Secondary School Certificate

Examination Syllabus

ART AND
MODEL DRAWING
CLASSES IX-X

(based on National Curriculum 2002)

 Published by
Aga Khan University Examination Board
Bungalow # 233 / E.I Lines,
Daudpota Road, Karachi, Pakistan.

March 2005
Last Revised July 2009

All rights reserved

This syllabus is developed by Aga Khan University Examination Board for distribution
to all its affiliated schools.
Secondary School Certificate
Examination Syllabus

ART AND
MODEL DRAWING
CLASSES IX-X

This subject is examined in the

May Examination session only
 S. No. Table of Contents Page No.

Preface 5

1. Rationale of the AKU-EB Examination Syllabus 7

Specific Rational of the AKUEB Art and Model Drawing Examination
2. 8
Syllabuses
3. Course Requirements 9

4. Course Descriptions 11

5. Guideline-Topics for Classes IX and X 12

Topics and Student Learning Outcomes of the Examination Syllabus (Units 5
6. 14
and 6)
7. Topics of Study (Art History) 48

8. Strategies to Facilitate Learning 50

9. Recommended Texts and Reference Materials 51

10. Studio Material and Equipment 53

11. Scheme of Assessment 53

12. Indicator Checklist 55

13. Definition of Cognitive Levels and Command Words in the Student Learning
57
Outcomes in Examination Papers
Annex : SSC Scheme of Studies 59

For queries and feedback

Address: The Aga Khan University Examination Board

Bungalow No. 233/ E.I.Lines, Daudpota Road, Karachi-Pakistan.
Phone: (92-21) 35224702-10
Fax: (92-21) 35224711
E-mail: examination.board@aku.edu
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http://learningsupport.akueb.edu.pk
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Last Revised July 2009 Page 4

PREFACE
In pursuance of National Education Policy (1998-2010), the Curriculum Wing of the
Federal Ministry of Education has begun a process of curriculum reform to improve the quality
of education through curriculum revision and textbook development (Preface, National
Curriculum documents 2000 and 2002).

AKU-EB was founded in August 2003 with the same aim of improving the quality of
education nationwide. As befits an examination board it seeks to reinforce the National
Curriculum revision through the development of appropriate examinations for the Secondary
School Certificate (SSC) and Higher Secondary School Certificate (HSSC) based on the
latest National Curriculum and subject syllabus guidance.

AKU-EB has a mandate by Ordinance CXIV of 2002 to offer such examination services to
English and Urdu medium candidates for SSC and HSSC from private schools anywhere in
Pakistan or abroad, and from government schools with the relevant permissions. It has been
accorded this mandate to introduce a choice of examination and associated educational
approach for schools, thus fulfilling a key objective of the National Curriculum of Pakistan:
“Autonomy will be given to the Examination Boards and Research and Development cells
will be established in each Board to improve the system” (ibid. para. 6.5.3 (ii)).

AKU-EB is committed to creating continuity of educational experience and the best

possible opportunities for its students. In consequence it offered HSSC for the first time in
September, 2007 to coincide with the arrival of its first SSC students in college or higher
secondary school. Needless to say this is not an exclusive offer. Private candidates and
students joining AKU-EB affiliated schools and colleges for HSSC Part 1 are eligible to
register as AKU-EB candidates even though they have not hitherto been associated with
AKU-EB.

This examination syllabus exemplifies AKU-EB’s commitment to national educational

goals.

• It is in large part a reproduction, with some elaboration, of the Class IX and X National
Curriculum of the subject.

• It makes the National Curriculum freely available to the general public.

• The syllabus recommends a range of suitable textbooks already in print for student purchase
and additional texts for the school library.

• It identifies areas where teachers should work together to generate classroom activities and
materials for their students as a step towards the introduction of multiple textbooks,
another of the Ministry of Education’s policy provisions for the improvement of secondary
education (ibid. para. 6.3.4).

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This examination syllabus brings together all those cognitive outcomes of the National
Curriculum statement which can be reliably and validly assessed. While the focus is on the
cognitive domain, particular emphasis is given to the application of knowledge and
understanding, a fundamental activity in fostering “attitudes befitting useful and peaceful
citizens and the skills for and commitment to lifelong learning which is the cornerstone of
national economic development” (Preface to National Curriculum documents 2000 and
2002).

To achieve this end AKU-EB has brought together university academics, teacher trainers,
writers of learning materials and above all, experienced teachers, in regular workshops and
subject panel meetings.

AKU-EB provides copies of the examination syllabus to subject teachers in affiliated schools
to help them in planning their teaching. It is the syllabus, not the prescribed text book which
is the basis of AKU-EB examinations. In addition, the AKU-EB examination syllabus can
be used to identify the training needs of subject teachers and to develop learning support
materials for students. Involving classroom teachers in these activities is an important part of
the AKU-EB strategy for improving the quality of learning in schools.

The Curriculum Wing of the Federal Ministry of Education has recently released new
subject specifications and schemes of study to take effect in September, 2008. These
documents are a major step forward towards a standards-related curriculum and have been
welcomed by AKU-EB. Our current SSC syllabuses have been revised to ensure conformity
with the new National Curriculum 2006.

We stand committed to all students entering the SSC course as well as those who have
recently embarked upon the HSSC course in facilitating their learning outcome. Our
examination syllabus document ensures all possible support.

Dr. Thomas Christie

Director,
Aga Khan University Examination Board
July 2009

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1. Rationale of the AKU-EB Examination Syllabus

1.1 General Rationale

1.1.1 In 2007, the Curriculum Wing of the Federal Ministry of Education (MoE)
issued a revised part-wise Scheme of Studies. All subjects are to be taught and
examined in both classes IX and X. It is therefore important for teachers,
students, parents and other stakeholders to know:

(a) that the AKU-EB Scheme of Studies for its SSC examination
(Annex A) derives directly from the 2007 Ministry of Education
Scheme of Studies;
(b) how the marks for each subject will be allocated to different topics and
sub-topics across multiple choice and constructed response papers;
(c) which topics will be examined in Class IX and in Class X;
(d) at which cognitive level or levels (Knowledge, Understanding,
Application and other higher order skills) the topics and sub-topics will
be taught and examined;

1.1.2 This AKU-EB examination syllabus addresses these concerns. Without such
guidance teachers and students have little option other than following a single
textbook to prepare for an external examination. The result is a culture of rote
memorization as the preferred method of examination preparation. The
pedagogically desirable objectives of the National Curriculum which
encourage “observation, creativity and other higher order thinking [skills]” are
generally ignored. AKU-EB recommends that teachers and students use
multiple teaching-learning resources for achieving the specific objectives of
the National Curriculum reproduced in the AKU-EB examination syllabuses.

1.1.3 The AKU-EB examination syllabuses use a uniform layout for all subjects to
make them easier for teachers to follow. Blank sheets are provided in each
syllabus for writing notes on potential lesson plans. It is expected that this
arrangement will also be found helpful by teachers in developing classroom
assessments as well as by question setters preparing material for the AKU-EB
external examinations. The AKU-EB aims to enhance the quality of education
through improved classroom practices and improved examinations.

1.1.4 The Student Learning Outcomes (SLOs) in Section 6 start with command
words such as list, describe, relate, explain, etc. The purpose of the command
words is to direct the attention of teachers and students to specific tasks that
candidates following the AKU-EB examination syllabuses are expected to
undertake in the course of their subject studies. The examination questions
will be framed using the same command words, but not necessarily the same
content, to elicit evidence of these competencies in candidates’ responses. The
definitions of command words used in this syllabus are given in Section 13. It
is hoped that teachers will find these definitions useful in planning their
lessons and classroom assessments.

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 1.1.5 The AKU-EB has classified SLOs under the three cognitive levels Knowledge
(K), Understanding (U) and Application of knowledge and skills (A) in order
to derive multiple choice questions and constructed response questions on a
rational basis from the subject syllabuses ensuring that the intentions of the
National Curriculum should be met in full. The weighting of marks to the
Multiple Choice and Constructed Response Papers is also derived from the
SLOs, command words and cognitive levels. In effect the SLOs derived from
the National Curriculum determine the structure of the AKU-EB subject
examination set out in Section 11.

1.1.6 Some topics from the National Curriculum have been elaborated and enriched
for better understanding of the subject and/or to better meet the needs of
students in the twenty-first century. These additional topics have been
italicized in Section 6 of this syllabus.

2. Specific Rationale of the AKU-EB Art and Model Drawing Examination

Syllabus

2.1 The syllabus aims to test the candidate’s knowledge of art and his/her ability in visual
expression.

2.2 The objective of this syllabus is to target areas required for skill development and the
advancement of cognitive activity resulting in the development of critical and
analytical thinking through

2.3 Observation of the natural world and physical phenomenon and the means whereby
the real can be represented visually on a 2D and 3D plane.

