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AQA
General Certificate of Secondary Education
June 2014
Art and Design (Art and Design) 42012
Unit 2 Externally Set Task
All teacher-assessed marks to be returned to AQA by 31 May 2014.
For this paper you must have:
appropriate art and design materials.
Time allowed
10 hours
Instructions
A

Read the paper carefully. Before you start work, make sure you understand all the information.
Choose one starting point and produce a personal response .
You have a preparatory period to research, investigate and develop your ideas. Your work during
this period could be in sketchbooks, journals, design sheets, studies or any other appropri,ate form of
preparation.

You are allowed ten hours to produce your personal response outcome(s) .

The work submitted for this examination must be your own unaided work .

You must hand in your personal response outcome(s) and the preparatory work at the end of the
examination.
Information
Your work will be marked out of 80.
All -your work, including the work done during the preparatory period, will be marked.
Advice
You should discuss your ideas with your. teacher before deciding on your starting point.
You should make sure that any materials or equipment which you might need are available before
you start the examination sessions.
You may take all your preparatory work into the examination sessions.
You should, when developing your personal response, make appropriate connections with other
sources such as the work of artists, craftspeople, designers and/or photographers.
You may work on further supporting studies until you have completed your personal response
outcome(s ).
You may use any appropriate medium, method(s) and materials, unless the question states
otherwise.
You may use any appropriate art, craft or design based approach when responding to your chosen
question.
Copynght 2014 AOA and its licensors. AU rights reserved.
G/Jun14/42012
G!Tlf101582/Jun14/E3 42012
2 3
Your work will be marked according to how well you have shown evidence of: 4 Edges
developing ideas through investigations informed by contextual and other sources, demonstrating
analytical and cultural understanding
refining ideas through experimenting and selecting appropriate resources, media, materials,
techniques ;;ind processes
recording ideas, observations and insights relevant to your intentions in visual and/or other forms
presenting a personal, informed and meaningful response demonstrating analytical and cr
'
iti al
understanding, realising intentions and, where appropriate, making connections between visual,
written, oral or other elements.
Choose one of the following starting points and produce a personal response.
Edges can be used to outline shapes, to separate colours and textures and to define forms.
Halima Cassell makes ceramic vessels with clearly defined edges inspired by elements in
African art and Islamic architecture. Sculptor Richard Deacon exploits the qualities of edges
in his twisting abstract constructions. Fashion and textiles designer Emma Lundgren creates
colourfully edged, multi-layered fashion garments.
Investigate relevant sources and create your own work in response to:
EITHER (a) on the edge
OR (b) edge to edge.
5 Arrangements
1 Openings
Many artists, craftspeople and designers create specific effects through the arrangement of
line, shape, form, colour and texture. Peter Clark recycles and arranges paper and textiles
Many artists, craftspeople and designers are fascinated by openings and the viewpoints these
provide. Charles Hardaker and Edward Hopper have made paintings looking into and out
from rooms. Henk Van Rensbergen takes photographs peering through openings into bleak,
deserted spaces. Andy Goldsworthy created openings in many of his site-specific sculptures
and Barbara Hepworth created pierced, organic forms.
Study appropriate sources and produce your own work inspired by Openings.
into collaged garments and three-dimensional creatures. Tony Cragg's early installations
incorporated discarded household materials arranged by colour. Ben Gest arranges and
records interior domestic scenes in his photographs. Giorgio Morandi painted still-life
arrangements of simple objects such as vases, bottles and bowls.
Research appropriate sources and create your own work in response to one of the following:
(a) still life
2 Disguise
(b) domestic scene
(c) assemblage.
Masks, elaborate make-up and costume are used in traditional Japanese Kabuki theatre
and by the Kathakali dancers of India to transform and disguise a performer's appearance,
character and gender. Fashion designer Guo Pei creates fantastic sculptural costumes that
dramatically change the appearance and identity of the wearer. Cavan Huang arranges and
layers letterforms to disguise the message of the text.
Research appropriate sources and create your own work in response to Disguise.
3 Atmospheres
Colour, light, shape, sound and texture are often combined to interpret or create atmospheres.
Claude Monet and JMW Turner made work in response to specific atmospheric conditions.
Mark Rothko created abstract paintings with a defined atmosphere or mood. Brian Eno has
created atmospheric soundscapes for art installation works. Dancer and choreographer
Merce Cunningham collaborated with mixed-media artist Daniel Arsham who created
dramatically lit, atmospheric, sculptural stage sets.
Research appropriate sources and create your own work in response to Atmospheres.
6 Texture
The appearance and tactile nature of surfaces sometimes inspires artists, designers and
craftspeople. Frank Auerbach develops urban landscapes and portraits in dense layers of
paint, creating textured surfaces. The work of ceramicist Anne Goldman is inspired by the
surfaces of rocks in the desert canyons of California. Amarjeet Nandhra combines print, mixed
media and stitch as she explores the textures seen in deteriQrating surfaces. Clay Ketter has
used painting, mixed media and photography to explore textured surfaces.
Investigate appropriate sources and produce your own work in response to Texture.
7 Fragments
.Y ou should make connections with appropriate sources when developing your personal
response to one of the following suggestions.
(a) Develop your own interpretation of the starting point Fragments.
(b) You could create promotional material for a museum or gallery exhibition called
Fragments.
(c) You might be inspired by a fragment of a song or an overheard conversation.
END OF QUESTIONS
G/Jun14/42012 G/Jun14f42012
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AQA
There are no questions printed on this page
General Certificate of Secondary Education
June 2014
Art and Design 42062
(Photography: lens-based and light-based media)
Unit 2 Externally Set Task
All teacher-assessed marks to be returned to AQA by 31 May 2014.
For this paper you must have:
appropriate art and design/photographic materials.
Copyright 2014 AOA and its licensors. All rights reserved.
G/Jun14/42062
Time allowed
10 hours
A
Instructions
Read the paper carefully. Before you start work, make sure you understand all the information.
Choose one starting point and produce a personal response. .
You have a preparatory period to research, investigate and develop your ideas. Your work during this
period could be in sketchbooks, journals, design sheets, studies or any other appropriate form of
preparation.
You are allowed ten hours to produce your personal response outcome(s).
The work submitted for this examination must be your own unaided work.
You must hand in your personal response outcome(s) and the preparatory work at the end of the
examination.
Information
Your work will be marked out of 80.
All your work, including the work done during the preparatory period, will be marked.
Advice
You should discuss your ideas with your teacher before deciding on your starting point.
You should make sure that any materials or equipment which you might need are available before
you start the examination sessions.
You may take all your preparatory work into the examination sessions.
You should, when developing your personal response, make appropriate connections with other
sources such as the work of artists, craftspeople, designers and/or photographers .
You may work on further supporting studies until you have completed your personal response
outcome(s).
You may use any appropriate lens-based and light-based photographic medium, method(s) and
materials, unless the question states otherwise.
G/Tl/101587/Jun14/E3 42062

