AS Art Exam: Paintings of Decaying Fruit 98%

Last Updated on January 5, 2022

This AS Art test (controlled test) gained 98% in 2008. It was completed by Nikau Hindin, who achieved 100% in her accompanying Every bit Coursework Project, giving her an overall AS Fine art result of 99%. Nikau completed this body of piece of work while studying A Level Art & Design (CIE 9704), Painting and Related Media, at ACG Parnell Higher, Auckland, New Zealand.

Some of Nikau'southward sketchbook pages are included in our new volume: Outstanding High School Sketchbooks . This book has high-resolution images so that fine details and annotation are clear, making it an excellent resource for students and schools. Learn more!

This beautiful art test board (Painting & Related Media) is made upwardly of the three 10 A1 sheets of supporting work (a maximum of iv is permissible).

Later on selecting the topic Suspension from her AS Fine art exam paper, Nikau created a still life of rotting fruit and vegetables that were suspended from nails hammered into the fine art room wall. Using torn and crumpled paper that had been 'pre-dirtied' using smears of paint, Nikau created a layered background over which items were suspended in the style of Jim Dine, an artist model that Nikau had besides referenced in her AS Coursework Project. Using discarded waste matter items that are conventionally viewed every bit disgusting and/or repulsive, Nikau created a still life fruit organization that had been distorted until information technology became unexpected and extraordinary – an individual, sensitive and artistic response to stimulus.

Nikau's first Art test drawing was a tightly controlled realistic graphite pencil piece.

Nikau worked from her ain photographs and directly from the hanging fruit (analysis from directly ascertainment) producing drawings on painted grounds that echoed the colours naturally present in the still life (this allowed Nikau to accept a consequent colour scheme throughout her folio board). Her start preparatory piece (illustrated in a higher place) was a highly realistic drawing, completed using graphite pencil on a launder of watered-down acrylic. This tightly controlled 'formal' drawing allowed Nikau to demonstrate her fantabulous observational drawing skills: accurately representing contour, shape and proportion, and confidently applying tone to return form and create the illusion of texture. A outset of this nature can 'reassure' the examiner, to some extent, that a candidate is worthy of high marks (even if they progress to an abstract conclusion of which the examiner may have otherwise been a picayune hundred-to-one).

One of the almost cute pieces I have seen completed as part of a high school Art test: a painting of an avocado skin, capsicum and beetroot. The photograph (taken by Nikau) used to inspire this piece is shown to the left.

Even in these early works, Nikau advisedly considered composition and artful qualities. A range of surfaces and textures has been represented, providing visual interest and diverseness. Shadows take been exaggerated, showing influence from Jim Dine, helping to provide depth in what may have otherwise been a very shallow and 'apartment' paradigm.

The cohesive and thorough submission shows clear evidence that Nikau continually assessed and evaluated her artwork. Visual links are established between the vertical lines of the string and the lines of the banana pare and other forms. The repetition of organic curving forms balances the works and contrasts the difficult angular lines created past the string and newspaper edge. Nikau has identified the importance of the negative spaces and has carefully distributed detailed areas in social club to create focal points that guide the viewer's attention throughout the piece of work.

In other areas, objects are incompletely rendered – tone and outlines 'fading away', making it less articulate where the background stops and objects begin. This is a characteristic of Jim Dine'south work (his tool drawings in particular) and supports Nikau's intention of finding beauty in the discarded.

Ii preparatory pieces completed for this AS Art test

In order to strengthen the strong vertical lines in her work, Nikau began to experiment with media, layer upon layer of drips and washes creating intricate and beautiful grounds. These wispy drips echo details within the objects themselves: the fine, curly hairs on the beetroot; lines on the crinkled avocado pare; the glistening reflections of light on the capsicum. The boundary between background and object is less clear and the work is united equally a whole.

The Controlled Test (Art exam) requires that students develop their ideas. This preparatory piece shows the first hint at a disintegration of form: objects fade into line and so into the background.

Learning from Janet Fish, a painter who had as well been studied within her As Coursework submission, Nikau began to refine her painting of reflective surfaces and her false of the undulating surfaces of the cabbage and beetroot leaves, applying acrylic with exceptional skill. Nikau besides began to exaggerate rips and torn edges that were present in the background surface, further eliminating the purlieus between background and foreground form.

A beautiful Art exam example: digital preparatory work.

The preparatory work immediately above and beneath are some of my favourite pieces in this unabridged Every bit Art test submission. They were completed digitally, with existing paintings and grounds scanned and then merging and edited using Photoshop (Adobe Fireworks is also corking for this). Digital manipulation is a much under-utilised strategy for A Level Art Painting students. While Graphic Blueprint and Photography students more often than not live on a computer (and would sometimes benefit from more easily-on arroyo) Painting students are of oftentimes the opposite farthermost, sometimes never venturing near a computer lab. This is a shame, equally playing around digitally tin result in unexpected outcomes that push students in an exciting new management. In these two works, as with the remainder of her submission, Nikau demonstrates independence and conviction in concept and execution. She selects and controls digital tools with the aforementioned precision and competence that she shows has when using physical media, processes and techniques.

Painted works are merged to create a stunning preparatory piece for Nikau'south Every bit Fine art exam.

Nikau continued to develop her ideas, completing three A1 folio boards that systematically communicate her ideas and intentions. She deconstructed forms, manipulated scales and, as with her Coursework, used gel medium and water to create translucent layers.

Her AS Art examination final piece is the cute acrylic painting below:

This is Nikau's huge concluding Art exam piece. An outstanding examination submission.

For further guidance about this topic, please read the accompanying article virtually the CIE Equally Fine art Examination.

Amiria has been an Art & Design teacher and a Curriculum Co-ordinator for seven years, responsible for the course design and assessment of student work in two loftier-achieving Auckland schools. She has a Available of Architectural Studies, Bachelor of Architecture (First Class Honours) and a Graduate Diploma of Didactics. Amiria is a CIE Accredited Art & Design Coursework Assessor.

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Source: https://www.studentartguide.com/featured/as-art-exam-painting-fruit

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