2.4 Art-making and picture study which employ the generating or identification of images
that are associated with particular ideas by relating perceptions with concepts.

2.5 Expression of self and spatial aesthetics evoking emotional and intellectual responses
to the natural constructed and imagined world.

2.6 Interpretative skills which produce an assortment of appearances that convey a variety
of meanings.

2.7 Developing of creative skills i.e., engaging in expressive activities while acquiring
abilities to produce works that are novel and innovative.

2.8 Media and techniques-technical possibilities of materials and processes-and the

functional purposes of objects.

2.9 The process, techniques and skill/ability of designing products with an underlying
sense of purpose and planning which is economically and culturally viable.

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Candidates will be expected to demonstrate:

2.10 An ability to express themselves visually.

2.11 An understanding of visual logic.

2.12 An awareness of the historical and social development of art and design.

The practical aspect of the examination will test the candidate’s ability:

2.13 To depict and make personal response to the structure and form of objects through
observation.

2.14 To demonstrate an understanding of the characteristics of the medium chosen.

2.15 To apply the knowledge of visual and tactile elements in pictorial expression.

2.16 To express and communicate their ideas and meanings through materials and
processes.

2.17 To express and communicate ideas through principles and elements of art.

The theoretical part of the examination will test the candidate’s ability:

2.18 To critically analyze and judge artwork and art phenomena created by local artists
and artists of diverse contexts.

2.19 In the understanding, analysis, critical thinking, reflection and application of Art
History and Art Criticism.

3. Course Requirements

3.1 Students are required to produce a body of work and keep a Sketch book. This will
form the basis of assessment conducted throughout the academic year to document a
student’s progress by the class teacher and for the concerned schools’ in-house
examination system independent of the SSC examination conducted by the AKU EB.

3.2 In keeping with the Secondary School Certificate Examination requirements and
rationale of learning by doing, the examination will focus on practical activities. The
distribution of marks emphasizes the credence (weight) of the practical aspect of the
paper by suggesting 15 marks for the written test and a grand total of 60 marks for the
practical. Out of 60 marks, 10 marks are allotted for the portfolio and 50 marks for the
practical test (comprising of two practical assessments) which will be conducted as a
SSC examination final assessment.

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3.3 Submission of a portfolio1 is compulsory for all school candidates. The assessment of
portfolio aims to reflect the artistic development of the candidate based on a selection
of his/her artwork based over a period of time, typically one academic year. For each
candidate 5 pieces of artwork in various mediums/media will be assessed.

SSC Examination
Subdivision Total
Practical Assessment Portfolio
Length of time: (0ngoing 60 marks
3 hours Assignment)
5 artworks
(grade IX)
+
5 artworks
(grade X)
50 10

Written Assessment 15marks

Length of time:30 mins

3.4 Written Test is in the form of MCQs of 30 minutes, which will be based on student
learning outcomes specified in section 5-6 for classes IX and X respectively. This
assessment carries 15 marks.

3.5 Practical is a three hour examination, allowing students to demonstrate ability in the
chosen medium.

3.6 Portfolio is class work activity that the student accomplishes throughout the academic
year:

a) The art teacher needs to make available ‘Indicator Checklist’ to the student to be
aware of the grading criteria of the examination.

b) For class IX a minimum of 5 artworks need to be selected for the portfolio. He can
choose to work on any five of the units covered in grade IX. See units in
Section 5.

c) For class X examination, an additional 5 artworks are needed, providing a more

in-depth and mature documentation of the units covered in Grade X. See
section 6.

d) An examiner of AKU-EB will visit the centre and mark the portfolio with the Art
Teacher who will act as an additional member of the team. The student will be
engaged in a dialogue, a critique, before assessment is done. The criteria of
assessment will be the “Indicator Checklist”. Indicator Checklist allots appropriate
examination assessment criteria.

1
Candidate should not submit reproductions. This will lead to the disqualification of that particular artwork
consequently leading to the forfeiture of grades.

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4. Course Description

Art and Model Drawing offers opportunities for students to benefit from the making
and studying of art. It develops an understanding of the function and responsibility of
art in all forms of media, both in the current and historical world, and facilitates
students to embody their ideas and interests in artworks. Art and Model Drawing
makes it possible for students to become knowledgeable, understand and write about
their contemporary world.

Students learn about the gratification and enjoyment of making different kinds of
artworks in 2D, 3D and/or 4D forms. They learn to characterize their ideas and
interests with reference to contemporary developments and movements and how
artists’ including painters, sculptors, designers, photographers make artworks.

Students learn about how art is shaped by different beliefs, values and meanings by
exploring artists and artworks from different times and places and relationships in the
art world between the artist, artwork and the audience. They also explore how their
own lives and experiences can influence their art making practice.

Students learn to make artworks using a range of materials and techniques in 2D and
3D which can include, besides traditional and more contemporary forms, site-specific
works, installations to build a body of work over time. They learn to develop their
research skills, approaches to experimentation and how to make informed personal
choices and judgements. Students learn to investigate and respond to a wide range of
artists and artworks in art-making, critical and historical studies.

They learn to record procedures and activities about their art-making practice in their
Visual Arts diary popularly known as a Sketch book.

Students become skilled at and gain knowledge of the Components of Art:

4.1 Drawing
Employing a variety of media / medium, experimentation together with a more
analytical intellectual approach is encouraged. The units for grades IX and X
respectively in the syllabus should serve as guidance for the teacher. However, it is
optional where there are similar fundamental objectives as those stated in the syllabus,
for art teachers to follow their own teaching schemes for drawing.

4.2 Painting
The Projects suggested are not necessarily designed for rigid step by step study.
Content and technique work hand in hand along with the intellect and intuition in
solving such problems as colour, form and composition.

4.3 Sculpture
The tactile experience of 'building up' or 'cutting away' on a three-dimensional object
in space enriches comprehension of 3-dimensional space in both drawing and painting
as well as in sculpture itself. It is suggested at this stage that students attempt a more
complex integration of forms in their sculpture projects.

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4.4 Graphic Design
Various aspects of Design are considered. Design processes and ideas are stressed at
this stage rather than 'finished' technique. Teachers are encouraged to incorporate
photography, digital and computer generated images to become a part of the learning
experience.

4.5 Pattern Making

Suitable for dress materials, furnishing fabrics, wrapping paper, wall-paper, carpets
and tiles. Sources of inspiration, organization and methods of reproduction are factors
to be considered in designing an all-over pattern, as well as the utilitarian purpose of
the design.

4.6 History of Art

A. Pakistani and B. Western
Outlines are given of the major developments in art and design in both South Asia
(with the main emphasis on study of art in Pakistan- its growth from pre-partition era
till present time) and the Western cultural contexts. Consideration has been given to
the time available for the study of this subject at secondary level.

4.7 Other considerations

Visits to practicing painters, designers, potters as well as public exhibitions can be of
great interest to students, and could inspire them to further advanced study in art and
design.

For those who do not plan a future career in this field, the enjoyment of creative work
for its own sake will provide a lifetime of exploration and enrichment.

5. Guideline-Topics for Grades IX and X

The subsequent pages encompass topics for class IX (Unit 5) followed by topics for
class X (Unit 6). Teachers may keep in mind that the units are crucial and
indispensable in ensuring that the candidate is able to meet the examination
requirements. However, as long as candidates get a strong grip on the SLOs stated in
each unit, teachers have the independence to manipulate the content falling under the
group of ‘ART-MAKING’. The contents falling under the category ‘art-making’, in
the ensuing units, are not designed for rigid step-by-step adhering to policy. It is
suggested that the teacher should use his/her discretion to integrate the projects, and to
integrate the units with other parts of this syllabus as much as possible.

This syllabus has a uniform layout to make it easier for teachers to follow. It is
expected that the following units in this syllabus with the categorized sub-headings
will enable teachers in developing classroom assessments as well as by examiners
setting the examination question paper and preparing material for the AKU-EB
external examinations.

The AKU-EB has classified SLOs (student learning outcomes) under the three
cognitive levels Knowledge (K), Understanding (U) and Application of knowledge
and skills (A) in order to derive objective test items and practical tasks. In effect the
SLOs are derived from the National Syllabus determine the structure of the AKU-EB
subject examination.

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 An important NOTE for art teachers: Teachers should have sound knowledge of Art
History in order to incorporate these in your lesson plans as all units include the
components ‘Art-making’ and ‘Critical and Historical Studies’.

