National 5 Art and Design

Course code: C804 75

Course assessment code: X804 75

SCQF: level 5 (24 SCQF credit points)

Valid from: session 2024–25

The course specification provides detailed information about the course and course
assessment to ensure consistent and transparent assessment year on year. It describes the
structure of the course and the course assessment in terms of the skills, knowledge and
understanding that are assessed.

This document is for teachers and lecturers and contains all the mandatory information you
need to deliver the course.

This edition: May 2024, version 3.0

© Scottish Qualifications Authority 2012, 2017, 2024

Contents
Course overview 1
Course rationale 2
Purpose and aims 2
Who is this course for? 2
Course content 3
Skills, knowledge and understanding 4
Skills for learning, skills for life and skills for work 6
Course assessment 7
Course assessment structure: question paper 7
Course assessment structure: expressive portfolio 11
Course assessment structure: design portfolio 11
Grading 13
Equality and inclusion 14
Further information 15
Appendix 1: course support notes 16
Introduction 16
Developing skills, knowledge and understanding 16
Approaches to learning and teaching 16
Preparing for course assessment 20
Developing skills for learning, skills for life and skills for work 33
Appendix 2: art and design terminology 34
Course overview
The course consists of 24 SCQF credit points which includes time for preparation for course
assessment. The notional length of time for a candidate to complete the course is 160 hours.

The course assessment has three components.

Component Marks Scaled mark Duration

Component 1: question 40 50 1 hour and 20 minutes

paper

Component 2: expressive 100 Not See course assessment section

portfolio applicable

Component 3: design 100 Not See course assessment section

portfolio applicable

Recommended entry Progression

Entry to this course is at the discretion of the ♦ other qualifications in art and design
centre. ♦ further study, employment and/or training

Candidates should have achieved the fourth

curriculum level or the National 4 Art and
Design course or equivalent qualifications
and/or experience prior to starting this
course.

Conditions of award
The grade awarded is based on the total marks achieved across all course assessment
components.

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Course rationale
National Courses reflect Curriculum for Excellence values, purposes and principles. They
offer flexibility, provide more time for learning, more focus on skills and applying learning,
and scope for personalisation and choice.

Every course provides opportunities for candidates to develop breadth, challenge and
application. The focus and balance of assessment is tailored to each subject area.

The National 5 Art and Design course allows candidates to improve their skills base and
broaden their horizons regarding the range of careers available to them. Throughout the
course, candidates develop creativity, perseverance, independence and resilience. Learning
through art and design also develops candidates’ ability to critically appreciate aesthetic and
cultural values, identities and ideas.

Purpose and aims

The purpose of the National 5 Art and Design course is to provide a broad, investigative and
practical experience of art and design. Creativity is the key focus of the course.

Candidates develop knowledge of art and design practice by studying artists and designers
and their work. They also develop an understanding of expressive and design processes and
accumulate and use a selection of related skills. The course provides opportunities for
candidates to be inspired and creatively challenged through their work.

Who is this course for?

The course is a broad-based qualification. It is suitable for learners with an interest in art and
design, and for those who would like to progress onto higher levels of study. It allows
learners to consolidate and extend their art and design skills.

The course is learner-centred and includes investigative and practical learning opportunities.
The learning experiences in the course are flexible and adaptable, with opportunities for
personalisation and choice in both expressive and design contexts. This makes it highly
accessible, as it can be contextualised to suit a diverse range of learners’ needs and
aspirations.

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Course content
The course integrates investigative and practical learning, and knowledge and understanding
of art and design practice.

In the course, candidates draw upon their understanding of artists’ and designers’ work and
practice. They follow art and design processes to develop their own creative work. They also
reflect on and evaluate their creative processes and the qualities of their expressive and
design portfolios.

The course comprises two areas of study:

Expressive
This part of the course helps candidates plan, research and develop creative expressive
work in response to a theme/stimulus. Candidates develop knowledge and understanding of
artists’ working practices and the social, cultural and other influences affecting their work and
practice. They select a theme/stimulus and produce 2D/3D analytical drawings, studies and
investigative research, and use this to produce a single line of development leading to a final
piece. Candidates reflect on and evaluate their creative process and the visual qualities of
their work.

Design
This part of the course helps candidates plan, research and develop creative design work in
response to a design brief. Candidates develop knowledge and understanding of designers’
working practices and the social, cultural and other influences affecting their work and
practice. They select a design brief and compile a variety of 2D/3D investigative material and
market research, and use this to produce a single line of development leading to a design
solution. Candidates reflect on and evaluate their creative process and the aesthetic and
functional qualities of their work.

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Skills, knowledge and understanding
Skills, knowledge and understanding for the course
The following provides a broad overview of the subject skills, knowledge and understanding
developed in the course:

♦ producing analytical drawings and related investigative studies in response to stimuli

♦ using visual elements expressively, showing a clear understanding of the subject matter
♦ producing focused investigative visual and market research for a design activity
♦ skills in using a range of art and design materials, techniques and/or technology
creatively
♦ developing and refining a variety of creative ideas for art and design work in 2D and/or
3D formats
♦ describing how artists and designers use materials, techniques and/or technology in their
work
♦ analysing the impact of social, cultural and other influences on artists’ and designers’
work and practice
♦ using problem-solving, planning and self-evaluation skills within the creative process

Skills, knowledge and understanding for the course assessment

The following provides details of skills, knowledge and understanding sampled in the course
assessment:

Question paper
The question paper assesses the candidate’s ability to:

♦ respond to unseen prompts and images

♦ demonstrate knowledge of the work of significant artists and designers from any time
period
♦ comment on the work of an artist and designer
♦ demonstrate knowledge and understanding of the impact of social, cultural and/or other
influences on an artist’s and designer’s work and practice (see list below)
♦ demonstrate knowledge and understanding of expressive art and design elements, using
appropriate art and design vocabulary

The external influences on artists’ and designers’ work are wide-ranging. The term ‘social
and cultural influences’ can be interpreted widely, and includes (but is not limited to):

♦ living conditions, including economic conditions

♦ influence of family and community
♦ influence of other artists/art movements
♦ exposure to different cultures
♦ physical environment/geography
♦ new and emerging technology

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♦ politics
♦ gender
♦ religion/belief
♦ national/world events
♦ developments in other fields, eg science, literature
♦ personal circumstances
♦ health and wellbeing

Expressive portfolio
The expressive portfolio assesses the candidate’s ability to:

♦ produce relevant investigative research appropriate to an agreed theme/stimulus

♦ produce a single line of development showing visual continuity with the investigative
research
♦ demonstrate the refinement and realisation of the single line of development, leading to a
final piece
♦ use a selection of materials, techniques and/or technology
♦ use the visual elements and expressive effects in response to the agreed theme/stimulus
♦ express justified personal opinions on their decisions and the effectiveness of the
expressive qualities of their portfolio

Design portfolio
The design portfolio assesses the candidate’s ability to:

♦ produce and compile investigative material and market research appropriate to the
agreed design brief/design area
♦ produce a single line of development showing visual continuity with the investigative
material and market research
♦ demonstrate the refinement and realisation of the single line of development, leading to a
design solution
♦ use a selection of materials, techniques and/or technology for creative effect
♦ demonstrate understanding of design elements in response to the agreed design brief
requirements
♦ express justified personal opinions on their decisions and the effectiveness of the design
qualities of their portfolio

Skills, knowledge and understanding included in the course are appropriate to the SCQF
level of the course. The SCQF level descriptors give further information on characteristics
and expected performance at each SCQF level (www.scqf.org.uk).

