistic or formal choices and how they generate meaning. Remake
some of those artworks. Aim to recreate examples of the work of artists collected, paying
attention to material and technique. You are encouraged to have some freedom to 'interpret'
the works of others, so you learn from that and develop in your own direction.
You now should have a few broad ideas for the theme. At this stage, be open-minded and
collect widely.
This should include the following:
 Collect: material that inspire and relate to your ideas, e.g. photos, images, collected
poems, lyrics. Take your own photos where possible.
4. PLAY Incubation
Experimentation of media and/or different techniques (take inspiration from the artists you
have researched)
 Artists often find inspiration as they start manipulating the materials. Confidence and
some mastery of processes and materials allow for more creative rendition of new ideas.
It is natural to get visual ideas as we work with visual materials and try new techniques.

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5. THINK Generate ideas
You should now have a few ideas and must start with the selection process. What are the
one or two ideas that stand out and you want to further investigate?
Take those ideas and work with them – your research will be much more focused from
now on.
TIP: You do not want to go for very stereotypical compositions with centralised images. For
example, start 'playing' with photocopies of your drawings and other source material, e.g.
magazine images to open other exciting options for the final artwork.
These could include the following:
 Tearing, cutting and layering of images

 Juxtaposition of images
 Creating blurred images by moving the image while photocopying or scanning
 Using transparent layering by covering images with cooking/linseed oil or using drawings
on tracing paper
 Digital manipulations
 Experiment further with materials to examine new possibilities or extensions of technique
6. FUSE Combine ideas
This is an important part of the process where you start bouncing ideas together, looking for
unexpected combinations. Connecting lots of dots, eliminating some and adding others.
Bring together your best 'bits' of composition, materials, experimentations and subjects.
Successful creativity never comes from only one idea; rather, from a combination of several.
An example where different photos were

digitally combined to create a unique final
artwork

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7. CHOOSE Select the best idea
You should now select your final idea for the artwork and can now start to refine it.
 Consider the following when planning the final composition: transitions between objects,
unlikely juxtapositions, transformation and metamorphosis. Work out your final composition. A
good idea must be visually exciting.
 Drawing/Sketching: Do many thumbnail sketches to consider various options for your final
idea. Think of things like the contrast between open areas and cluttered areas, between dark
and light, etc. Think of negative spaces, use of diagonal lines, etc. to create a mood or
atmosphere. Do not clutter your idea.
 Start making compositional sketches with annotations.
Presentation and overall view

Consider the layout:
 In appearance, a sourcebook should be reminiscent of what you might expect an artist to

create. (It is not a scrapbook.)
 Vary page layouts to provide variety and visual interest.
 Each page of your sourcebook must reflect creativity.\
 Use your space effectively.
REMEMBER: There should be extensive use of drawing in your sourcebook which reflects at
least 30% of your proposal for your final work. Ensure the extensive use of drawing to express
perception and invention and to communicate feelings, experiences and ideas.
It is important that hand skills are demonstrated in the sourcebook and drawing is interpreted as
mark making to visualise thoughts in:
 Different media, e.g. pencil, pen, paint, erasers, pens, ink, bleach, string
 Different styles, e.g. naturalistic, expressionistic, gestural, abstract
 Different drawing techniques, e.g. stippling, hatching, doodling, scribbling, tonal drawing
Drawing can therefore range from simple line sketches to explain ideas to full tonal drawings. It
could also include small paintings. It is important to express ideas and concepts through drawing,
e.g. annotated drawings.

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 Direct copying from magazines, the internet, etc. is NOT allowed. Direct copying of an
image that is not your own WILL BE PENALISED. This is a form of plagiarism and is
unacceptable.
 Of utmost importance is the process of TRANSFORMATION of the source material.
 If you need to use appropriate borrowed images, you must combine them with your own
original images to DEVELOP YOUR OWN INTERPRETATION.
SOURCEBOOK CHECKLIST
SOURCEBOOK CHECKLIST 
1. Ask
 I engaged with the theme of the brief.
2. Learn
 I gathered related information by brainstorming – mind maps,
word games, personal reflections, etc.
 I looked for personal relevance.
3. Look
 I researched artists that inspired me.
 I collected material that inspired me and related to my ideas, e.g.
photos, images, collected poems, lyrics, etc. I took my own
photos where possible.
 I did many thumbnail sketches to consider various options for my
final idea. I annotated them to give a history of my thought
processes.
4. Play
 I experimented extensively with media and/or different
techniques.
5. Think
 I generated my own subject matter.
 I narrowed down my ideas to one or two that stand out and that I
want to investigate further.
6. Fuse
 I looked for unexpected combinations and combined ideas.