Topics of study include: Prehistoric Art, Indus Valley Civilization, Gandhara

Civilization, Islamic Art and Architecture under the Mughals, Artists of Pakistan
(Classic and Contemporary), Monuments of Pakistan, Calligraphy along with Near
Eastern Art and Western Art.

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6. Topics and Student Learning Outcomes of the Examination Syllabus

Part I (Class IX) Unit-5

Background
Research Cognitive Level2
Topic Student Learning Outcomes
Media/Medium Key
Artists/Examples K U A
ART-MAKING3
1. Understanding Materials Candidates should be able to:

Aim: To study the relationship between Lead Pencils, This exercise requires a 1.1 develop a range and autonomy in selecting *
images and materials. coloured pencils, proactive process. and applying visual arts conventions;
graphite stick, Experimentation; 1.2 explore materials and surfaces gained by an *
Procedure: charcoal, poster seeking planned and understanding of the function and
1. Making abstract marks with various paints, water spontaneous results. relationship between the medium and the
tools and mediums on different colours, acrylics, Besides having strong surface explored;
surfaces. The limitations and gouache, oil pastels, technical skills and 1.3 investigate the materials as a source of *
possibilities of the materials should chalk pastels, pens, knowledge of materials ideas, concepts and subject matter in the
be thoroughly explored. markers, Conte. teachers need to possess visual arts;
2. Identifying those marks which newsprint, cartridge a strong vocabulary of 1.4 make informed choices to develop and *
express effectively the paper, water colour visual terminology. extend concepts and different meanings in
characteristics of the materials. paper, printer paper, This can be attained their work Artworks;
3. Discussion on the visual qualities clay, Plaster of Paris through books based on 1.5 demonstrate developing technical *
of the marks thus made. modelling tools, basic techniques and accomplishment and refinement.
4. Discussion on the importance of found objects materials and processes.
respect for materials in artistic
creation.
NOTE: In making the marks, it is
suggested that the handling of the tool
should also be experimented with.
Changing the direction, pressure, speed,
grip of the tool will produce different
effects.

2
K = Knowledge, U = Understanding, A= Application, CA= Classroon Activities (for explanation see Section 13: Definition of command words used in Student Learning
Outcomes and in Examination Questions).
3
The contents falling under the category ‘art-making’, in the following units, are not designed for rigid step-by-step adhering to policy. It is suggested that the teacher
should use his/her discretion to integrate the projects with other parts of this syllabus as much as possible.

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 NOTES

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 K U A
2. Composition Candidates should be able to:

Aim: To develop a sense of Lead Pencils, Pierre-Auguste Renoir, 2.1 apply the principles of art as applicable to *
organization of objects and space. coloured pencils, Jan Vermeer composition;
Procedure: graphite stick, 2.2 arrange the parts of a visual image through *
1. Placing cut-out simple shapes on charcoal Chughtai harmony, opposition, transition,
paper. (Only black and white paper newsprint, cartridge subordination, repetition, symmetry,
to be used). Altering positions of paper, printer paper, A colossal share of still asymmetry, rhythm, balance;
the shapes. coloured stock paper life and landscapes are 2.3 observe the natural world and physical CA
2. Doing the same but using coloured or coloured assembled on the phenomenon and the means whereby the
shapes this time. magazines. internet and freely real can be represented visually on a 2D
3. Arranging Digital Camera available for and 3D plane;
a) a balanced, but not symmetrical (preferably) orientation. 2.4 Demonstrate competence over the process, *
composition. techniques and skill/ability of composing
b) arranging a peaceful composition, an image with an underlying sense of
c) arranging an unusual composition, purpose and planning;
d) arranging an uneasy composition 2.5 demonstrate spatial aesthetics evoking *
and e)arranging a powerful emotional and intellectual responses to the
composition. natural, constructed and imagined world.
4. Observational study of composition
comprising a simple still life of four
to five daily objects against a
background
5. Photographing locations which a
student considers to be symmetrical
composition. Creating a drawing
altering the symmetrical
composition into an asymmetrical
arrangement.

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 NOTES

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 K U A
3. Line Candidates should be able to:

Aim: To be able to define, compare, Lead Pencils, Preliminary drawings 3.1 employ a range of strategies to explore *
differentiate, classify and render. coloured pencils, of Michelangelo and different marks making conventions and
graphite stick, Leonardo De Vinci procedures;
Procedure: charcoal, pen and 3.2 render the quality of lines and marks *
1. Identifying lines: diagonal, curved, ink, black markers Drawings of Sadequain created through drawing;
straight, vertical, horizontal, zigzag, and pens. Hatching and Cross 3.3 generate and identify lines associated with *
broken. Newsprint, cartridge hatching techniques of particular ideas by relating perceptions
paper, printer paper, Eqbal Mehdi: with concepts;
2. Making a variety of lines on textured paper. Representational 3.4 deploy lines evoking emotional and *
different surfaces. The limitations sketching intellectual responses, that are novel and
and possibilities of the lines and the Contour and gesture innovative, to the natural, constructed and
relationship when placed next to drawing exemplars imagined world.
the one another should be available on the internet
thoroughly explored.

3. Discussion on the visual qualities

of the lines thus made- thick, thin,
rough, smooth, broken.

4. Demonstration of personal
expression through lines- happy,
sad, angry, delicate, strong,
energetic, progressive, slow,
nervous etc.

5. Rendering a variety of techniques-

hatching cross hatching, contour,
gesture to create a portrait,
landscape, an imaginative scenario-
to create the illusion of shading

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 NOTES

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 K U A
4. Shape and Form Candidates should be able to:

Aim: to introduce the differentiation Lead Pencils, Pablo Picasso, Braque, 4.1 classify and distinguish the differentiation *
between shape and volumetric graphite stick, Mansoor Rahi, between shape and volumetric dimension
dimension of form. Shape and form charcoal, poster Rabia Zuberi of form;
define objects in space. paints, water 4.2 deploy the knowledge to define objects in *
colours, gouache, oil 2D and 3D motifs, space; both three dimensionally and
Procedure: pastels, chalk ornamentation and creating the illusion of three dimension on
1. Drawing a variety of shapes. pastels, pens, detailing on the a two dimensional plane;
Converting shapes into form by markers, Conte. Islamic Architecture 4.3 interpret and render three dimensionality of *
giving it a three dimensional Newsprint, cartridge under the Mughals. nature into flat intangible abstraction
illusion on a two dimensional plane paper, water colour Art objects and utensils through shapes;
(paper) through shading. paper, printer paper, of the sub-continent- 4.4 analyze and apply the natural world and *
clay, Modelling focusing on the Indus physical phenomenon and the means
2. Translating a two dimensional tools. Valley Civilization, whereby the real can be represented
image into a three dimensional Gandhara visually on a 2D and 3D plane;
object 4.5 explore, form and demonstrate an *
understanding of manipulating form to
3. Geometric shapes and forms are create flat images (shapes) on 2D and 3D
often man-made. Rendering surfaces.
geometric shapes and forms-
squares, rectangles, circles, cubes,
spheres, and cones.

4. Locating organic shapes which are

typically found in nature,
converting organic shape found in
nature into a man-made three
dimensional object.

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 NOTES

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 K U A
5. Value Candidates should be able to:

Aim: to define and identify value and to Lead Pencils, Visual aid-Colour 5.1 demonstrate an understanding of the *
be able to create an entire range of coloured pencils, Wheel, Greyscale. characteristics of value and intensity;
shades (darkest to the lightest) in grey graphite stick, 5.2 apply knowledge in pictorial expression *
scale as well as in colour and to charcoal, poster Rembrandt and imagery;
illustrate intensity (bright or dull) paints. 5.3 analyze the natural world and physical *
through colour. Cartridge paper, Reference for teachers phenomenon and the means whereby the
water colour paper. to search for images to real can be represented visually on a 2D
Procedure: Collage. show to students during plane;
1. Producing a value scale using lead class as visual aid: 5.4 identify value, direction and intensity of *
pencils. Drawing a strip of eight Artists of the light in creating shades;
squares and shading gradually in Renaissance Period 5.5 create and illustrate a direction and *
such a manner, starting with the display an intense use intensity of light, recognize shadows and
darkest tone, that each square in the of value in their highlights.
strip gradually becomes lighter in compositions.
tone than the previous box.

2. Producing a range of tints (adding

white to hues) and shades (adding
black to hues).

3. Producing a still life, placed under

artificial light, in a black and white
dry medium.

4. Producing a coloured portrait in

collage, using magazines, making a
detailed observation of tonal
gradation created through hues,
tints and shades.

5. Depicting night by light-

chiaroscuro.