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Skills for learning, skills for life and skills for work
This course helps candidates to develop broad, generic skills. These skills are based on
SQA’s Skills Framework: Skills for Learning, Skills for Life and Skills for Work and draw from
the following main skills areas:

3 Health and wellbeing

3.1 Personal learning

5 Thinking skills

5.4 Analysing and evaluating

5.5 Creating

These skills must be built into the course where there are appropriate opportunities and the
level should be appropriate to the level of the course.

Further information on building in skills for learning, skills for life and skills for work is given in
the course support notes.

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Course assessment
Course assessment is based on the information provided in this document.

The course assessment meets the key purposes and aims of the course by addressing:

♦ breadth — drawing on knowledge and skills from across the course

♦ challenge — requiring greater depth or extension of knowledge and/or skills
♦ application — requiring application of knowledge and/or skills in practical or theoretical
contexts as appropriate

This enables candidates to:

♦ demonstrate their knowledge and understanding of art and design practice in an

extended-response format in a question paper
♦ produce a portfolio of expressive artwork showing a selection of relevant 2D/3D analytical
drawings, studies and investigative research, and the development of one idea leading to
an expressive final piece
♦ produce a portfolio of design work showing a selection of relevant 2D/3D investigative
material and market research, and the development of one idea leading to a design
solution

Course assessment structure: question paper

Question paper 40 marks
The purpose of the question paper is to assess candidates’ knowledge and understanding of
art and design practice and issues.

The questions are designed to test candidates’ ability to:

♦ comment on art and design work and critically respond to unseen prompts and images
♦ demonstrate knowledge and understanding of the impact of social, cultural and/or other
influences on an artist’s and a designer’s work and practice
♦ give justified opinions on identified aspects of art and design practice and issues

The question paper has 40 marks, which is scaled to 50 to represent 20% of the overall
marks for the course assessment. The question paper has two sections which are equally
weighted.

Section 1: Expressive Art Studies

This section has 20 marks. It contains six extended-response questions: one mandatory and
five optional. Candidates should answer the mandatory question and one of the five optional
questions.

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Marks are awarded for:

♦ demonstrating specialist knowledge and understanding of art practice and issues

♦ with reference to unseen prompts, commenting on a selected artwork that the candidate
has previously studied
♦ demonstrating knowledge and understanding of the impact of social, cultural and/or other
influences on the artist’s work and practice
♦ with reference to unseen prompts, commenting on a selected unseen expressive art
image and giving justified opinions using appropriate art vocabulary

Section 1: Expressive Art Studies — question paper prompts

Mandatory question
The mandatory question requires candidates to respond to three prompts from the following
options.
One from:

♦ composition/arrangement
♦ media handling and/or techniques

One from:

♦ colour
♦ line
♦ tone
♦ texture
♦ shape and/or form
♦ pattern

One from:

♦ scale
♦ style
♦ subject matter/imagery
♦ mood and atmosphere

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Optional questions
Examples of expressive art issues that could be included in the optional questions are
included below.
♦ composition/arrangement
♦ media handling and/or techniques
♦ colour
♦ line
♦ tone
♦ texture
♦ shape and/or form
♦ pattern
♦ scale
♦ style
♦ subject matter/imagery
♦ mood and atmosphere
♦ visual impact

Section 2: Design Studies

This section has 20 marks. It contains six extended-response questions: one mandatory and
five optional. Candidates should answer the mandatory question and one of the five optional
questions.

Marks are awarded for:

♦ demonstrating specialist knowledge and understanding of design practice and issues

♦ with reference to unseen prompts, commenting on a selected design work that the
candidate has previously studied
♦ demonstrating knowledge and understanding of the impact of social, cultural and/or other
influences on the designer’s work and practice
♦ with reference to unseen prompts, commenting on a selected unseen design image and
giving justified opinions using appropriate design vocabulary

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Section 2: Design Studies — question paper prompts

Mandatory question
The mandatory question requires candidates to respond to three prompts from the following
options.
One from:

♦ function
♦ fitness for purpose

One from:

♦ materials and/or techniques

♦ target market/audience

One from:

♦ visual impact
♦ style

Optional questions
Examples of design issues that could be included in the optional questions are included
below.
♦ function
♦ fitness for purpose
♦ materials and/or techniques
♦ target market/audience
♦ visual impact
♦ style
♦ influences/sources of inspiration
♦ imagery
♦ decoration
♦ layout
♦ lettering
♦ colour
♦ pattern
♦ shape and/or form

Setting, conducting and marking the question paper

This question paper is set and marked by SQA, and conducted in centres under conditions
specified for external examinations by SQA.

Candidates complete this in 1 hour and 20 minutes.

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Specimen question papers for National 5 courses are published on SQA’s website. These
illustrate the standard, structure and requirements of the question papers candidates sit. The
specimen papers also include marking instructions.

Course assessment structure: expressive portfolio

Expressive portfolio 100 marks
The purpose of this portfolio is to assess candidates’ ability to integrate and apply practical
art skills and their knowledge and understanding of art practice across the course.

Throughout the portfolio, candidates have the opportunity to demonstrate skills, knowledge
and understanding by:

♦ responding to their agreed theme/stimulus by producing relevant 2D/3D analytical

drawings, studies and investigative research, and using this to produce a single line of
development leading to a final piece
♦ using a selection of materials, techniques and/or technology, visual elements and
expressive effects
♦ reflecting on and evaluating their creative process and the visual qualities of their portfolio
with reference to their theme/stimulus

The expressive portfolio has 100 marks (40% of the total mark).

Course assessment structure: design portfolio

Design portfolio 100 marks
The purpose of this portfolio is to assess candidates’ ability to integrate and apply practical
design skills and their knowledge and understanding of design practice across the course.

Throughout the portfolio, candidates have the opportunity to demonstrate skills, knowledge
and understanding by:

♦ responding to their design brief, producing and compiling a variety of relevant 2D/3D
investigative material and market research, and using this to produce a single line of
development leading to a design solution
♦ using a selection of materials, techniques and/or technology, and demonstrating their
understanding of design elements
♦ reflecting on and evaluating their creative process and the aesthetic and functional
qualities of their design portfolio with reference to their design brief requirements

The design portfolio has 100 marks (40% of the total mark).

Setting, conducting and marking the expressive portfolio and the design portfolio
The portfolios are designed to allow candidates to demonstrate their ability to work
independently and are sufficiently open and flexible to allow personalisation and choice.

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Candidates should be fully prepared before undertaking the portfolio assessment tasks, ie
they should have the necessary skills and be made aware of the requirements of the
assessment.