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SOURCEBOOK CHECKLIST (continued) 

7. Choose
 I selected the final idea.
 I made small thumbnail sketches to consider a variety of
compositions.
 I made compositional sketches with annotations.
 I considered the final layout of my sourcebook.
I visually told the 'story' of how my artwork was conceived, developed and produced through
drawing, experimentation and writing.
TOPIC 2 – CREATING THE ARTWORK (Making of creative artworks, the management of the
process and presentation, following safe practice)
8. MAKE Externalise ideas
Your final artwork will be more successful if your conceptualising/planning is thorough.
You have now worked on your sourcebook for quite a while and should have developed a clear
concept for the final artwork. So now it is time to start with the artwork. Remember that you
work in your specialised field of focus, e.g. drawing, painting, sculpture, printmaking, multi-
work, photography, new media work, etc.
Remember that there MUST be a clear link between the sourcebook and artwork.
Let us look at 10 points to consider in the creation of the final artwork to ensure a
successful work.
 Technical skills: An idea is only as good as its execution. Poorly made work will ruin a
good idea. You should have adequate technical skills.
 Media: 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.
 Style: There are no specific prescriptions regarding the style of the work. It may be
naturalistic, expressionistic, decorative, etc. Explore the different styles to find your
strength.
 Formal art elements: Remember the importance of the elements and principles of art,
such as line, shape, colour, texture, space, rhythm, balance, harmony, proportion and
composition.
 Composition: Composition can make or break an artwork. Composition is the
arrangement or organisation of the visual components in a way that is pleasing to the artist
and, one hopes, the viewer. They can also encourage or lead the viewer's eye to wander
around the whole painting, taking in everything and ultimately coming back to rest on the
focal point. The principles of art, such as unity, movement, proportion, balance, rhythm,
contrast, etc. play an important part in creating visual interest.
 Be a risk-taker: Do not be afraid to take chances. You must embrace the chance to
experiment and try new things. Always strive to be creative and innovative.
 Personal: Let the artwork be an expression of your own experiences, ideas, feelings, etc.
to share with the viewer. Stereotypical works get average marks.

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 Work with your strengths: Is it drawing or working with patterns or working with different
materials?
 Enjoy what you are doing and create something with visual interest.
 Time is a factor when you are doing the practical work, so do not waste it, otherwise you
will be handing in unfinished work.
As you have seen in your study of artworks and literature, the message and meaning are open
to interpretation. We base our interpretation on the artwork, background knowledge, contextual
factors, etc. You might have developed a very specific idea or message in your artwork, but the
viewer might find another meaning. That is the power of an artwork – that it is open to
interpretation. In the final work, although you are portraying a specific concept, do not illustrate
it, but create an artwork that might be interpreted differently.

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3.2 Requirements: Annual plan
The table below provides clarity on practical tasks where the sourcebook (Topic 1) forms part
of the SBA mark and the artwork (Topic 2) forms part of the PAT exhibition.
ANNUAL PLAN OF ASSESSMENT FOR VISUAL ARTS – GRADE 12

SCHOOL-BASED ASSESSMENT: 25% EXAMINATION: 75%
150 + 200 + 100 = 450 marks converted to 100 marks (SBA)
TASK 1 TASK 3 TASK 5 TASK 7
THEORY TEST THEORY PRELIMINARY FINAL EXAMINATION
(summative EXAMINATION EXAMINATION P1 THEORY EXAM
assessment) OR (summative (summative
Minimum of 50 marks CONTROLLED TEST assessment) assessment)
(summative 100 marks 100 marks
assessment)
100 marks
TASK 2 TASK 4 TASK 7 TASK 7
CONCEPTUALISATION CONCEPTUALISATION FINAL EXAMINATION FINAL EXAMINATION
Topic 1 Topic 1 P2 P2 ARTWORK
ARTWORK 1 ARTWORK 2 CONCEPTUALISATION (summative assessment)
(formative assessment) (formative assessment) (summative (50 marks)
100 marks 100 marks assessment)
(50 marks)
TASK 6 – PAT (RETROSPECTIVE EXHIBITION)

(Continuous assessment from Term 1 to Term 2)