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 NOTES

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 K U A
6. Colour Relationship Candidates should be able to:

Aim: To study the effect of colours in Poster paints, water Visual aid-Colour 6.1 demonstrate an understanding of primary, *
relation to one another. colours, acrylics, Wheel; secondary and complimentary colours;
gouache, oil pastels, 6.2 explore colour theories and relationships *
Procedure: chalk pastels, pens, Colour theory and e.g. monochromatic, split-complimentary,
markers, Conte. Colour Relationship; triadic, analogous etc. Identify and create
1. Placing primary colours, secondary Water colour paper cool and warm colours;
colours next to each other. (canson, scholar), Warm Colours, Cool 6.3 demonstrate and understand the mixing of *
Producing a sequence of Pastel sheets (white Colours; paint to create a new range of colours;
complimentary, analogous colours and coloured sheets) Paintings of Artists 6.4 create hues tints and shades; *
etc. Creating Tints (using whites) Coloured (Pakistani and Western) 6.5 deploy a range of colours with tints and *
and Shades (using black) of the Construction paper shades;
hues created (primary, secondary, Collage 6.6 apply colours and create a colour *
complimentary, analogous). composition.

2. Painting the same colour on

different coloured backgrounds.
Taking note of the different effects.

3. Painting two small similar pictures,

one flat in value, while the other in
high contrast between the two
paintings.

4. Painting without using a favourite

colour. Carrying out a painting with
that colour, trying to make that
colour pleasant.

NOTE:
These exercises can also be done
through Collage using coloured
magazines, and assemblage using
coloured construction paper.

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 NOTES

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 K U A
7. Objective Colour Candidates should be able to:

Aim: To observe and record accurately Poster paints, water Visual aid-Colour 7.1 understand through application the role of *
the colour of an object. colours, acrylics, Wheel pigment, tool and medium;
gouache, oil pastels, 7.2 analyze the importance of proper *
Procedure: chalk pastels, pens, http://www.watercolor- preparation of the support or surface for the
1. Mixing colours to match some markers, Conte. online.com reception of paint. Apply the knowledge
selected monochrome objects (e.g. Water colour paper gained;
petal, leaf, wood). (Canson, scholar), Claude Monet 7.3 investigate limitations and possibilities of *
Pastel sheets (white Vincent Van Gogh painting techniques;
2. Painting a simple object (e.g. fruit, and coloured sheets) Pierre-Auguste Renoir 7.4 deploy a vast range of possibilities afforded *
a man-made object). through the variety of mediums and
Athar Jamal techniques investigated;
3. Painting the environment, (e.g. a A.Q. Arif 7.5 render the 3D dimensionality of nature and *
corner of the art room, or the school man-made objects on a 2D surface. Create
building, the street corner). Traditional Colours of a 3D illusion through colour intensity.
our Provinces
4. Painting a still life composition
comprising vegetables and kitchen
utensils. Not more than five objects
in the composition.

NOTE:
The brightness latitude of the pigment
can never equate that of nature. For
example it is impossible to record
accurately the brightness of the sun and
the darkest shade of a room on the same
paper. What the students can do is to
record their relationship, i.e. the sun is
brighter than the corner of the room.

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 NOTES

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 K U A
8. Subjective Colour Candidates should be able to:

Aim: To develop the ability to express Poster paints, water Visual aid-Colour 8.1 investigate the technique; *
an idea or a sensation through the use of colours, acrylics, Wheel 8.2 express meaning through the consideration *
colour. gouache, oil pastels, Edvard Munch “The of colour selection and technique applied;
chalk pastels, pens, Scream”. 8.3 investigate the world as a source of ideas, *
Procedure: markers, Conte. concepts and subject matter in the visual
1. Painting four (or more) small Water colour paper Choose from following arts;
squares to express joy. (canson, scholar), for Reference as visual 8.4 make informed choices to develop and *
Pastel sheets (white aid: extend concepts and different meanings in
2. Painting four (or more) small and coloured sheets) their artworks;
squares to express eagerness. Abdul Rehman 8.5 demonstrate developing technical *
Chughtai, Sadequain, accomplishment and refinement in making
3. Painting four (or more) small Shakir Ali,Nagori, artwork.
squares to express suspense. Bashir Mirza, Lubna
Agha, Leyla
4. Painting four (or more) small Shehzada,Anna Molka
squares to express abundance. Ahmed, Ahmed
5. Students work on a specific theme Pervaiz, Ismail Gulgee,
to portray the idea or mood behind Naheed Raza, Meher
the topic selected and express Afroz,
through colour only. Summaiya Durrani,
Imran Qureshi,
6. Taking a global event and Shazia Sikandar
depicting, through colour only,
your feelings at the time the
event/incident took place and its
impact on you

NOTE: This project could also be

followed up with landscape paintings
utilising the same colour schemes.

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 K U A
9. Texture Candidates should be able to:

Aim: To develop the ability to Pencils, graphite For teacher reference: 9.1 develop the ability to recognize the surface *
recognize surface quality of an object stick, Conte, wax Available on the quality of an object through touch;
through touch. crayons, oil pastels, internet and in art books 9.2 demonstrate the ability to create a variety *
charcoal, butter Jackson Pollock of textures by means of simulated textures,
Procedure: paper, newsprint, (Action Painting- frottage and by incorporating actual
1. Taking impressions of textures by cartridge sheet. drippings) Vincent textures in the artwork;
placing butter paper on textured Poster paint, water Vincent Van Gogh, 9.3 analyze the natural world and physical *
surfaces and rubbing pencils, oil colour sheet. Claude Monet phenomenon and the means whereby the
pastels, wax crayons, charcoal Clay, Plaster of (Impressionism-stroke real can be represented visually on a 2D
against the surface. Build a range of Paris. like effect), Signac and 3D plane;
frottage swatches. Cloth, organic (pointillism-dotted 9.4 deploy interpretative skills which produce *
material, cotton, effect) an assortment of surface qualities guided
2. On a two-dimensional surface wool, thread. by observation and perception.
create a visual sense of texture 2D and 3D motifs,
(simulated) of the object depicted ornamentation and
e.g. fruits or vegetables sliced in detailing on the
the centre, crumpled paper, Islamic Architecture
embroidered fabric etc. Giving a under the Mughals.
sense of how it would feel in real
life if touched: hard, soft, rough, Excavated art objects
smooth, hairy, leathery, sharp, etc. and utensils of the sub-
continent; focusing on
3. In a three-dimensional artwork, use Indus Valley
actual texture to add a tactile Civilization, Gandhara,
quality to the work. Taxila

4. Create a textured commercial Available Premises and

product- weave a mat using leaves, objects.
paper, wool, twigs or reproduce a
tile work of a historical building
etc. Carve a geometric, calligraphic
and/or floral relief in softwood.

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 K U A
10. Painting Candidates should be able to:

Aim: To familiarize painting materials Water colour, Painting techniques: 10.1 explore technical possibilities of materials *
and techniques. acrylics, oil pastels, Egg Tempera, Gouache, & processes;
chalk pastels, Oil pastels, Water 10.2 apply the basic techniques; *
Procedure: gouache, colours, Silk Painting, 10.3 demonstrate an understanding and *
1. Applying various kinds of paint on water colour Pencils wet on wet, dry brush, application of representational and non-
different surfaces. Study of the ink and wash, spray representational imagery;
results. Mixed Media painting etc. 10.4 explore and render through the art-making *
2. Painting a flat colour. Testing with Collage Renaissance Artists process a variety of conventional and
paint of different consistencies, and unconventional techniques;
with various kinds of brushes. Impressionism 10.5 explore and render through the art-making *
3. Experiment with a variety of Pointillism etc process a variety of styles (e.g. pointillism,
techniques glazing, impasto, fresco, surrealism, impressionism;
over painting, dry brush, wet on Pakistani Artists e.g. 10.6 engage in creative expression. *
wet, pen and ink, spray painting Abdul Rehman
etc. Chughtai, Sadequain,
4. Experiment with unconventional Shakir Ali, Bashir
painting techniques (e.g. water Mirza, Lubna Agha,
resist, painting with rag, painting Ana Molka Ahmed,
on unconventional surfaces, Ahmed Pervaiz, Ismail
collage). Gulgee, Mehr Afroz,
Naheed Raza, Shazia
NOTE: Sikander, Imran
1. Pastel, crayon and gouache are Qureshi, Summaya
adequate for painting in secondary Durrani, etc.
schools. Oil paints are not
recommended. Observational study
Acrylic colour is quite versatile if
the students can afford it.
2. Canson and Scholar paper is
recommended for general use.
Chinese paper of various sorts
should be experimented with.