2 3
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Your work will be marked according to how well you have shown evidence of: 4 Edges
developing ideas through investigations informed by contextual and other sources, demonstrating
analytical and cultural understanding
refining ideas through experimenting and selecting appropriate resources, media, materials,
techniques and processes
recording ideas, observations and insights relevant to your intentions in visual and/or other forms
presenting a personal, informed and meaningful response demonstrating analytical and critical
understanding, realising intentions and, where appropriate, making connections between visual,
written, oral or other elements.
Choose one of the.following starting points and produce a personal response.
1 Openings
' .
Openings such as doors and windows are important parts of the composition in some of the
photographic work of Lee Friedlander and Andreas Gursky. Dragan Todorovic often uses the
light that comes from openings, such as doors or windows, to emphasise a subject or to create
a silhouette.
Research appropriate sources and produce your own work in which openings play an
Laura Letinsky uses the edges of objects such as tables and shelves and the line where one
colour meets another as important features of the composition in her still-life photographs.
Jed Devine and Jan Groover use similar compositional devices in their work. Lines formed
by the edges of parts of.buildings, shadows and silhouettes are an important part of the
composition in the photographs and photograms of Laszlo Moholy-Nagy.
Research appropriate sources and produce your own work where edges are an important part
of the composition.
5 Street Photography
The London Festival of Photography defines Street Photography as '...un-posed,
un-staged photography which captures, explores or questions contemporary society and the
relationships between individuals and their surroundings'. It has been suggested that
Henri Cartier-Bresson and Robert Frank, amongst others, are fathers of Street Photography.
Research Street Photography and produce work based on your observations of individuals
and their surroundings.
6 Texture
important part. PES (real name Adam Pesapane) is an animator and director who uses the distinctive
textures and colours of objects and materials in his stop-frame animations. In the animation
'Western Spaghetti', bubble wrap is used to represent boiling water and silver foil to represent
2 Disguise
Inge Moratb collaborated with the artist Saul Steinberg to produce a series of photographs
in a book called 'Masquerade'. These were based on people wearing masks which had
facial expressions drawn on them. Richard Burbridge has produced portraits for fashion
magazines in which the model wears a surreal mask, often made from found materials.
Photo manipulation using digital software can be used to alter features or to add to a person's
appearance or identity;
Investigate relevant sources and create your own portraits which disguise or add to the
appearance of the sitter.
3 Futurism
Artists of the Futurist Movement sometimes used photography and film making to celebrate
the energy, speed of change, technological advances and the power of machinery in the early
twentieth century.
Research appropriate sources and produce work in response to one of the following:
(a) working with today's technology
(b} what a wonderful world.
cooking oil. Photographers such as Ansel Adams and Edward Weston have sometimes used
close focus techniques to explore textures in the landscape and natural forms.
Study relevant sources and produce your own work inspired by Texture.
7 Fragments
You should make connections with appropriate selected sources when developing your
personal response to one of the following suggestions.
(a) Develop your own interpretation of the starting point Fragments.
(b) You could make a poster by combining fragments of photographic images with fragments
of lettering.
(c) You might develop ideas by looking at the qualities of texture in fragments of rocks,
wood or peeling paint.
END OF QUESTIONS
G/Jun14/42062 G/Jun14/42062