ARTWORK 1 ARTWORK 2 PAT EXHIBITION
Topic 2 Topic 2 (summative assessment)
(informal assessment) (informal assessment)
100%
100 (SBA) + 100 (PAT) + 100 (PRACTICAL EXAM) + 100 (THEORY EXAM) =
400 (TOTAL MARKS)

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3.3 Assessment
TOPIC 1: SOURCEBOOK
ASSESSMENT CRITERIA This includes the following: Weighting

Concept development  Mind maps, annotated sketches and drawings 25%
to show concept development
Research, investigation,  This should include some or all of the 25%
experimentation, etc. following:
o Sketches, drawings, photos, images,
collected poems, lyrics and any other
material that inspires you
o Research on artists that have inspired you
o 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 25%
your concept development.
Presentation and overall  Visually interesting showing a personalised 25%
view approach.
 Your sourcebook should consist of an average
of 8–10 pages.
TOTAL 100
Guidelines for assessment
 As can be seen from the rubric for the sourcebook, the four assessment criteria carry equal
weighting.
 Each assessment criterion must be marked as a percentage.
 The four marks must be added for a mark out of 400 and then divided by 4 to get the total
out of 100.
 In Grade 12 the specific assessment criteria stipulated in the rubric must be followed in
preparation for the NCS Paper 2. Teachers may not make their own requirements.
and 12, MUST be used in all the criteria to ensure standardisation.

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TOPIC 2: THE ARTWORK
ASSESSMENT CRITERIA This includes the following:

Choice and use of materials/  Suitability of material and technique according to the
techniques concept
 Safe and manageable
 Technical skill
Use of formal art elements  The importance of the elements and 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 responses/solutions
originality, creativity,
innovation
Interpretation and practical  A personal interpretation of a theme
implementation of research  Experimenting
 Trying new challenges
Completion and presentation  Attention to detail
of artwork  Task completed in allocated time
 Presentation according to task
TOTAL 100
Guidelines for assessment
 The artwork MUST be assessed holistically and no specific mark allocations may be used
for the different criteria.
and 12, MUST be used to ensure standardisation.
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 of 8–10 pages

TOPIC 2 (Artwork): Your teacher will guide you in your 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 on page 27.

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4. LIST OF RESOURCES
LTSM – Source References
 Textbook approved by the DBE.

 Reference books, catalogues and magazines such as Art 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 or
online reviews, etc. should be consulted regularly.
 The internet: Use the search engines to find useful websites. Often, placing a '.edu' or '.org'
at the end of your search phrase will lead you to educational or museum/gallery websites.
YouTube provides many practical workshops. Inspiration for practical tasks can be found
on Pinterest.
5. CONCLUSION
On 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.
NOTE: All the artworks in this document were created by Grade 12 learners.

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ADDENDUM A
DECLARATION OF AUTHENTICITY
At least 60% of this PRACTICAL ASSESSMENT TASK was done under the supervision of the
Visual Arts teacher. This statement certifies that all work submitted is original and is the work
of the learner.
SIGNATURE DATE
Learner
Teacher
School
Principal
School stamp

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ADDENDUM B
PRACTICAL TASK EXAMPLE
Teachers may use this example as one of their practical tasks in 2024.
Family Portraits
David Goldblatt, Wedding Party, Orlando West, Soweto, black and white photograph, 1970.
When I was a boy, my family took great care with our snapshots. We really planned them. We
dressed up. We posed in front of expensive cars [and] homes that weren't ours. We borrowed
dogs. – Richard Avedon
What is a family?
Every family is unique. Members of a family may be connected by birth, marriage or adoption
and many people create their own families through kinship or because of need.
What are family portraits?
Family portraits are representations that record family members and their relationships. We
represent our families in different ways. We make choices about what is important to us or what
we want to remember. In the quote above, Richard Avedon tells us how his family wanted to
create what they thought was a perfect family image. Over time, family portraits have changed
from formal and carefully composed images to informal photographs that are shared on social
media.
This Practical Task encourages you to think about the choices that we make when we represent
our loved ones. There is a long history of representation of families in art that can offer us
different ways to think about this project.

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Representations of family in Art before the camera
Before the invention of the camera, painters represented families. Artists were employed by
members of the royal family to make paintings of their families. This meant that only very
wealthy people could afford to have family paintings.
Francisco Goya (Spain), Charles IV of Spain and His Family, oil on canvas, 1801.
The Daguerreotype and early photography
Things changed when the daguerreotype was invented in 1839. The daguerreotype was an
early photographic process that printed a single picture onto a piece of metal. For the first time
in history, ordinary people were able to record and preserve their family's images. The early
daguerreotypes were formally posed, but from as early as 1888, ordinary people started to take
informal photographs. These photographs were often characterised by unusual compositions or
cropping and they recorded families together in everyday moments.