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 Part-II (Class X) Unit-6

Background
Research Cognitive Level
Topic Media/Medium Student Learning Outcomes
Key
Artists/Examples K U A
ART-MAKING
11. Objective Drawing & Candidates should be able to:
Sketches

Aim: To make an accurate visual Lead Pencils, Michelangelo & 11.1 demonstrate developing technical *
record. coloured pencils, Leonardo de Vinci accomplishment and refinement in
graphite stick, drawing;
Procedure: charcoal, chalk Rembrandt, 11.2 develop competence in selecting and *
1. Drawing from observation (e.g. pastels, pens, Vincent Van Gogh, applying visual arts conventions and
detailed studies of single objects, markers, Conte. Pablo Picasso, and procedures to make
still life, landscapes, section of Newsprint, cartridge Sadequain illustrations/drawings;
school premises etc). The paper, printer paper, 11.3 observe the natural world and physical CA
possibilities are endless. phenomenon and the means whereby the
real can be represented visually on a 2D
2. Extensive and profound drawings surface;
of mechanical forms (e.g. box, 11.4 employ the generating or identification *
bottle, can, furniture, machine part). of images that are associated with
3. Wide-ranging and detailed perception.
drawings of organic forms (e.g.
shell, fruit, foliage, human figure).

NOTE:
1. Linear drawing is preferred in this
project.
2. Students should be encouraged to
observe carefully.
3. Attention should be paid to both the
positive and the negative space.
4. It is important to analyze the
structure of the form. Surface
patterns and minute details should
not be over-emphasised.

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 K U A
12. Spatial Representation Candidates should be able to:

Aim: To represent the third dimension Lead Pencils, Renaissance Artists 12.1 observe the natural world and physical CA
on a two-dimensional surface. coloured pencils, Impressionism phenomenon and the means whereby the
graphite stick, Realism real can be represented visually on a 2D
Procedure: charcoal, poster and 3D plane;
1. Understanding the problem better paints, water Pakistani Artist of 12.2 employ art-making and picture study *
by a brief survey of cartographic4 colours, acrylics, choice methodology required for the generating
projections and aerial perspective gouache, oil pastels, or identification of images that are
i.e. the accurate representation of chalk pastels, pens, associated with particular ideas by
the globe on a piece of paper. markers, Conte. relating perceptions with concepts;
newsprint, cartridge 12.3 express self and spatial aesthetics evoking *
2. Experiment with various pictorial paper, water colour emotional and intellectual responses to
devices to represent paper, printer paper, the natural constructed and imagined
a) two simple forms (e.g. sphere, clay, Plaster of Paris world.
rod) in different depths of space. modelling tools,
b) a simple three-dimensional form found objects
(e.g. a cube, a cylinder).

NOTE: Possible pictorial devices to

represent the third dimension:

1. Simple perspective involving the

eye level and the vanishing point.

2. Sizes of the objects in relation to

each other.

3. Positions of the objects in relation

to the edges of the picture.

4. Change of intensity to suggest

distance between two objects (line
and tone, details).

5. Light and shade.

4
Relating to maps

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 K U A
13. Visual Kinetics & Candidates should be able to:
Representation of
Movement

Aim: To study the implication of Lead Pencils, As a guide for teacher 13.1 analyze the implication of movement; *
movements and to represent movements coloured pencils, reference, where to look 13.2 demonstrate and represent movement in a *
in a static drawing graphite stick, and what to look for static drawing;
charcoal, pens, when searching images 13.3 employ the generating or identification of *
Procedure: markers, Conte. to show as samples: images through art-making and picture
1. Making of marks which suggest newsprint, cartridge Futurism, study methodology that is associated with
movements parallel to the picture paper, printer paper, Umberto Boccioni, particular ideas by relating perceptions
plane. Giacomo Balla, with concepts;
2. a) Making of marks which suggest Hugo Scheiber, and 13.4 express concepts related with spatial *
movement perpendicular to the Marcel Duchamp aesthetics;
picture plane. 13.5 demonstrate emotional and intellectual *
b) Making of marks which suggest The images of the responses to the natural constructed and
a certain rhythm. artists mentioned above imagined world.
3. Experiment with various pictorial are readily available on
devices to a) represent a pendulum the internet and in the
in motion. Art books.
b) represent a slow-moving object
(e.g. a worm.)
c) represent a fast-moving object
(e.g. a racing car).

NOTE:
1 Dots, lines and patches should all be
experimented with in this project.
Possible pictorial devices to represent
movement:
a- Multiple images.
b- Overlapped images.
c- Blurred images.
d- Symbolic images (arrow, dotted
lines, etc.)

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 K U A
14. Modes of Painting Candidates should be able to:

Aim: To understand the basic methods Water colour Paints, Renaissance painters. 14.1 demonstrate technical possibilities of *
and styles of painting along with realistic acrylics Paints, oil Realism, materials and processes;
(representational) and conceptual (non pastels, chalk Impressionism, 14.2 apply the basic techniques and styles of *
representational/non-objective) pastels, gouache, Pointillism, painting;
experimentation of the subject matter. water Colour Pencils 14.3 demonstrate an understanding and *
Choose from the application of representational and non-
Procedure: Mixed Media following Pakistani representational imagery;
1. Painting a realistic scene through Artists e.g. Abdul 14.4 explore and elaborate through the art- *
observation e.g. section of the Rehman Chughtai, making process a variety of conventional
school premises. Sadequain, Shakir Ali, and unconventional techniques;
2. a) Painting a surreal image- Bashir Mirza, Lubna 14.5 explore and elaborate through the art- *
dreamlike and unreal. Agha, Ana Molka making process a variety of conventional
b) Painting a symbolic scene using Ahmed, Ahmed and unconventional styles;
symbols which signify the story Pervaiz, Ismail Gulgee, 14.6 engage in creative expression. *
behind the imagery. Mehr Afroz, Naheed
3. a) Painting an abstract composition. Raza, Shazia Sikander,
b) Painting a picture of distorted Imran Qureshi,
objects by making the shape of Summaiya Durrani.
objects unclear and unrecognizable.

NOTE:
1. The themes of these paintings Observational study.
should be closely related to the Imaginative and
students' experience. It is desirable conceptual exercises.
that they should not be negative in Building a visual
feeling. vocabulary
2. Students should pay attention to
their chosen point of view, and size
of the image.
3. Attention should be drawn to make
the colour work. The colour should
not be secondary to form, but
rather, colour should describe form.

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 K U A
15. Sculpture Candidates should be able to:

Aim: To experience more fully the A variety of media Priest King and other 15.1 analyze, interpret and experience the *
process of selection and elimination could be sculptures excavated of process of selection and elimination
required in the evolution of a work of experimented with the Indus Valley required for composing via complex
art; a more complex integration of depending on the Civilization and integration of forms;
forms in projects. availability of Gandhara 15.2 observe the natural world and physical CA
materials, and also Donatello, phenomenon and the means whereby the
1. Modelling concave and convex the availability of Michelangelo, and real can be represented visually on a 3D
forms—Imaginary. equipment and Leonardo De Vinci plane;
facilities for 15.3 explore and deploy media and technical *
2. Modelling from found objects sculpture in the Rabia Zuberi possibilities of materials;
which show both concave and school. The Shahid Sajjad 15.4 explore the processes and the functional *
convex structure. For example, characteristics of the Amin Gulgee purposes of objects.
pebbles, coral, tree root etc. could material used should
help students get started on ideas be in keeping with
for modelling in clay or plasticine. the form and content
of the work, that is
3 Carving in the round e.g. pots, to say, the form of
bowls, natural organic structures the work is inherent
etc in the material.

4 Bas-relief carving also called low- Clay, plasticine

reliefs e.g. tiles Sheesham, Pine
wood, Corrugated
5 Assemblage encompassing building paper
up with found objects. Constructing Styrofoam
sculptural forms with materials, Wires
using such methods as gluing, tying Metal Scraps
Straws etc

Found objects

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 K U A
16. Graphic Design Candidates should be able to:

Aim: Competence over the technical aspects of Lead Pencils, Important areas of 16.1 demonstrate competence of *
graphic design or two-dimensional design, often coloured pencils, study are: creatively solving
involving the reproduction of many copies. poster paints, water Lettering - Style, communication problems,
Engaging in creatively solving communication colours, acrylics, legibility, size, weight, rather than getting work
problems, rather than trying to get work pens, markers. suitability for purpose, commercially produced;
commercially produced Ivory Card spacing, hand lettering, 16.2 classify and deploy the *
Procedure: Geometry tools e.g. mechanical typesetting, technical aspects of two-
Students choose from any one or more than one protractor, compass, transfer lettering. dimensional design;
topic (subject to availability of time) listed below: rule Layout - Use of space, 16.3 apply art-making which *
1 Promotion of an idea or product; publicity. Styrofoam/ materials levels of emphasis, employ the identification of
e.g. posters, leaflets and handouts, advertising for stencils, butter visual excitement, unity images that are associated with
in magazines and news-papers, logotypes and paper, tracing paper of headings with text particular ideas by relating
trademarks, letterheads and envelopes, Poster paper, printer and images. perceptions with concepts;
paper, recycled 16.4 demonstrate the process and *
Or paper Colour -Emphasis techniques of designing
2 Layouts; the arrangement of pages of text in Computer, Camera through colour, colour products with an underlying
books and magazines, sometimes combined (optional) printing processes sense of purpose and planning
with images. . which is economically and
Artwork- Preparation of culturally viable.
Or designs for printing.
c. Packaging
Wrapping paper, carrier bag, record cover, Local and Foreign
book jacket, containers for various products, magazines
cellotape sealing strips.
Local designers
Or
d. Illustration
Story illustration, cartoons, caricatures etc.

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 K U A
17. Pattern-Making Candidates should be able to:

Aim: To experience and experiment Poster paints, Elements of the 17.1 analyze and demonstrate experimentation *
with both modular and repeat patterns. acrylics, gouache, Individual Motif: of both modular and repeat patterns;
pens, markers. 17.2 demonstrate competence over the *
Procedure: Cartridge paper, a) Shapes and Forms. technical aspects of pattern making (a
water colour paper, b) The use of Colour. two-dimensional design form);
Design suitability targeted towards printer paper, c) Visual texture and 17.3 demonstrate and employ the generating or *
dress materials, furnishing fabric, Recycled paper d) Mark making. identification of images that are
wrapping paper, carpets and tiles. Geometry tools e.g. associated with particular ideas by
protractor, compass, . relating perceptions with concepts;
Designs to be based on different ruler Sources of Inspiration. 17.4 deploy the process of designing textile *
methods of organising from different a) Nature Forms: and paper products with an underlying
sources of inspiration including natural b) Man-made Objects sense of purpose and planning which is
and man-made objects. and Structures. economically and culturally viable.
1 Various printing methods and c) Geometrical Forms
techniques (block printing, screen
printing, stencilling, tie-Dye and tie Organization of
bleach, collage, weaving etc) with a Patterns.
specified number of colours should be
attempted to carry out the patterns. Arts and Crafts
Mock-up and drawings of the pattern in Movement
use should be attempted. Art Nouveau

Preliminary drawings for the actual Traditional and

garment, furnishing fabric, wallpaper contemporary
etc. techniques and styles
engaged in our
Note: When designing an all-over Provinces
pattern for a garment, furnishing fabric,
wall paper etc., the suitability of the
pattern for its intended use should
always be considered.

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7. Topics of Study (Art History)

7.1 An in depth and comprehensive study of:

Indus Valley Civilization

• Architecture and Town Planning

• Sculpture - Priest king, Dancing girl, Mother goddesses
• Seals
• Pottery
• Jewellery
• Toys
• Rock Carvings- Upper Indus

Gandhara Civilization

• Architecture
• Ajanta cave painting
• Sculpture
• Coins

Pre-Mughal Era

• Thatta - Makli, Chawkandi tombs, Jan Baba’s tomb

• Multan - Shah Rukne-Alam

Mughal Period

• Miniature Painting
Salient features
Painting under different Emperors.
Use of calligraphy and borders

• Architecture
Salient and distinguishing features
Evolution of architectural style during the Mughal period under different rulers

Artists of Pakistan

Old Masters & Modern Masters of Pakistani Art

Contemporary Pakistani Artists

Last Revised July 2009 Page 48

7.2 A brief look into the following:

• Egyptian Art
o Paintings

• Renaissance

• Michelangelo
o The ceiling of the Sistine Chapel
o Pieta

• Leonardo De Vinci
o Mona Lisa

• Rembrandt
o Philosopher Meditating
o Prodigal Son

• Impressionism

• Claude Monet
o Sunrise
o Water Lilies

• Vincent Van Gogh

o Starry Night
o Self Portraits of the artist

• Paul Signac
o The Windmills at Overschie (Pointillism)

• Abstract Expressionism

• Jackson Pollock
o Action paintings

• For teacher references- in order to collect images for visual aid when
discussing an assignment:

Vermeer, Pablo Picasso, Renoir, Balla (Futurism) and others mentioned in the
Background Research and Key Artists/Examples column in the sections Units 5 &
6 comprising Topics. The purpose of mentioning those artists is not to impart
knowledge about them but for teacher reference so that she/he has a collection of
images to assist when guiding students during a particular exercise underway

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8. Strategies to Facilitate Learning

The teaching approaches summarized underline active student participation, a focus on

student association, and advancement of thinking skills all of which assist learning.

The strategies applied are:

8.1 Concept accomplishment, generated thinking and cooperative learning:

This is achieved through teacher led power point presentations, followed by group
discussions, brainstorming. Students are emphasized to engage in enquiry which is
independent and disciplined by tracing the roots of and course of art history and
styles/movements and techniques applicable to the assignment at hand.

8.2 Assessment strategy:

Two formative and one summative task can be given to students to facilitate learning5:

a) The formative assessment tasks are:

• Assessment task one: this is a means of individual assessment which will

aid the student to understand the artwork and role of the artist/medium/
technique studied in relation to the exercise at hand. It will help him clear
the concept and will assist him/her to draw conclusions.

• Assessment task two: this task will assist the student with the help of his
peer and teacher to make amendments where necessary or through
technical and logical argument, based on research material collected,
defend his concept successfully.

b) The summative task includes:

• Assessment task 3: This is usually the last assessment task and aids the
student to critically view his/her work and evaluate the final outcome of the
knowledge accumulated through research and study over this assignment
session and the concept, content & quality of artwork produced.
Assessments may have a dual grading system: a) self-evaluation and
b) teacher assessment. It will provide a final grade for the process which
leads to and the end product.

5
It lies at the teacher’s discretion to decide what and how many assessment tasks should be incorporated in a
lesson plan

Last Revised July 2009 Page 50

8.3. Feedback

• Oral feedback from the teacher during discussions and writing activities.
• Written feedback on individual reports submitted by the students.
• Oral feedback and observation on experiments and layouts in the visual diaries.
• Written feedback in the students’ visual arts diary about drawings selected to
represent a point of view about war and teacher observation.
• Written feedback through peer assessment during the course of progressing
artwork.
• Teacher feedback and discussion of selection of works for the body of work
exhibition.

8.4 Tools
• Visual Aids (Computer, Multimedia, Slide Projector, Posters , Flash Cards)
• Library with relevant reference material and visual aids
• Excursions to exhibitions, historical sites
• Attending seminars on Art
• Visual Art Diary (VAD) also known as sketchbooks
• Exhibition and Art Competition within or inter school
• Project development and Presentations
• Quality material

9. Recommended Texts and Reference Materials

Reference Books6:

Title Author Publication

Unveiling the Visible Salima Hashmi Actionaid Pakistan
The Artist’s Handbook Ray Smith Dorling Kindersly (DK)
Architecture Dumont Monte
From the Pyramids to Post
Modernism
Art Dumont Monte
From Prehistoric to
Modernism
The Encyclopaedia of Visual Encyclopaedia Britannica
Art International, Ltd
Contemporary Painting in Marcella Nelson Sirhindi Ferozsons (Pvt) Limited
Pakistan
Historical Image of Pakistan F.S. Aijazuddin Ferozsons (Pvt) Limited
Cermaics of the Islamic Geza Fehervari I. B. Taurus
World
In the Tareq Rajab Museum

6
A wide range of significant books on Visual Arts, Art History and Art Criticism are available in a variety of
book stores all across the city. Some such texts are mentioned above. These resources may be subject to
availability. However, books on related subject matter are available under different titles, author and
publications. By no means should teachers restrict themselves to the aforementioned sources only. The purpose
of mentioning the above texts is to give the teachers a direction when purchasing books for academic/tutorial
purposes.

Last Revised July 2009 Page 51

 Title Author Publication
Drawing (Foundation Paul Thompson Liberty Books
Course)
Collins Artist's Little Book Simon Jennings Liberty Books
of Color
1001 Paintings You Must Stephen Farthing (EDITOR) Liberty Books
See Before You Die
Artist's Materials: The Emma Pearce Liberty Books
Complete Sourcebook of
Methods and Media
Centers Of Pahari Painting Chandramani Singh Liberty Books
Colour Harmony: A Guide to Hideaki Chijiiwa Liberty Books
Creative Guide to Colour
Combinations
Patterns: New Surface Drusilla Cole Liberty Books
Design
An Outline of Islamic
Architecture R A Jairazbhoy Oxford University Press
Art and Mind Joanne Raheb-Mol Oxford University Press
Architecture Andrew Ballantyne Oxford University Press
A Very Short Introduction
Art History
A very Short Introduction Dana Arnold Oxford University Press
Aspects of Art Marjorie Husain Oxford University Press
Image and Identity Akbar Naqvi Oxford University Press
Painting and Sculpture in
Pakistan
The Encyclopaedia of World Parragon
Mythology
Colour and Meaning
Art, Science and Symbolism John Gage Thames and Hudson
Dictionary of Art and Artists Herbert Read Thames and Hudson
(Consulting Editor)
Islamic Art and Architecture Robert Hillenbrand Thames and Hudson

Websites
www.tate.org.uk www.metmuseum.org
www.artchive.com www.getty.edu/art/gettyguide/
www.artcyclopedia.com www.harappa .com
www.arthistory.cc www.ancientindia.co.uk
www.arthistoryarchive.com www.mohenjodaro.net
www.artlex.com www.colormatters.com/link.html
www.cs.brown.edu/courses/cs092/VA10/HTML/start.html
www.watercolor-online.com/Articles/Complements/complements.phtml
www.ibiblio.org

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10. Studio Equipment and Material

The following are some of the equipments and materials suggested for art classes:

• Donkey easels, stools, table, easels.

• Drafting tables
• Drawing boards.
• Support lights.
• Still life objects along with basic forms and draperies.
• Clay (modelling clay) Sculpture tools (wooden and wire).
• Plaster of Paris.
• Photography equipment (camera, tri-pod).
• Computer.
• Cupboards
• Cabinets.
• Slide projector & Slides of documented Artwork ( Art History+Making)
• White boards.
• Sinks with sufficient supply of water

11. Scheme of Assessment

Class IX
Table 1: Number of Student Learning Outcomes by Cognitive Level

Topic No. of SLOs

Topics Total
No. Sub-topics K U A
1. Understanding Materials 4 4 1 4 9
2. Composition 4 1 5 5 11
3. Line 5 1 3 4 8
4. Shape and Form 4 2 5 5 12
5. Value 5 1 4 5 10
6. Colour Relationship 4 2 6 6 14
7. Objective Colour 4 1 4 5 10
8. Subjective Colour 6 2 4 5 11
9. Texture 4 0 4 4 8
10. Painting 5 2 5 6 13
Total 45 16 41 49 106
Percentage 15 39 46

Table 2: Type of Paper, Duration, Marks and Weighting

Paper Type of Paper Duration Marks Weighting
I. Multiple Choice 30 mins 15 20
II. • Practical Assessment 3 hrs 50 67
• Portfolio (0ngoing Assignment)
10 13
5artworks
Total 3 hrs 30 mins 75 100%

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 Class X
Table 3: Number of Student Learning Outcomes by Cognitive Level
Topic No. of SLOs
Topics Total
No. Sub-topics K U A
11. Objective Drawing and Sketches 3 1 4 4 9
12. Spatial Representation 2 1 3 3 7
13. Visual Kinetics and Representation of 3 2 4 5 11
Movement
14. Modes of Painting 3 2 4 6 13
15. Sculpture 5 1 4 4 9
16. Graphic Design 1 2 4 4 8
17. Pattern Making 1 2 4 4 10
Total 18 11 27 30 67
Percentage 16 40 44 100%

Table 4: Type of Paper, Duration, Marks and Weighting

Paper Type of Paper Duration Marks Weighting
I. Multiple Choice 30 mins 15 20
II.
• Practical Assessment 3 hrs 50 67
• Portfolio (0ngoing Assignment)
0 10 13
5artworks
3 hrs
Total 75 100%
30 mins

11.1 Tables 1 and 3 summarize the number and nature of SLOs in each topic in classes IX
and X respectively. This will serve as a guide in the construction of the examination
paper. Tables 1 and 3 however do not translate directly into marks.

11.2 Tables 2 and 4 show the distribution of marks. Written Test is in the form of MCQs of
30 minutes. This assessment carries 15 marks. The Practical is a three hour
examination and is divided into two parts. The practical exam allows students to
demonstrate ability in the chosen medium. School makes available / provide the
required materials. Portfolio is class work activity that the student accomplishes
throughout the academic year. The students have to submit a portfolio of 5 artworks
which they consider strong evidences of class performance. The portfolio carries 10
marks and will be submitted at the time of the examination.

11.3 There will be two examinations, one at the end of Class IX and another at the end of
Class X.

11.4 There will be two Portfolio submissions, one at the end of Class IX and another at the
end of Class X. Each Portfolio requires five best artworks produced during the year in
class.

11.5 The exam will start with the MCQs (theory paper). The theory paper will be allotted
30 minutes. The exam is out of 15 marks.

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11.6 For the MCQ paper, the students answer on the OMR sheet provided. Both the MCQ
paper and the OMR answer sheet are returned to the Board.

11.7 The Practical will be conducted after the theory paper. The practical examination is
divided into two sections-Part 1 and Part 2.The practical is of 50 marks with each part
carrying 25 marks. The exam is of three hours with roughly one and a half hour
allotted to each part.

11.8 The AKU Exam Board provides the arrangement for display as well as the paper.
Students have to bring their own art material.

11.9 Portfolio will be submitted at the time of the examination. An examiner from
AKU-EB will be there to assess the portfolio along with the Art Teacher after
discussion with the student. Marking will be on the basis of an appropriate selection
from the ‘Indicator Checklist’ given on (page 55).

12. “Indicator Checklist” (Examination Criteria for Marking the Portfolio)7

12.1 Compulsory

• Control of line, proportion and perspective

• Command over composition
• Competence and grip of colour theory and demonstrating expressive intent
through colour
• Creating illusion of depth by representing a three dimensional form on a two
dimensional plane
• Observation and hand-mind coordination
• Appropriate and relevant choice of material and techniques

12.2 And any four of the following:

• Has the ability to record from direct observation and personal experience
• Has technical command and skill in more than one medium
• Can express feelings through non-representational art work
• Has shown experimentation, innovation and the use of imagination
• Art-making based on Critical and Historical Studies. Candidate can identify,
analyze and apply research and data compiled.
• Depicting an awareness and appreciation of the individual within cultural contexts
• Spontaneity
• Developing a strong visual vocabulary to render personal expression

12.3 Rubric for Portfolio Assessment follows. It is a guideline for the Examination team
(comprising of one AKU EB examiner and the Art Teacher) to mark the Portfolio
submitted in classes IX and X respectively.

7
Teachers need to note that the ‘Indicator Checklist’ is for portfolio assessment only and should not be applied
to class assignments.

Last Revised July 2009 Page 55

Rubric for Portfolio:
Indicators Level 1 (5 marks) Level 2 (3marks) Level 3 (2 marks)
Competence over • Work shows careful planning. • Applied the principles of design. • Artwork is complete but it shows little
elements and principles • Artwork reflects an awareness of the • Used one or more elements effectively. evidence of any understanding of the
of art elements and principles of art and design. • Made an effort to incorporate the elements elements and principles of art.
• Combination of a variety of elements and and principles of art • No evidence of planning
principles in each artwork is evident.
Use of Materials • Demonstrates a good understanding of • Demonstrates some understanding of • Progression in use of materials.
materials. materials. • Some effort observed to render
• Selects appropriate material to render • Makes an effort to select material to render techniques required for the artwork.
techniques required for the artwork. techniques required for the artwork. • Technical refinement absent in
• Makes informed choices. • Progress in technical accomplishment and artwork.
• Demonstrates technical accomplishment refinement. • Very little experimentation of
and refinement. materials.
• Evidence of experimentation.
Creativity / Originality • Employment of many ideas, tried unusual • Work shows evidence of a few ideas. • Work shows slight evidence of new
combinations, made connections to • Tried to use unusual combinations ideas.
previous knowledge, demonstrated • Solved a problem through predictable and • Problem solving strategy highly
outstanding problem solving skills. unadventurous means. predictable.
• Demonstrates understanding of artistic • No unusual and novel strategies
concepts and critical thinking. evidenced.
• Solved problem in a logical way. • Lacks risk taking strategies.
Composition and • Effective placement of layout on picture • Evidence of balance in composition. • Some evidence of balance in
Design plane, and appropriate use of scale. • Effort of background and foreground composition but lacks confidence of
• Background and foreground supporting the supporting the concept laid for the artwork. arrangement of the elements and
claims and conclusions of the concept laid. objects utilized.
Craftsmanship / Skill / • Art work demonstrates good use of skill in • Art work demonstrates an effort to utilize • Art work demonstrates an effort to
Consistency the application of the media/medium. skill in the application of the utilize skill in the application of the
• Effective use of material and technique media/medium. media/medium.
leading to technical accomplishment and • Demonstrates an understanding of material • Demonstrates some understanding of
refinement. and technical accomplishment. material and technical
• Neat and clean. • Progression towards technical refinement. accomplishment.
• Thoughtful and planned presentation. • Neat and clean. • Progression towards technical
• Effort and Perseverance far beyond the • Presentation is planned. refinement.
requirement. • Slightly untidy work.
• Presentation is not planned.

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13. Definition of Cognitive Levels and Command Words in the Student Learning
Outcomes and in Examination Papers

11.1 Definition of Cognitive Levels (Knowledge, Understanding and Application)

Knowledge:

This requires knowing and remembering facts and figures, vocabulary and contexts,
and the ability to recall key ideas, concepts, trends, sequences, categories, etc. It can
be taught and evaluated through questions based on: who, when, where, what, list,
define, describe, identify, label, tabulate, quote, name, state, etc.

Understanding:

This requires understanding information, grasping meaning, interpreting facts,

comparing, contrasting, grouping, inferring causes/reasons, seeing patterns,
organizing parts, making links, summarizing, solving, identifying motives, finding
evidence, etc. It can be taught and evaluated through questions based on: why, how,
show, demonstrate, paraphrase, interpret, summarize, explain, prove, identify the
main idea/theme, predict, compare, differentiate, discuss, chart the course/direction,
report, solve, etc.

Application:

This requires using information or concepts in new situations, solving problems,

organizing information and ideas, using old ideas to create new ones, generalizing
from given facts, analyzing relationships, relating knowledge from several areas,
drawing conclusions, evaluating worth, etc. It can be taught and evaluated through
questions based on: differentiate, analyze, show relationship, propose an alternative,
prioritize, give reasons for, categorize, illustrate, corroborate, compare and contrast,
create, design, formulate, integrate, rearrange, reconstruct/recreate, reorganize,
predict consequences etc.

11.2 Definition of Command Words:

Knowledge
Classify State a basis for categorization of a set of related entities and
assign examples to categories.

Define Provide a precise statement or meaning of words or terms to

describe their nature, properties or essential features.

Describe Emphasize the distinguishing features of a scene.

Identify Select the most appropriate from many possibilities on the basis
of relevant characteristics.
List Name item-by-item, usually in one or two words, precise
information such as dates, characteristics, places, names.

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 Understanding
Compare List the main points/characteristics of two entities clearly
identifying similarities (and differences).

Differentiate Identify those characteristics which always or sometimes decides

two categories.

Distinguish Differentiate.

Explore Discovering different aspects from different perspectives.

Name Mention the commonly used word for an object.

Observe Showing what has been noticed/ perceived with attention to

detail.

Application
Analyze Use information to relate different characteristics/features of the
components of the given material so as to draw conclusion about
common characteristics.

Apply Utilize the skill.

Create Transform basic materials into a new form with meaning for the
observer.

Complement Harmonize/balance the expression.

Draw/Illustrate Implies a free hand sketch, care should be taken with

proportions.

Demonstrate Exhibit or express through selection or focus.

Deploy Use or apply appropriately a practical skill.

Employ Utilize the information gained.

Elaborate Provide relevant details to clarify or enrich given statements/

sketch with examples.

Find Discover the information.

Interpret Clarify both the explicit meaning and the implications of a given
visual impression.

Make Bring different items together to develop a set of related data.

Render Depict/execute the required skill.

Sketch Outlining/drawing.

Latest Revision June 2012 Page 58

 Annex
8
SSC Scheme of Studies
AKU-EB as a national board offers SSC and HSSC qualifications for both English and Urdu
medium schools. The revised SSC Scheme of Studies issued by the Curriculum Wing was
implemented from September 2007. Accordingly, each SSC subject will be taught across
both the classes IX and X. The Science and Humanities group subjects are offered at SSC
level. The marks allocated to subjects in the revised National Scheme of Studies of
September 2007 have been followed.
SSC I and II (Class IX and X) subjects on offer for examination
SSC Part-I (Class IX) Science Group
Marks
Subjects Medium
Theory Practical Total
English Compulsory-I 75 - 75 English
Urdu Compulsory-I OR Urdu
Urdu Aasan a OR 75 - 75 Urdu
History and Geography of Pakistan-I b English
Islamiyat-I OR Ethics-I c *30 - *30 English / Urdu
Pakistan Studies-I *45 - *45 English / Urdu
Mathematics-I 75 - 75 English / Urdu
Physics-I 65 10 75 English / Urdu
Chemistry-I 65 10 75 English / Urdu
Biology-I OR English / Urdu
65 10 75
Computer Science-I English
Total: *495 30 *525
SSC Part-II (Class X) Science Group
Marks
Subjects Medium
Theory Practical Total
English Compulsory-II 75 - 75 English
Urdu Compulsory-II OR Urdu
Sindhi a OR 75 - 75 Sindhi
History and Geography of Pakistan-IIb English
Islamiyat-II OR Ethics-II c *45 - *45 English / Urdu
Pakistan Studies-II *30 - *30 English / Urdu
Mathematics-II 75 - 75 English / Urdu
Physics-II 65 10 75 English / Urdu
Chemistry-II 65 10 75 English / Urdu
Biology-II OR English / Urdu
65 10 75
Computer Science-II English
Total: *495 30 *525
a. Candidates from the province of Sindh may appear in “Urdu Aasan” in SSC Part I and in “Sindhi” in Part II
examination.
b. Foreign students may opt HISTORY and GEOGRAPHY OF PAKISTAN in lieu of Urdu Compulsory, subject to
the Board’s approval.
c. For non-Muslim candidates only.
* The above will be implemented in
SSC Part I 2013 Examinations and onwards
SSC Part II 2014 Examinations and onwards

8
Government of Pakistan September 2007. Scheme of Studies for SSC and HSSC (Classes IX-XII). Islamabad: Ministry of Education,
Curriculum Wing.

Latest Revision June 2012 Page 59

SSC Part-I (Class IX) Humanities Group
Subjects Marks Medium
English Compulsory-I 75 English
Urdu Compulsory-I OR Urdu
Urdu Aasan a OR 75 Urdu
History and Geography of Pakistan-I b English
Islamiyat-I OR Ethics-I c *30 English / Urdu
Pakistan Studies-I *45 English / Urdu
General Mathematics-I 75 English / Urdu
Any three of the following Elective Subjects 225
1. **Geography-I (75 each) English / Urdu
2. General Science-I English / Urdu
3. Computer Science-I (65+10 practical) English
4. Economics-I English / Urdu
5. Civics-I English / Urdu
6. **History of Pakistan-I English / Urdu
7. **Elements of Home Economics-I English / Urdu
8. **Food and Nutrition-I (65+10 practical) English / Urdu
9. **Art & Model Drawing-I English
10. **Business Studies-I English
11. **Environmental Studies-I English
Total: *525
SSC Part-II (Class X) Humanities Group
Subjects Marks Medium
English Compulsory-II 75 English
Urdu Compulsory-II OR 75 Urdu
Sindhi a Sindhi
History and Geography of Pakistan-II b OR English
Islamiyat-II OR Ethics-II c *45 English / Urdu
Pakistan Studies-II *30 English / Urdu
General Mathematics-II 75 English / Urdu
Any three of the following Elective Subjects 225
1. **Geography-II (75 each) English / Urdu
2. General Science-II English / Urdu
3. Computer Science-II (65+10 practical) English
4. Economics-II English / Urdu
5. Civics-II English / Urdu
6. **History of Pakistan-II English / Urdu
7. **Elements of Home Economics-II English / Urdu
8. **Food and Nutrition-II (65+10 practical) English / Urdu
9. **Art & Model Drawing-II English
10. **Business Studies-II English
11. **Environmental Studies-II English
Total: *525
SSC Part-I and Part-II (Class IX-X) (Additional Subjects)
SSC Part I SSC Part II Marks Medium
d d English
1. **Literature in English-I 1. **Literature in English-II
d
2. **Commercial Geography-I 2. **Commercial Geography-II d 75 each English
3. **Additional Mathematics-I d 3. **Additional Mathematics-II d English
a. Candidates from the province of Sindh may appear in “Urdu Aasan” in SSC Part I and in “Sindhi” in Part II
examination.
b. Foreign students may opt HISTORY and GEOGRAPHY OF PAKISTAN in lieu of Urdu Compulsory, subject to
the Board’s approval.
c. For non-Muslim candidates only. d. Subject will be offered as Additional Subject.
* The above will be implemented in
SSC Part I 2013 Examinations and onwards SSC Part II 2014 Examinations and onwards
**These subjects are offered ONLY in the May examination.
Last Revised July 2009 Page 60