The portfolios are:

♦ set by centres within SQA guidelines

♦ conducted under some supervision and control
♦ submitted to SQA for external marking

All marking is quality assured by SQA.

Assessment conditions
Time
The portfolios are developed in response to an expressive theme/stimulus and a design brief,
and are produced over an extended period of time, allowing candidates to develop and refine
their work before it is presented for assessment.

Supervision, control and authentication

Under some supervision and control means:

♦ Candidates do not need to be directly supervised at all times.

♦ The use of resources, including the internet, is not tightly prescribed.
♦ The work an individual candidate submits for assessment is their own.
♦ Teachers/lecturers can provide reasonable assistance.

Resources
There are no restrictions on the resources to which candidates may have access while
producing their portfolios.

Reasonable assistance
Candidates must undertake the assessment independently. However, reasonable assistance
may be provided prior to the formal assessment process taking place. The term ‘reasonable
assistance’ is used to try to balance the need for support with the need to avoid giving too
much assistance. If any candidates require more than what is deemed to be ‘reasonable
assistance’, they may not be ready for assessment, or it may be that they have been entered
for the wrong level of qualification.

Candidates can seek clarification regarding the portfolio assessment tasks if they find them
unclear. In this case, the clarification should normally be given to the whole class.

If a candidate is working on their portfolio and is faced with more than one possible solution
to a problem, then the assessor may explore options with them. The assessor and candidate
can discuss the pros and cons of each option. The candidate can then decide on a solution
based on the discussion.

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Once candidates have submitted their evidence, it must not be changed by either the teacher
or candidate.

The SQA evaluation template is mandatory. Centres must not provide model answers or
writing frames to assist candidates when completing their evaluations.

Evidence to be gathered
Volume
Candidates can present their work in a variety of ways; however, the overall maximum size
for each portfolio should not exceed three A2-sized, single-sided sheets or equivalent.
Portfolios must fold to a size not exceeding A1 for submission to SQA. Evaluations should be
attached to the first sheet and not overlap work or extend beyond the three A2 sheets or
equivalent.

There is no word count.

Refer to the National 5 Art and Design subject page for further information on portfolio
submission.

Grading
A candidate’s overall grade is determined by their performance across the course
assessment. The course assessment is graded A–D on the basis of the total mark for all
course assessment components.

Grade description for C

For the award of grade C, candidates will typically have demonstrated effective performance
in relation to the skills, knowledge and understanding for the course.

Grade description for A

For the award of grade A, candidates will typically have demonstrated a highly effective level
of performance in relation to the skills, knowledge and understanding for the course.

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Equality and inclusion
This course is designed to be as fair and as accessible as possible with no unnecessary
barriers to learning or assessment.

For guidance on assessment arrangements for disabled candidates and/or those with
additional support needs, please follow the link to the assessment arrangements web page:
www.sqa.org.uk/assessmentarrangements.

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Further information
The following reference documents provide useful information and background.

♦ National 5 Art and Design subject page

♦ Assessment arrangements web page
♦ Building the Curriculum 3–5
♦ Design Principles for National Courses
♦ Guide to Assessment
♦ SCQF Framework and SCQF level descriptors
♦ SCQF Handbook
♦ SQA Skills Framework: Skills for Learning, Skills for Life and Skills for Work
♦ Coursework Authenticity: A Guide for Teachers and Lecturers
♦ Educational Research Reports
♦ SQA Guidelines on e-assessment for Schools
♦ SQA e-assessment web page

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Appendix 1: course support notes
Introduction
These support notes are not mandatory. They provide advice and guidance to teachers and
lecturers on approaches to delivering the course. They should be read in conjunction with
this course specification and the specimen question paper and/or coursework.

Developing skills, knowledge and understanding

This section provides further advice and guidance about skills, knowledge and understanding
that could be included in the course. Teachers and lecturers should refer to this course
specification for the skills, knowledge and understanding for the course assessment. Course
planners have considerable flexibility to select coherent contexts which will stimulate and
challenge their candidates, offering both breadth and depth.

The National 5 Art and Design course develops skills, knowledge and understanding as
stated in this course specification:

♦ producing analytical drawings and related investigative studies in response to stimuli

♦ using visual elements expressively, showing a clear understanding of the subject matter
♦ producing focused investigative visual and market research for a design activity
♦ skills in using a range of art and design materials, techniques and/or technology
creatively
♦ developing and refining a variety of creative ideas for art and design work in 2D and/or
3D formats
♦ describing how artists and designers use materials, techniques and/or technology in their
work
♦ analysing the impact of social, cultural and other influences on artists’ and designers’
work and practice
♦ using problem-solving, planning and self-evaluation skills within the creative process

The ‘Approaches to learning and teaching’ and ‘Preparing for course assessment’ sections
provide suggested activities that teachers and lecturers can build into their delivery to
develop these skills, knowledge and understanding.

Approaches to learning and teaching

Effective learning and teaching at this level will draw on a variety of approaches to enrich the
experience of candidates. Practical approaches to learning and teaching which provide
opportunities for personalisation and choice will help to motivate and challenge candidates.

A wide variety of learning and teaching strategies can be used to deliver the course. The
following information provides guidance on possible approaches. The course is candidate-
centred and provides many opportunities for active, experiential learning.

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When planning delivery, teachers and lecturers must make a judgement on the range of
choices offered to candidates. These choices should be appropriate and manageable for
centres. Teachers and lecturers are free to select the contexts which are most suitable for
the delivery of specific expressive and design activities. These should be presented in a way
which allows candidates to personalise their work.

When selecting approaches and contexts, it is advisable to consider:

♦ candidates’ prior experience

♦ candidates’ aptitudes and ability
♦ size of the group
♦ teachers’ and lecturers’ knowledge, skills and confidence
♦ facilities, equipment and resources available
♦ time available and time management

The following table provides examples of learning and teaching approaches that could be
used.

Approach Description Candidates can:

Whole class Teachers and lecturers address ♦ receive important information
teaching the class as a whole. such as:
— aims
— assessment task
instructions
— clarification of the
assessment task
— explanations
— deadlines
Practical Teachers and lecturers show ♦ observe first-hand how to apply
demonstration how to carry out a practical a technique/use a particular
technique. material
♦ ask questions
Demonstrations can be broken ♦ get hints and tips
down into stages to make
learning more accessible.

Practical activity Candidates apply what they ♦ demonstrate understanding

have learned in the production ♦ engage in active learning
of a piece of practical work. ♦ build up skills
♦ develop and refine their
techniques
♦ engage in creative
experimentation

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Approach Description Candidates can:
Question and Candidates have the ♦ demonstrate their knowledge
answer opportunity to answer questions and understanding
on aspects of their coursework ♦ reinforce their learning
and to ask questions. ♦ learn from their peers
♦ develop their understanding of a
Questions can be simple to test topic
basic understanding and recall ♦ form opinions and justify them
of facts; or higher order to allow
candidates to develop their
understanding and gain new
insights.
Personal Candidates have access to ♦ collate information on the work
investigation and sources, eg books, print-outs, and practice of artists and
research internet so that they can gather designers
information and learn about a ♦ gather market research
topic independently. ♦ explore aspects of a topic which
have relevance to their selected
Drawing is another method of approach
investigating a theme, stimulus ♦ increase their knowledge and
or source of inspiration. understanding
Visual presentation Presentation by teachers and ♦ develop their understanding of a
lecturers or by candidates to technique or topic
communicate information ♦ develop their understanding of
supported by images. the work and practice of artists
and designers
Technology such as slide
presentations and video clips
can be used.