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Unknown daguerreotypist, Group portrait Photographer unknown, A girl taking a

of a Woman with Two Children, photograph of a dog, black and white
daguerreotype, c. 1850. photograph, 1920s.
Informal depictions of family in art
Artists have also created informal family portraits. Intimate subject matter, domestic spaces and
tight cropping are features of many modern artworks of family life.
Pierre-Auguste Renoir, On the Grass (Jeunes Neo Matloga, Bula pelo yao II (Open your
femmes assises dans l'herbe), oil on canvas, Heart), collage, charcoal, soft pastel and ink
c. 1873. on canvas, 2019.
South African artist, Neo Matloga, looks at an

intimate moment in a home.

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Jody Bieber, Between Dogs and Wolves, black J. Ross Baughman, Gay Dads Kissing,
and white photograph, date unknown. black and white photograph, 1983.
Formally posed contemporary portraits
Many contemporary artists continued to make formal or posed family portraits. Notice that many
of the artworks below expand notions of family. The portraits below show the relationships
between the people depicted.
Gerard Sekoto, Mother and Child, oil on Simphiwe Ndzube, Umakhulu neNtombi
canvas board, date unknown. Zakhe (Grandma and her Daughters), oil on
canvas, 2022.

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Alexia Webster, Family Album Street Pieter Hugo, Pieter and Maryna Vermeulen
Studios, photograph, 2014. with Timana Phosiwa, photograph, 2006.
David Goldblatt, A Farmer' Son With His Claire Tabouret, The Siblings (orange),
Nursemaid, Heimweeberg, Nietverdiend, acrylic and ink on paper, 2020.
Western Transvaal, black and white
photograph, 1964.

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Family portraits that signal loss
Sometimes paintings or photographs show loved ones to try to retrieve memories of those who
have passed. For some of these artists, it is meaningful to represent people without using
portraiture.
David Goldblatt, Victoria Cobokana with Her Jean David Nkot, #Body Depredation, acrylic,
Children, colour photograph, 1999. silkscreen canvas, 2022.
Victoria Cobokana was photographed with her Nkot explores migration and personal loss.
son and daughter a few months before she
died of Aids. Her children died a year later.
Steven Cohen, Put Your Heart Under Your Felix Gonzalez-Torres Foundation, 'Untitled'
Feet … And Walk!, ballet pointe shoe, found (Portrait of Ross in L.A.), candies (sweets) in
object (family photographs), 2013-17. various coloured wrappers, endless supply, 1991.
Steven Cohen paid tribute to his late partner, Felix Gonzalez-Torres created installations of
Elu, a ballet dancer, by making readymades roughly 80 kg of sweets to represent the body
combining Elu’s ballet shoes with poignant weight of his partner Ross, who later died of
objects. The worn shoes represent the wearer, complications from Aids. Visitors were invited to
but the absence of the person wearing the take sweets from the installation, but when they
shoes points to his profound loss. did, they diminished the pile of sweets which
shows Ross's diminishing weight during his illness.
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TOPIC 1: SOURCEBOOK
Representations of family can allow you to explore the dynamics, relationships and emotions
that exist within families. The following is a guideline in 7 steps on how to investigate the theme
of family portraits.
Remember you must VISUALLY tell the story with a starting point (the theme) and a
conclusion (your artwork) and a journey in between (your sourcebook).
1. ASK Find the problem
 The first thing is to paste the brief into your sourcebook.

 Start thinking about different representations of your family or family portraits you have seen
of other families.
 Create a cover page for this task.
2. LEARN Gather related information
You are now going to start to investigate your interpretation of family/family portraits.
Start with an exploration of what family means to you.

Respond to any questions that are meaningful for you from the list below:
 Who are your family members?

 Are there people who you consider 'family' who are not part of a conventional definition of
family?
 What is the importance of family in your culture, religion or community?
 Are there members of your family who are especially important to you?
 Are there family members who you have not met whom you wish you could?
 Do you know your family history? Can you ask your parents or grandparents for some
stories?
 Do you know someone who has family stories that stand out to you?
 Now, expand your questions to consider how your family's story has been represented.
 Do you have printed family photographs? If so, who took the photographs and what do they
include?
 Do you have photographs from your childhood?
 Do you remember being photographed?
 Do you have photographs of your parents or grandparents from before you were born?
 Do you have photographs of family members that you do not know? Do the photographs
prompt stories about them from parents or grandparents?
 Are there people who are left out of photographs or the family album?
 If you don't have printed photographs, how have your photographs been stored?
 If your photographs were lost, what is the story behind it?
 If you don’t have any family photographs, how would you imagine your family photographs
to look?

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3. LOOK Acquire the knowledge
You now should have a few broad ideas for family portraits. At this stage, be open-minded and
collect widely.
This should include the following:
 Go through your family's photograph collection and select the ones you might want to
include in your research. You can also ask other family members to contribute their own
photographs or look for images of other families. Organise the photographs: Sort the photos
by theme, event, or time. Add captions: Write captions for each photo, including names,
dates, and any relevant stories, or any information you might have about the photograph.
 Make copies of photographs so that you do not misplace or damage family photographs.
 Take a few photographs of your family if you can do so. Try to make different compositions
such as formal, composed photographs and informal or fun pictures.
 Choose some possessions or objects that are important in your family or remind you of
important people in your family. Make some drawings of them or collect source material
related to them. Take your own photos where possible.
Now focus your attention on how artists have thought about family portraits.
Do research on three artists that have inspired you. (You can select artists from this document.)
One must be an international artist and TWO must be contemporary South African artists.
Ensure that their work is relevant to you.
 Use the artists you have researched by remaking areas of their work to learn about subject,
techniques and materials. You are encouraged to have some freedom to 'interpret' the
works of others, so you learn from that and develop in your own direction.
4. PLAY Incubation
 Remember that the theme of family can be interpreted in many different ways, so explore
different techniques, styles and/or experiment with media to uncover feelings or
connections that are made through the material.
 Drawing/Sketching: Create a series of drawings, either from life or from the photographs
you have collected. You can experiment with different styles, such as naturalism,
simplification or stylisation, to convey different aspects of their personalities.
 Collage: Use photos or other mementoes to create a collage. You can arrange the images
in a specific way to tell a story or highlight particular relationships. You can recreate
relationships that are maybe not shown, or re-present the dynamics as you see them.
 Narrative: You can create a series of images that tell a story about your family. Include a
variety of media, such as painting or drawing to your collage to annotate them and add
different aspects of family life that are not depicted in the photographs.

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The artists below show how you can 'activate' or make alive printed images by layering over
them.
David Spiller, Olive, mixed media, date David Salle. Untitled from Canfield Hatfield,
unknown. mixed media, 1989.
● Start manipulating OTHER materials to think about what materials might contribute to
your idea or mood of your artwork. Gao Zhouye mixes glass, sea shells and gold foil.
Penny Siopis works with glue and ink.
Gao Zhouyue, Dawning, mixed-media with Penny Siopis, Strip, mixed media, 2007.
glass, seashells, and gold foil,
date unknown.
● Look at this website: https://www.studentartguide.com/featured/identity-ib-visual-arts

It shows how a learner has used artists to develop her own interpretation (of a different
theme).

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5. THINK Generate ideas
● You should now have a few ideas and must start with the selection process. What are
the one or two ideas or processes that stand out and you want to further investigate?
● Take more photographs at this stage, if it is appropriate to do so.
● Take your ideas and work with them – your research will be much more focused from
now on.
Remember: The theme is family portraits. You can do a portrait/s and/or use objects that tell
your family or another family's story.
6. FUSE Combine ideas
This is an important part of the process where you start bouncing ideas together, looking for
unexpected combinations. Connect the dots of your research by eliminating some aspects,
reflecting on what is needed and adding others. Bring together your best 'bits' of composition,
materials, experimentations and subjects. Successful creativity never comes from only one idea;
rather, from a combination of several.
Vivien Kohler, My Iron Lung, mixed media, 2014.

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7. CHOOSE Select the best idea
You should now select your final idea for the artwork and can start to refine it.
● Start making final planning compositional sketches with annotations.
REMEMBER: Your sourcebook must clearly show all your processes leading to the final
artwork.
● Vary page layouts to provide variety and visual interest.