Discussion with Candidates have the ♦ receive feedback and

individuals and/or opportunity to discuss their constructive criticism
groups work with their teachers and ♦ arrive at decisions about the
lecturers and/or peers. direction of their work
♦ identify areas for improvement
and plan next steps
Self-reflection Candidates have the ♦ express evaluative judgements
opportunity to evaluate their on their work and progress
own work and progress. ♦ record justified opinions and
decisions
Group activities Candidates work in groups to ♦ engage in co-operative and
explore and collate information collaborative learning
on a topic. ♦ gather and share information
♦ learn from their peers
Note: work for course
assessment must be produced
individually.

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Approach Description Candidates can:
Visits Candidates visit a site or venue ♦ gain a deeper understanding of
to gather factual and/or visual expressive art issues or a
information. design problem
♦ develop an understanding of art
Visits can be related to the and/or design practice
expressive or design activity, ♦ develop knowledge of art/design
eg visits to an architectural site, processes, materials and
a landscape location, a gallery techniques
or an art or design studio. ♦ gather research, such as notes,
and/or visual material,
eg photographs and drawings
Guest speakers Candidates listen to a ♦ develop an understanding of art
presentation by a practising and design issues and practice
artist or designer and have the
opportunity to ask questions.

Relevance and integration of the study of artists and designers

Design and expressive activities should include practical learning with supporting contextual
knowledge and investigation into art and design practice.

This approach is designed to:

♦ develop candidates’ knowledge and understanding of the varied working practices and
approaches used by past and present artists and designers
♦ help candidates critically reflect on their own creative choices
♦ encourage candidates to use selected materials and techniques in a more informed
manner in their own work
♦ inspire candidates to apply what they have learned to their own practical work

Candidates should have opportunities to learn about the work and practice of artists and
designers. This could include investigating examples of contemporary artwork and historical
work. It could also include looking at art and design from a range of cultures and movements.

Candidates should investigate and understand how different artists and designers
communicate ideas in their work through creative and expressive use of a range of visual
and design elements, as well as a variety of materials, techniques and/or technology.
Candidates should develop their knowledge and understanding of the creative process as
well as the influences that impact on the work of artists and designers.

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Delivering practical activities
The scope and context of these activities is at the discretion of the centre.

During practical activities candidates will have opportunities to:

♦ produce investigative material in response to a theme/stimulus and design brief

♦ use a variety of art and design materials, techniques and/or technology to realise their
creative intentions
♦ develop their understanding of appropriate visual elements (eg colour, tone, line, shape,
form, texture and pattern) and expressive effects (eg composition, lighting, viewpoint,
mood and atmosphere)
♦ develop their understanding of appropriate design elements (eg aesthetics, style, layout,
visual elements, function, safety, balance)
♦ develop knowledge and understanding of art and design issues and the creative process

Teachers and lecturers should make a judgement as to when candidates have the necessary
knowledge and skills to undertake the coursework assessment tasks.

Sequencing delivery of the expressive and design activities

Planning and sequencing the delivery of the expressive and design activities and the degree
of integration is at the discretion of teachers and lecturers. Activities can be delivered
sequentially or concurrently. There is no set way to approach this and decisions about
sequence and/or integration of activities can also depend on available resources, time and
staff expertise.

It should be noted that while a number of approaches may be used in learning and teaching
activities, candidates must produce the work for assessment independently.

Preparing for course assessment

The course assessment will focus on:

♦ breadth — drawing on knowledge and skills from across the course

♦ challenge — requiring greater depth or extension of knowledge and skills
♦ application — requiring application of knowledge and/or skills in practical and theoretical
contexts

Assessment can be used to support learning by:

♦ sharing assessment criteria by making candidates aware of:

— the instructions for candidates from the coursework assessment tasks
— the marking instructions for the specimen question paper and past papers
♦ using information gathered to set learning targets and plan next steps
♦ adapting learning and teaching activities based on assessment information
♦ by providing constructive feedback on candidates’ progress

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Centres can avoid unnecessary or repetitive assessment tasks by focusing on the
information in instructions for candidates and the marking instructions, which are in the
coursework assessment task documents.

Question paper
The question paper requires integration and application of knowledge and skills from across
the course. It allows candidates to demonstrate their knowledge and understanding of art
and design practice in an extended-response format.

The specimen question paper and marking instructions are available to assist centres in
preparing candidates for this component of the course assessment.

Centres must ensure that candidates have opportunities to develop an understanding of art
and design terminology as this should enable them to respond to questions effectively.
Subject-specific vocabulary is used in the question paper to prompt candidates. Appendix 2
of this course specification lists specialist art and design terminology to help candidates to
prepare effectively.

The time allocated to the question paper is 1 hour and 20 minutes, and candidates must
respond to four questions within this time. Candidates will benefit from practice in exam
technique. For example, completing practice responses within a time limit can help
candidates to develop the ability to manage time effectively for the question paper.

Candidates are required to demonstrate their knowledge and understanding in an

extended-response format. To help them structure their responses, some candidates may
find it helpful to include sub-headings based on the art and design issues specific to the
question. Teachers and lecturers should advise candidates on how to answer questions in an
effective manner by advising:

♦ on the meaning of the art and design terminology likely to be encountered in the question
prompts
♦ how to apply their knowledge of specific art and design terminology so they can comment
critically on artworks and designs
♦ how to structure their responses
♦ how much to write in each element of the question
♦ how to respond to the command words

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Below are the command words and requirements for the question paper:

Command Candidates should:

Identify ♦ recall facts, such as the names of an artist, a designer and their
work(s)
Describe ♦ provide a statement or structure of characteristics and/or features of
where an identified influence can be seen in an artwork and design
♦ refer to, for example, a concept, process, experiment, situation in the
context of the artwork and design studied
Comment on ♦ provide factually correct information showing knowledge of art and
design practice
♦ make points based on observations and provide detail to support
points made
♦ give substantiated opinions by providing reasons which demonstrate
an understanding of art and design issues

In their answers to questions, candidates are awarded 1 mark for each justified point made
(up to the maximum points allocated for the question). Candidates must respond to all
elements of the question to achieve full marks. Where candidates are asked to comment,
marks are not awarded for descriptive responses, or responses that do not demonstrate an
understanding of art and design issues. To gain marks, candidates must justify points they
have made.

Mandatory questions
Question 1 and question 7 are mandatory questions. Candidates are required to demonstrate
knowledge and understanding of key art and design issues, as well as the work of a
significant artist and a significant designer. Selecting a significant artist and designer for
study will make it easier for candidates to access reliable sources of information. This
information could include facts about the artist’s and designer’s use of materials, techniques
and/or technology as well as information on the impact of external influences on their work.
Examples of influences are listed in the section ‘Skills, knowledge and understanding for the
course’ in this course specification.

In selecting an artist and a designer for study, teachers and lecturers should also consider
how well the work of the artist and designer will relate to and inform candidates’ practical
work.

The term ‘artwork’ can be interpreted in its broadest sense and includes painting,
printmaking, photography, sculpture, installation and site-specific art.

Candidates may refer to individual artists and designers or groups of artists/designers,

for example Gilbert & George, the Boyle Family, The Glasgow Boys, Timorous Beasties or
Alessi.

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Mandatory questions are divided into two parts:

Part Candidates must: Marks

(a) ♦ identify an artwork and a design that they have studied
♦ respond to three subject-specific prompts with reference to the works
selected 6

(b) ♦ Identify two influences on the artist and designer and describe how the
influences can be seen in any of their work
4

Total 10

Optional questions
Section 1: expressive art studies. Candidates are required to select and comment on an
unseen image of an artwork. Candidates can expect to find images representing people,
places and objects or a combination of these. Artworks could be 2D or 3D and show a variety
of different techniques and processes. Candidates are expected to demonstrate knowledge
and understanding of important expressive art issues in relation to the artwork.

Section 2: design studies. Candidates are required to select and comment on an unseen
image of a design. Candidates can expect to find images representing graphics, product
design, interior/environmental/architectural design, jewellery, and fashion/textiles.
Candidates are expected to demonstrate an understanding of specific design issues in
relation to the design work.

Part Candidates must: Marks

(a) ♦ comment on the artist’s/designer’s approach by responding to three
subject-specific prompts referring to the artwork/design 8

(b) ♦ give an opinion on a specific aspect of the work with two justified
reasons 2

Total 10

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Teachers and lecturers can support candidates in preparing for the question paper by:

♦ reinforcing the meaning and use of art and design terms

♦ ensuring that the choice of artists/artworks and designers/designs studied enables them
to answer the mandatory questions effectively
♦ giving candidates opportunities to participate in group discussion and presentations
based on examples of artworks and designs
♦ giving opportunities to tackle question paper type responses and to receive feedback on
performance, eg through homework tasks and/or class tests
♦ asking candidates to complete responses within a time limit
♦ giving candidates the opportunity to sit a practice examination which replicates the format
and conditions of the question paper

Coursework assessment tasks

The portfolio assessment tasks require candidates to respond creatively to their expressive
theme/stimulus and their design brief. Candidates will present portfolios which show the
investigation and development of a single line of expressive enquiry as well as a single line
of design enquiry. This work will be used as a basis for producing the final piece of
expressive artwork and the design solution. Candidates will then reflect on and critically
evaluate their creative process.

Detailed information for teachers and lecturers and candidates can be found in the
coursework assessment task documents. All candidates must be issued with the instructions
for candidates for each coursework assessment task before beginning their practical
assessments.

Approaches to assessment — expressive

The expressive portfolio assessment task requires candidates to:

♦ agree a theme/stimulus
♦ produce relevant 2D/3D analytical drawings, studies and investigative research
♦ demonstrate a single line of development
♦ produce a final piece
♦ evaluate their creative process

Expressive contexts
Teachers and lecturers may select a suitable context for the expressive activity. Expressive
contexts include genres such as:

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Context Genre

People ♦ portraiture
♦ figure composition
Places ♦ landscape
♦ built environment
♦ site-specific art
♦ installation
♦ street art
Objects ♦ still life
♦ assemblage

Genres may also be combined, for example in a fantasy and imagination approach.
Approaches inspired by the work of artists may also provide a suitable context for learning.
Teachers and lecturers may be able to take advantage of local contexts.

The context for learning is at the discretion of the teachers and lecturers. It is not advisable to
allow candidates to select expressive contexts which teachers and lecturers may find difficult
to support and facilitate.

Selecting a theme/stimulus
Candidates are required to agree a theme/stimulus with their teachers and lecturers.
Open-ended themes can encourage candidates to respond in a personal and imaginative
way. Creative ideas can be developed in response to themes such as ‘memories’, ‘street life’,
‘reflections’ and ‘café table’. A stimulus can be used as a starting point for candidates. This
could be a photograph, object, place, a piece of literature or music, a social or political issue
or a particular culture.

Teachers and lecturers can choose to limit the choice of themes/stimuli for candidates. The
choice of contexts, themes and stimuli offered can enrich the learning experience. It can also
help candidates to develop skills for learning, life and work and prepare them for their place
in a diverse, inclusive and participative society. Teachers and lecturers should show
sensitivity to candidates’ cultural and religious beliefs in the themes/stimuli offered.

Responding to the theme/stimulus through investigation

Candidates are required to produce investigative research in response to their
theme/stimulus. This may include:

♦ analytical drawings showing visual analysis of their subject matter through for example
the use of line, tone, texture, colour and/or shape
♦ 2D and/or 3D investigative studies
♦ investigative research, for example looking at an artist’s techniques, collecting images,
and taking photographs
♦ using materials, techniques and/or technology

Analytical drawings and studies are expected to show understanding of the qualities of the
subject matter. Candidates are expected to demonstrate control in their handling of the

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materials and techniques they choose. Working from life, real objects, subjects or locations
(or their own photographs of these) can help candidates explore and understand the visual
qualities of their subject matter in greater depth.

Investigative research included in the portfolio should be directly relevant to the selected
theme/stimulus. Teachers and lecturers should refer to detailed marking instructions in the
coursework assessment task when advising candidates about the nature and volume of
investigative work required. Work produced for the portfolio should be proportionate to the
marks available.

Development
In their expressive portfolio, candidates are expected to demonstrate a single line of
development showing visual continuity and the refinement of one idea. Development
should show a strong visual connection with the investigative research included in the
portfolio. The portfolio development should reflect key elements that the candidate has
decided to take forward to the final piece. Studies should be relevant to the selected
theme/stimulus. The quality of the process and skills demonstrated in the portfolio is more
important than the quantity of development. As candidates refine their idea, the development
should become more focused.

In their development, candidates should demonstrate skills creatively in their use of art
materials, techniques and/or technology. Candidates’ choice of materials and techniques
should be based on personal preferences and strengths that have been established through
experience and experimentation. In their portfolio, candidates may choose to focus on certain
techniques and on particular visual elements appropriate to the effect they are trying to
create.

In expressive work, development and refinement could include:

♦ trying different formats in 2D work, eg landscape, portrait, and square

♦ varying and modifying the arrangement in 3D work
♦ altering and experimenting with scale and negative space
♦ experimenting with and modifying composition, viewpoint and/or perspective
♦ exploring materials and techniques to achieve a particular effect
♦ fine-tuning and perfecting a particular technique
♦ comparing a range of materials to see which is best to convey an intended style or mood
♦ combining specific visual elements to achieve a particular effect
♦ decision-making and planning for the final piece

Production of the final piece

The development process should assist candidates in making decisions on their final piece.
While they may discuss the pros and cons of various options with teachers and lecturers,
candidates should make the final decision.

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In discussing decisions for the final piece, teachers and lecturers may find it helpful to prompt
candidates to consider:

♦ Scale — it is not necessary to produce a large piece of work, although some candidates
do enjoy larger scale expressive approaches. The scale chosen should suit the
candidates’ style and play to their strengths.
♦ Composition/viewpoint/arrangement — the final piece should show some further
refinement, so candidates should not simply make a larger version of a development
study.
♦ Visual continuity — although the final piece should demonstrate further refinement, it
should not be radically different from the previous work. Candidates should consider how
they will achieve strong visual continuity with the development work, eg through subject
matter, colour palette and style.
♦ Materials and techniques — candidates may have personal preferences by this point
but should consider the success and visual impact of techniques used in previous
development work.
♦ Time available — some candidates may be unrealistic about what they can achieve in a
given timescale. Teachers and lecturers should advise candidates to be realistic about
what they can achieve before the formal assessment.

Evaluation
Candidates are expected to use problem-solving, planning and evaluation skills throughout
the creative process. It is advisable that the evaluation is completed as the final stage of their
expressive portfolio. The evaluation must be completed on the National 5 Art and Design —
expressive portfolio evaluation template. Candidates are assessed on their ability to give
justified personal opinions on:

♦ the decisions made when working through their expressive portfolio

♦ the effectiveness of the visual qualities of their expressive portfolio with reference to their
theme/stimulus

It is important that candidates understand the difference between describing their creative
process and evaluating their work. They will benefit from guidance on how to make
evaluative statements. In discussion with teachers and lecturers candidates can reflect on
the effectiveness of their creative process. Candidates could be encouraged to consider:

♦ how well the portfolio reflects the theme/stimulus

♦ how visually successful the work is and why
♦ significant breakthroughs or turning points
♦ important decisions they made
♦ strengths, weaknesses and areas for improvement

The portfolio evaluation must be produced by the candidates independently. Teachers and
lecturers must not provide writing frames, model evaluations, or assist candidates with
writing their evaluations. Once it has been submitted for assessment, the evaluation must not
be altered by teachers and lecturers or redrafted by candidates.

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Approaches to assessment — design
The design portfolio assessment task requires candidates to:

♦ agree a design brief

♦ produce and compile relevant 2D/3D investigative material and market research
♦ demonstrate a single line of development
♦ produce a design solution
♦ evaluate their creative process

Design contexts
The context for learning is at the discretion of teachers and lecturers. It is not advisable to
allow candidates to select design contexts which would be difficult for teachers and lecturers
to support and facilitate.

Teachers and lecturers can select a suitable context for the design activity. It may be
possible to take advantage of local contexts to give candidates a ‘real life’ design problem to
solve.

Design contexts include design areas and/or specific design problems, for example:

Design area Examples

Graphics ♦ poster
♦ leaflet
♦ menu
♦ book/CD/DVD cover
♦ packaging
♦ infographic
♦ infomercial/animation
Product ♦ household product
♦ lighting
♦ chair
♦ clock
♦ educational toy
Interior/environmental/architectural ♦ domestic/public/commercial interior
♦ residential/public/commercial building
♦ structure — shelter/walkway/bridge
♦ facilities — garden/play area/street furniture
Jewellery ♦ body adornment
♦ neckpiece
♦ cuff/bracelet/arm piece/shoulder piece
♦ brooch
♦ watch

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Design area Examples
Fashion/textiles ♦ surface pattern
♦ constructed textiles
♦ cushion
♦ clothing
♦ costume
♦ accessory — headpiece/hat/bag/shoes/wrap

Sources of inspiration/stimuli
Candidates must have a workable and realistic design brief which they can respond to in
their portfolio assessment task. This gives candidates direction and the opportunity to
respond to their design problem in an effective way.

Candidates at this level may struggle to develop their own brief. Centres can provide a single
brief which candidates can respond to individually, a choice of briefs, or a design brief
template which can be personalised by candidates.

When developing design briefs, candidates/centres can consider the following (as
appropriate to the particular design area selected):

Materials and Target market/

Aesthetics Function
techniques audience
♦ style ♦ purpose ♦ materials ♦ age group
♦ source of ♦ practicality available ♦ income
inspiration ♦ wearability ♦ equipment ♦ personal style
♦ imagery available
♦ durability ♦ preferences
♦ lettering ♦ suitability of
♦ safety ♦ requirements
materials and
♦ layout ♦ weight ♦ suitable for mass
techniques
♦ key visual ♦ balance production
♦ effect of the
elements ♦ bespoke/one-off
♦ readability materials on
♦ visual impact aesthetics ♦ limited edition
♦ use of space
♦ effect of the
materials on
function
♦ 2D/3D processes

An effective design brief will:

♦ give direction without being too restrictive

♦ provide important details on the design problem
♦ identify key design issues
♦ allow candidates to respond in a creative and personal way
♦ encourage candidates to follow an effective design process to arrive at a solution

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Candidates may find it helpful to have a stimulus to enable them to find suitable investigative
visual material at the start of their creative process. Visual stimuli may be derived from, for
example:

♦ the natural world — sea creatures, plant forms, and cells

♦ the human-made world — machinery, architecture, and urban decay
♦ cultures — Asian, Celtic, and African
♦ art and design styles — De Stijl, abstraction, and Victoriana
♦ social and political issues — water aid programmes and human rights
♦ events — musical performance, dance performance, and sporting event

Responding to the design brief through investigation

Candidates are required to produce investigative research in response to their
theme/stimulus. This work may include:

♦ images relevant to the design brief (eg market research, sources of inspiration, site
photographs for architecture)
♦ relevant analytical drawings that explore the qualities of the visual stimulus and assist the
candidate with development — there is no requirement to produce expressive drawing in
the design portfolio
♦ investigation into appropriate material/techniques and technology

Candidates may undertake a variety of research activities at the start of the design process.
However, material included in the portfolio must relate to the design brief and should
demonstrate investigation of key issues identified in the brief. Centres should refer to the
design portfolio detailed marking instructions in the coursework assessment task when
advising candidates about the nature and volume of investigative research required. It is
recommended that work produced for the portfolio should be proportionate to the marks
available.

Development
In their design portfolio, candidates are expected to demonstrate a single line of
development showing visual continuity and the refinement of one idea. Development
should show a strong visual connection with the investigative research included in their
portfolio. The portfolio development should reflect key elements that the candidate has
decided to take forward to their design solution. Studies should be relevant to the
requirements of the design brief. The quality of the process and skills demonstrated is more
important than the quantity of development. As candidates refine their idea, the development
should become more focused.

In their development, candidates should demonstrate their skills creatively when using
design materials, techniques and/or technology. Candidates should use materials and
techniques appropriate to their design area and brief. Teachers and lectures may wish to
limit materials or build a requirement into the design brief to use certain types of materials, eg
fabrics, recycled materials and paper.

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Candidates should demonstrate an understanding of the aesthetic requirements of their
design brief and the needs/preferences of their target market/audience. Functional issues
must also be addressed and there should be a focus on solving appropriate design
problems. Images which simply show the construction of a design solution at various stages
are not regarded as development.

In design work, development and refinement could include:

♦ adapting an element of the design to improve functionality (eg stability, practicality,

readability, and fastenings)
♦ making slight adjustments to improve the aesthetics of a design (eg colour balance, form,
and surface decoration)
♦ creating and modifying a 2D motif or 3D element for textiles, fashion or jewellery
♦ experimenting with different repeat patterns, eg block, half-drop, mirror, and linear
♦ enhancing the visual impact of a design (eg creating or repositioning a focal point,
changing the scale of an element, modifying the use of a visual element such as colour,
line, pattern, and texture) manipulation of imagery, lettering and layout in graphics
♦ paper engineering to create 3D elements for jewellery or models for product design or
architecture
♦ experimenting with use of space in interior or architectural design
♦ comparing the suitability of a range of materials/techniques by creating samples
♦ decision-making and planning for the final piece

Production of the design solution

The development process should assist candidates in making decisions on their design
solution. While they may discuss the pros and cons of various options with teachers and
lecturers, candidates must make the final decision themselves.

In discussing decisions for the final piece, teachers and lecturers may find it helpful to prompt
candidates to consider:

♦ Further refinement — the design solution should show some further refinement, so
candidates should not simply make a larger version of a development.
♦ Visual continuity — although the design solution should demonstrate further refinement,
it should not be radically different from the previous work. Candidates should consider
how they will achieve strong visual continuity with the development work, for example
through the use of colour palette and style.
♦ Materials and techniques — candidates should consider the success of the materials
and techniques used in previous development work.
♦ Time available — some candidates may be unrealistic about what they can achieve in a
given timescale. Teachers and lecturers should advise candidates to be realistic about
what they can achieve before the formal assessment.

Evaluation
Candidates are expected to use problem-solving, planning and evaluation skills throughout
the design process. The evaluation should be completed as the final stage of their design

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portfolio. The evaluation must be completed on the National 5 Art and Design — design
portfolio evaluation template. Candidates are assessed on their ability to give justified
personal opinions on:

♦ the decisions made when working through their design portfolio

♦ the effectiveness of the aesthetic and functional qualities of their design portfolio with
reference to their design brief requirements

It is important that candidates understand the difference between describing their design
process and evaluating their work. They will benefit from guidance on how to make
evaluative statements. In discussion with teachers and lecturers, candidates can reflect on
the effectiveness of their design process. Candidates should be encouraged to consider:

♦ how well the portfolio fulfils the design brief

♦ how visually and functionally successful the work is and why
♦ significant breakthroughs or turning points
♦ important decisions they made
♦ strengths, weaknesses and areas for improvement

The portfolio evaluation must be produced by the candidate independently. Teachers and
lecturers must not provide writing frames, model evaluations, or assist candidates in the
writing of their evaluations. Once it has been submitted for assessment, the evaluation must
not be altered by teachers and lecturers or redrafted by the candidate.

Presentation of the portfolios for external assessment

The course offers flexibility in the presentation of portfolios. For full information on the
presentation of portfolios, please refer to ‘Art and Design Practical Assessment’ page located
on SQA’s website.

For both expressive and design portfolios:

♦ a number of presentation formats is possible

♦ the maximum three A2 sheets or equivalent must not be exceeded and the portfolio must
not exceed A1 size when folded
♦ candidates’ work should be firmly fixed to the mounting sheets, which must be securely
taped together
♦ wet media should be completely dry before folding, and charcoal and pastel studies
should be properly fixed
♦ the candidates’ intentions should be clear: the selected theme/stimulus should be
included on the first sheet of the expressive portfolio and the selected design brief should
be included on the first sheet of the design portfolio
♦ there are no limits on the quantity of investigative work, however, investigative work
attracts a smaller proportion of marks than the development and final piece/design
solution
♦ only one line of development should be demonstrated
♦ all parts of the portfolio should show visual continuity

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♦ 3D work need not be submitted if good, clear photographs showing different views are
provided
♦ the evaluation must be completed on SQA’s templates and fixed to the first sheet; it must
not overlap any other work or extend beyond the three A2 sheets permitted

Developing skills for learning, skills for life and skills

for work
Course planners should identify opportunities throughout the course for candidates to
develop skills for learning, skills for life and skills for work.

Candidates should be aware of the skills they are developing, and teachers and lecturers can
provide advice on opportunities to practise and improve them. SQA does not formally assess
skills for learning, skills for life and skills for work.

There may also be opportunities to develop additional skills depending on approaches being
used to deliver the course in each centre. This is for individual teachers and lecturers to
manage.

The following table highlights some opportunities to develop skills for learning, skills for life
and skills for work during this course. These skills are based on SQA’s Skills Framework:
Skills for Learning, Skills for Life and Skills for Work.

Skill How to develop

3 Health and wellbeing ♦ identifying areas for improvement and next steps for
3.1 Personal learning learning
♦ investigating, researching, analysing, producing, and
evaluating

Skill How to develop

5 Thinking skills ♦ understanding and analysing how others develop their
5.4 Analysing and evaluating ideas and work
♦ analysing the impact of social, cultural and other
influences on artists’ and designers’ work and practice
♦ expressing justified personal opinions
♦ reflecting on and evaluating creative process used and
the qualities of the work
5.5 Creating ♦ developing creative ideas and solutions to problems in
art and design work

Teachers and lecturers should make candidates aware of the skills, knowledge and
understanding that they are developing throughout the course. Carefully structured tasks can
help candidates to address and develop their skills more effectively and to identify ways they
might improve on them.

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Appendix 2: art and design terminology
The question paper contains specialist art and design terminology. To prepare effectively
candidates should revise the meaning of the following terms.

Section 1 — expressive art studies

Examples of points which could be expanded and explained in
Term
detail with reference to specific works
Composition/ ♦ placement of subject matter; arrangement of elements in a
arrangement 3D work
♦ viewpoint/camera angle, focal point, pose, perspective, use of
negative space, and balance
♦ description of the composition — eg triangular, circular, linear,
cluttered, minimalist, naturalistic, and staged
♦ effect on mood and atmosphere
♦ effect on visual impact
Subject ♦ people, places or objects shown in the work
matter/imagery ♦ choice of subject matter — personal symbolism
♦ effect of the subject matter
♦ imagery — eg drawing, painting, illustration, photography, and
fantastical images
♦ effect on mood and atmosphere
♦ effect on visual impact
Media handling ♦ type of media, properties of the media
and/or techniques ♦ dry media — charcoal, pencil, pen, oil pastel, and chalk pastel
♦ wet media — oil paint, acrylic, watercolour, ink, pen and ink,
gouache, and temperapaste
♦ mixed media
♦ 3D media — plaster, clay, bronze, resin, and found objects
♦ paintbrush, palette knife, and modelling tools
♦ printmaking — etching, intaglio, screen printing, collagraphy,
woodblock, and lino
♦ brushstrokes and application of media — eg blended, visible,
painterly, expressive, energetic, and directional
♦ painting techniques — eg impasto, scumbling, dry brush, wet on
wet, sgraffito, glazing, pointillism, and broken colour
♦ effect on mood and atmosphere
♦ effect on visual impact

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 Examples of points which could be expanded and explained in
Term
detail with reference to specific works
Colour ♦ primary, secondary, tertiary, and neutral
♦ saturated, tints, tones, and shades
♦ warm and cold
♦ complementary, contrasting, and harmonious
♦ monochromatic, multi-coloured, and restricted palette
♦ effect on mood and atmosphere
♦ effect on visual impact
Tone ♦ illusion of light and shadow
♦ highlight, midtone, and shadow
♦ tonal range and balance
♦ application of tone — eg blended, flat, rough, graduated,
chiaroscuro, grisaille, and sfumato
♦ description of tone — eg light, dark, wide tonal range, and
contrasting
♦ effect on mood and atmosphere
♦ effect on visual impact
Line ♦ outlines, edges, and leading lines
♦ effect on definition
♦ effect on composition — eg dividing the space, horizontal,
vertical, diagonal, leading lines, and creating perspective
♦ quality of line — eg thick, thin, soft, hard, textural, light, heavy,
and broken
♦ effect on mood and atmosphere
♦ effect on visual impact
Texture ♦ the surface quality of a work
♦ the illusion of texture
♦ techniques used to create texture — eg visible brushstrokes,
impasto, sgraffito, scumbling, collage, and tool marks in sculpture
♦ description of texture — eg rough, smooth, soft, hard, fine, and
coarse
♦ effect on mood and atmosphere
♦ effect on visual impact
Pattern ♦ repeating elements
♦ regular and irregular
♦ geometric, organic, and linear
♦ scale and proportion of pattern
♦ effect on mood and atmosphere
♦ effect on visual impact

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 Examples of points which could be expanded and explained in
Term
detail with reference to specific works
Shape and/or form ♦ 2D — shape
♦ 3D — physical form, mass, and negative space
♦ illusion of form
♦ quality of shape/form — eg organic, geometric, angular,
fragmented, and contrasting elements
♦ techniques used to create form — eg carving, sculpting, and use
of tone and colour
♦ scale and proportion of shape/form
♦ effect on mood and atmosphere
♦ effect on visual impact
♦ scale and proportion of pattern
♦ effect on mood and atmosphere
♦ effect on visual impact
Scale ♦ dimensions of the work
♦ proportion of elements within the work — eg in proportion, out of
proportion, realistic, and distorted
♦ description of scale — eg large, small, miniature, life-size, and
larger than life
♦ effect on mood and atmosphere
♦ effect on visual impact
Style ♦ having the characteristic of an art movement — eg Classical,
Realist, Impressionist, Post-Impressionist, Expressionist,
Futurist, Cubist, Colourist, Surrealist, Pop Art, and Photorealism
— the way this is evident in the work
♦ description of style — eg painterly, realistic, graphic, expressive,
experimental, geometric, and abstract
♦ effect on mood and atmosphere
♦ effect on visual impact
Mood and ♦ the feeling communicated by the work
atmosphere ♦ mood and atmosphere created by application of specific
elements from categories above
♦ description of the mood and atmosphere — eg joyful, depressing,
disturbing, mysterious, tranquil, lively, energetic, and dynamic
Visual impact ♦ how striking and memorable an artwork is
♦ visual impact created by application of specific elements from the
categories above

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Section 2 – design studies
Examples of points which could be expanded and explained in
Term
detail with reference to specific designs
Function ♦ purpose of the design
♦ how the purpose has been considered
Fitness for ♦ how well a design fulfils its purpose — eg wearability, practicality,
purpose durability, ergonomics, balance, and weight
♦ how well it meets the needs of the target market/audience
Materials and/or ♦ suitability/unsuitability of the materials
techniques ♦ effect on appearance/style
♦ properties of the materials — eg lightweight, rust resistant, water-
proof, durable, fragile, flexible, and rigid
♦ effect on cost of manufacture
♦ manufacturing techniques/processes — eg mass produced, hand-
made, bespoke, couture, moulded, and laser-cut
♦ effect on visual impact
Target ♦ who the design will appeal to/who will buy or use it
market/audience ♦ age, gender, income bracket, preferences, and personal style
♦ wide market, niche market, specific client, mass produced, limited
edition, designer label, one-off, couture, and bespoke
♦ retail cost of design — affordable, exclusive, and status symbol
Style ♦ having the characteristics of a design movement — eg Arts &
Crafts, Art Nouveau, Art Deco, Bauhaus, De Stijl — the way this
is evident in the design
♦ description of the style — eg futuristic, decorative, streamlined,
and minimalist
♦ appeal to target market/audience
♦ effect on visual impact
Influences/sources ♦ natural world, human-made world, different cultures, and other
of inspiration designers’ styles
♦ design problem; client requirements
♦ effect on appearance/style
♦ effect on visual impact
Imagery ♦ images, photographs, and illustrations
♦ connotations of the imagery and symbolism
♦ key visual elements use to create the imagery
♦ appeal to target market/audience
♦ effect on visual impact

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 Examples of points which could be expanded and explained in
Term
detail with reference to specific designs
Decoration ♦ applied decoration — eg embellishment, embroidery, beadwork,
carving, and moulding
♦ effect on appearance/style
♦ appeal to target market/audience
♦ effect on visual impact
Layout ♦ arrangement of design elements — eg imagery and lettering in a
graphic design
♦ balance, negative space, symmetry, and asymmetry
♦ scale and proportion of different elements
♦ effect on appearance/style
♦ effect on functionality
♦ appeal to target market/audience
Lettering ♦ use of typography in graphic design
♦ effect on appearance/style
♦ effect of scale, colour, tone, line, texture, and pattern
♦ fitness for purpose — readability
♦ appeal to target market/audience
♦ effect on visual impact
Visual elements ♦ colour, tone, line, texture, shape, form, and pattern — see
definitions for expressive art
♦ effect on the appearance/style of the design
♦ effect on functionality
♦ appeal to target market/audience
♦ effect on visual impact
Visual impact ♦ how striking and memorable a design is
♦ visual impact created by application of specific elements from
categories in this table

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Administrative information

Published: May 2024 (version 3.0)

History of changes to course specification

Version Description of change Date

2.0 Course support notes added as appendix. September
2017
3.0 Document updated throughout, to reflect changes to the question May 2024
paper component.

Main document:
‘Course overview’ and ‘Course content’ sections — total marks
reduced from 50 to 40 and scaled to retain 20% weighting. Time
allocation reduced to 1 hour 20 min.

‘Course content’ section:

Format changes to improve accessibility of mandatory question
and optional questions tables.

Appendix 1 — course support notes:

‘Preparing for course assessment’ section — definition of the
command word ‘describe’ has been included and ‘select’ has
been removed. Mark allocation for mandatory questions reduced
from 15 to 10 marks.

This course specification may be reproduced in whole or in part for educational purposes
provided that no profit is derived from reproduction and that, if reproduced in part, the source
is acknowledged. Additional copies of this course specification can be downloaded from
SQA’s website at www.sqa.org.uk.

Note: you are advised to check SQA’s website to ensure you are using the most up-to-date
version of the course specification.

© Scottish Qualifications Authority 2012, 2017, 2024

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