● Each page of your sourcebook must reflect creativity.
● Use your space effectively.
REMEMBER: There should be extensive use of drawing in your sourcebook which reflects at
least 30% of your proposal for your final work. Ensure the extensive use of drawing to express
perception and invention and to communicate feelings, experiences and ideas.
It is important that hand skills are demonstrated in the sourcebook and that drawing is
interpreted as the creation of marks (mark marking) to make thoughts visual in:
● Different media, e.g. pencil, pen, paint, erasers, pens, ink, bleach, string
● Different styles, e.g. naturalistic, expressionistic, gestural, abstract
● Different drawing techniques, e.g. stippling, hatching, doodling, scribbling, tonal drawing
Drawing can therefore range from simple line sketches to explain ideas to full-tonal drawings. It
could also include small paintings. It is important to express ideas and concepts through
drawing, e.g. annotated drawings.

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ADDENDUM C
THE USE OF AI-GENERATED IMAGERY/INFORMATION
The use of artificial intelligence is growing rapidly, with many AI tools and platforms that can be
accessed. It can be a useful time-saving tool if used correctly. It can help to overcome 'artist's
block', or provide inspiration, support, and assistance, especially for brainstorming and the
'sparking' of ideas to make more rapid progress. It opens new possibilities – such as virtual or
augmented reality as well as new ways of how and where art is experienced or exhibited.
When using AI, it is essential to approach it as a tool rather than a replacement for one's own
artistic skill, creativity and originality. AI-generated imagery should only be used as a starting
point in the journey to express one's own unique artistic voice.
When exploring the use of AI, learners should be aware of the following:
● AI cannot be used solely for the purpose of generating an art idea which is then merely
copied. It should rather be used as a source of inspiration – combining it with the learners'
own ideas and vision.
● Understand, experiment and explore the full range of the platform/s used. Many images
generated through different prompts, rather than just one, might help develop more original
concepts.
● AI-generated imagery should therefore act as inspiration only and should reflect artistic
intent. The AI tool should enhance and refine ideas so that artistic integrity is always upheld.
Learners should maintain ethical principles by being aware of bias and stereotypical
responses.
● Explore AI-generated technology by observing and analysing the results critically. Reflect on
the strengths and weaknesses of AI and learn from these insights.
● Remember that AI is a tool that should enhance the creative journey but its capabilities and
limitations should be understood.
● Where AI-generated imagery has been used to develop an idea, learners must acknowledge
the AI assistance in their sourcebook as a thumbnail image with the specific site/s and
prompts used for generating the image/s. Learners must be able to disclose how they have
used AI as support – i.e., brainstorming, outlining, feedback, etc.
● Sufficient changes/adaptations/or inclusion of other/students' imagery must be evident in the
final artwork, to avoid penalisation due to plagiarism.
● Remember, AI can never take the place of an artist.

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An example from a sourcebook of how a learner has acknowledged the use of AI

support.
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VISUAL ARTS

These guidelines consist of 40 pages.

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ADDENDUM A: DECLARATION OF AUTHENTICITY 27

ADDENDUM B: PRACTICAL TASK EXAMPLE 27

ADDENDUM C: THE USE OF AI-GENERATED IMAGERY/INFORMATION 39

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The 18 Curriculum and Assessment Policy Statements subjects which contain a

 AGRICULTURE: Agricultural Management Practices, Agricultural Technology

A practical assessment task (PAT) mark is a compulsory component of the final

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The marks are allocated as follows:

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General guidelines in setting the practical task:

2.1 Ideas and approaches for guiding Topic 1

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CODE OF CONDUCT OF SCHOOL

2.3 How to administer the PATs

 Ensure the availability of art media.

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Topic 2: Making of artworks

Checklist for the exhibition

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This body of work will be assessed holistically.

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2.5 How to mark/assess the practical tasks

ASSESSMENT CRITERIA FOR PRACTICAL WORK

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Below average 40–49  Enough material/works to pass; not logically constructed.

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2.6 Moderation of practical tasks

2. ASSESSMENT OF PRACTICAL TASK

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2.7 Declaration of authenticity

Refer to ADDENDUM A on page 27.

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TOPIC 1 – SOURCEBOOK (Conceptualising by the development and realisation of creative

At least 30% should be drawings to explain your concept development

Presentation and overall view

2. Learn Brainstorm: mind maps, word games,

4. Play Experimentation of media and/or different

5. Think Find the subject matter.

6. Fuse Start bouncing ideas around, looking for

7. Choose Final composition drawings

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Let us unpack the steps in the template:

1. ASK Find the problem

Engage with the theme/question of the brief.

2. LEARN Gather related information

A mind map is a type of spider

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3. LOOK Acquire the knowledge

This should include the following:

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5. THINK Generate ideas

These could include the following: