New Curriculum First Term Visual Arts examination for SS 1

Class: SSS 1
Term: First Term
Subject: Visual Arts
Time: 2 Hours 30 Minutes
Total Marks: 70

SECTION A: OBJECTIVES (40 Marks)
Instruction: Answer ALL 40 questions. Each question carries 1 mark.

1. A clay model requires controlled removal of material after drying. Which tool property matters most? (a) A surface coated in wet paint    (b) Maximum sharpness regardless of use    (c) A handle that is difficult to grip    (d) Appropriate shape and safe handling for the intended task
2. A contemporary road-safety symbol differs from an Uli design chiefly in ________. (a) its intended communicative context and convention    (b) the absence of any cultural influence    (c) a guarantee of higher artistic quality    (d) the impossibility of using line or shape
3. Which item is most useful for documenting the context of a portfolio piece? (a) Only the artist’s favourite song    (b) A price tag without a description    (c) A title, date, medium and short statement of purpose    (d) An unrelated attendance register
4. A ceramic vessel has both a useful shape and decorative pattern. Which judgement is most balanced? (a) The vessel’s size determines all aesthetic value    (b) Decoration is the only possible criterion    (c) Its practical function and visual design can both be assessed    (d) Usefulness prevents it from being studied as art
5. A bottle casts a shadow to the right of the page. Where is the light source most likely located? (a) Inside the cast shadow    (b) Directly beneath the bottle    (c) At the far right of the page    (d) To the left of the bottle
6. An artist chooses charcoal rather than an ink pen for an initial tonal study. What is the strongest reason? (a) Ink always produces smooth gradations automatically    (b) Pencil drawing requires no understanding of value    (c) Charcoal cannot create dark marks    (d) Charcoal permits broad tonal masses and easily varied pressure
7. A student labels every artwork with the wrong medium. Why does this matter? (a) It increases the number of artworks displayed    (b) It makes the paper physically smaller    (c) It automatically changes the artwork’s colours    (d) It weakens documentation and evidence of technique
8. A designer produces an illustrated health poster for a clinic. Why is this classified as applied visual art? (a) It communicates a practical message through visual design    (b) It exists only as an object for private contemplation    (c) It must avoid combining images and text    (d) It does not require decisions about audience
9. An artist models a figure in clay instead of making a flat painting. Which distinction in artform is most relevant? (a) Sculpture never uses texture    (b) Clay work is always printmaking    (c) Painting cannot communicate volume    (d) Sculpture develops three-dimensional form
10. A composition feels unbalanced because all heavy dark shapes occupy the left edge. Which revision most directly addresses the problem? (a) Add more dark shapes to the left only    (b) Remove every light colour    (c) Make all lines exactly the same thickness    (d) Adjust the distribution of visual weight across the format
11. A design uses an Adire-inspired pattern in a modern poster. What should the artist consider first? (a) That every Nigerian pattern has the same origin    (b) That cultural attribution is unnecessary    (c) The motif’s cultural context and a respectful adaptation to the new purpose    (d) That traditional textiles contain no visual structure
12. The distinction between drawing and printmaking is most clearly seen when ________. (a) a painter mixes two pigments on a palette    (b) an image is transferred from a prepared surface to produce impressions    (c) a pupil draws directly with a pencil    (d) a charcoal sketch remains on its original paper
13. A student wishes to show the rounded surface of a mango. Which technique is most appropriate? (a) Fill the mango with unrelated flat symbols    (b) Gradually vary tone to describe light and curvature    (c) Draw only a ruler beside the fruit    (d) Use identical darkness on every part of the form
14. A learner selects ten similar finished sketches but excludes stronger examples of other techniques. What should be improved? (a) The number of decorative stickers only    (b) The size of the folder’s handle    (c) The alphabetical order of classmates’ names    (d) The range and representativeness of the selected work
15. Which of these is NOT a safe practice when caring for painting and drawing tools? (a) Leaving wet brushes in a sealed box after use    (b) Keeping sharp implements in protective cases    (c) Cleaning paint residue as recommended    (d) Drying tools before storage
16. A still-life subject requires fine tonal changes. Which material-and-support combination is most practical? (a) Loose sand on wet glass    (b) Oil paint applied directly to unprepared notebook tissue    (c) Graphite pencils on suitable drawing paper    (d) Fabric dye on an oily metal plate
17. A student wants a career that combines communication and design. Which project provides the strongest evidence of visual-art skill? (a) A clear illustrated campaign with sketches, layout revisions and a finished design    (b) A publicity plan without any visual work    (c) A typed list of slogans without design decisions    (d) A price list with no illustration or layout choices
18. The correct step for constructing a repeatedly used display folder is to choose ________. (a) A fragile fold placed under constant strain    (b) Loose sheets without any identification    (c) A durable hinge and secure method of holding the pages    (d) A cover that prevents pages from turning
19. A learner compares a mural with a small easel painting. Which feature is most likely to influence the mural’s design choices? (a) Its relationship to a large wall and the viewing environment    (b) The absence of any compositional plan    (c) The impossibility of using colour    (d) A requirement to contain only portraits
20. A photographic series documents changes in a neighbourhood. Its artform is best assessed through ________. (a) the weight of camera packaging    (b) the strength of spoken speeches alone    (c) the number of pages in a textbook    (d) framing, light, sequence and visual storytelling
21. An exhibition contains a sculpture, a ceramic bowl and an animation. Which conclusion about visual arts is justified? (a) Visual arts are limited to pencil drawing    (b) Visual arts include both traditional media and newer image-making forms    (c) Objects with practical uses cannot have artistic qualities    (d) Digital images are always excluded from artistic practice
22. A student washes water-based paint brushes immediately after use. What is the practical benefit? (a) It removes the need for careful storage    (b) It guarantees that every future line is straight    (c) It permanently changes the brush to an oil-paint tool    (d) It reduces residue and helps preserve the bristles
23. A paper portfolio leaves delicate charcoal drawings uncovered. Which simple material would most directly protect them? (a) Loose abrasive paper pressed against each drawing    (b) Interleaving or protective sheets that minimise smudging    (c) A heavy metal tool stored on top    (d) Wet adhesive spread across the charcoal
24. Which vocabulary best describes a rough-looking surface in a sculpture? (a) Texture    (b) Perspective    (c) Proportion    (d) Symmetry
25. A portfolio arranged from concept to final work helps a reviewer ________, rather than view each piece in isolation. (a) trace decisions, development and technical progress    (b) avoid examining the work itself    (c) judge the artist only by age    (d) replace critical feedback with grades alone
26. The main reason repetition can produce visual rhythm is that ________. (a) It guides the eye through a related sequence of visual units    (b) It prevents viewers from recognising a pattern    (c) It automatically removes emphasis    (d) It makes every composition symmetrical
27. Which evidence shows that an observational drawing was based on direct study? (a) The student ignores the position of the light source    (b) Relative sizes, overlaps and light effects correspond to the arranged objects    (c) The drawing contains only a decorative title    (d) Every object is drawn from a memorised symbol
28. A student treats Nsibidi solely as a decorative zigzag without studying its communicative associations. The weakness is ________. (a) excessive attention to visual symbols    (b) loss of cultural meaning through careless simplification    (c) the use of too many portfolio pages    (d) improper pencil sharpening
29. An art critic discusses the ‘composition’ of a photograph. What is being analysed? (a) The arrangement of visual elements within the frame    (b) The price of the camera alone    (c) The artist’s home address    (d) The chemical formula of paper
30. ________ is the design principle most evident when a red symbol dominates several smaller grey shapes. (a) symmetry created by equal shapes    (b) randomness without visual hierarchy    (c) uniformity of tone everywhere    (d) emphasis through contrast and scale
31. Why does cross-hatching often increase apparent darkness as lines overlap? (a) The subject becomes physically larger    (b) All light is removed from the classroom    (c) More of the paper surface is covered by marks    (d) The pencil changes its material automatically
32. An applicant presents only the final image of a project, with no sketches or revisions. Which portfolio weakness is most significant? (a) It prevents the use of colour    (b) It provides little evidence of the design process and improvement    (c) It necessarily proves the final image is inaccurate    (d) It contains too much documented experimentation
33. Which storage practice best protects drawing paper? (a) Keep it flat, dry and away from crushing or moisture    (b) Store heavy liquids directly on the sheets    (c) Expose it to continuous splashing    (d) Fold it repeatedly and place it on a damp floor
34. What distinction best explains fine art versus applied art in a classroom critique? (a) Fine art always uses more expensive materials    (b) Fine art must contain only straight lines    (c) The intended function of the work, though either may also have aesthetic value    (d) Applied art can never express personal meaning
35. How can a traditional motif be adapted without erasing its identity? (a) Use random symbols without research    (b) Remove all identifying features and claim original cultural ownership    (c) Retain recognisable structural features while explaining any changes and their source    (d) Assume attribution reduces creativity
36. A textile artist designs repeating patterns for fabric. Which artform best describes the work? (a) Architectural engineering alone    (b) Literary criticism    (c) Textile design within applied art    (d) Landscape photography alone
37. The correct order for presenting a process-based art project is generally ________. (a) only the final page without supporting records    (b) initial observation, exploratory studies, refinement, final work    (c) final work, unrelated clipping, empty page, rough study    (d) random pieces with all dates removed
38. For a quick study of an athlete’s movement, which drawing approach is most suitable? (a) A measured architectural elevation of every joint    (b) Gesture drawing that captures action and overall movement    (c) A final decorative border before observing the pose    (d) A fully rendered background without the figure
39. All of the following are principles of design EXCEPT ________. (a) rhythm    (b) emphasis    (c) charcoal, a drawing medium    (d) balance
40. Contour lines in a drawing primarily help communicate ________. (a) the chemical composition of the paper    (b) the visible edges and form of the subject    (c) the market value of the subject    (d) the artist’s biography

SECTION B: THEORY (30 Marks)
Instruction: Answer Question 1 and any other TWO questions. Each question carries 10 marks. Each sub-question carries 5 marks.

Question 1 (10 Marks)
(a) Compare fine art, applied art and new-media work, giving one suitable Nigerian community application for each. (5 marks)
(b) Use Figure A to explain the effect of emphasis, contrast, balance, rhythm and negative space in a composition. (5 marks)

Question 2 (10 Marks)
(a) Design a still life of a bottle, mango and folded fabric. State three observational procedures and two techniques for showing volume. (5 marks)
(b) Explain five criteria for choosing drawing media and supports for a charcoal, pencil or ink study. (5 marks)

Question 3 (10 Marks)
(a) Compare painting, sculpture and textile design in terms of form, process and possible function. (5 marks)
(b) A pupil wants a process-based portfolio. Describe five essential contents or presentation practices. (5 marks)

Question 4 (10 Marks)
(a) Explain four considerations when adapting an Uli, Adire or Nsibidi-inspired motif for a contemporary public poster. (5 marks)
(b) Describe five procedures for selecting, using, cleaning and storing common visual-art materials and tools. (5 marks)

OBJECTIVE MARKING SCHEME (40 Marks)
Question 1 – ✅ (d) Appropriate shape and safe handling for the intended task
Question 2 – ✅ (a) its intended communicative context and convention
Question 3 – ✅ (c) A title, date, medium and short statement of purpose
Question 4 – ✅ (c) Its practical function and visual design can both be assessed
Question 5 – ✅ (d) To the left of the bottle
Question 6 – ✅ (d) Charcoal permits broad tonal masses and easily varied pressure
Question 7 – ✅ (d) It weakens documentation and evidence of technique
Question 8 – ✅ (a) It communicates a practical message through visual design
Question 9 – ✅ (d) Sculpture develops three-dimensional form
Question 10 – ✅ (d) Adjust the distribution of visual weight across the format
Question 11 – ✅ (c) The motif’s cultural context and a respectful adaptation to the new purpose
Question 12 – ✅ (b) an image is transferred from a prepared surface to produce impressions
Question 13 – ✅ (b) Gradually vary tone to describe light and curvature
Question 14 – ✅ (d) The range and representativeness of the selected work
Question 15 – ✅ (a) Leaving wet brushes in a sealed box after use
Question 16 – ✅ (c) Graphite pencils on suitable drawing paper
Question 17 – ✅ (a) A clear illustrated campaign with sketches, layout revisions and a finished design
Question 18 – ✅ (c) A durable hinge and secure method of holding the pages
Question 19 – ✅ (a) Its relationship to a large wall and the viewing environment
Question 20 – ✅ (d) framing, light, sequence and visual storytelling
Question 21 – ✅ (b) Visual arts include both traditional media and newer image-making forms
Question 22 – ✅ (d) It reduces residue and helps preserve the bristles
Question 23 – ✅ (b) Interleaving or protective sheets that minimise smudging
Question 24 – ✅ (a) Texture
Question 25 – ✅ (a) trace decisions, development and technical progress
Question 26 – ✅ (a) It guides the eye through a related sequence of visual units
Question 27 – ✅ (b) Relative sizes, overlaps and light effects correspond to the arranged objects
Question 28 – ✅ (b) loss of cultural meaning through careless simplification
Question 29 – ✅ (a) The arrangement of visual elements within the frame
Question 30 – ✅ (d) emphasis through contrast and scale
Question 31 – ✅ (c) More of the paper surface is covered by marks
Question 32 – ✅ (b) It provides little evidence of the design process and improvement
Question 33 – ✅ (a) Keep it flat, dry and away from crushing or moisture
Question 34 – ✅ (c) The intended function of the work, though either may also have aesthetic value
Question 35 – ✅ (c) Retain recognisable structural features while explaining any changes and their source
Question 36 – ✅ (c) Textile design within applied art
Question 37 – ✅ (b) initial observation, exploratory studies, refinement, final work
Question 38 – ✅ (b) Gesture drawing that captures action and overall movement
Question 39 – ✅ (c) charcoal, a drawing medium
Question 40 – ✅ (b) the visible edges and form of the subject

THEORY MARKING SCHEME (Answer 3 × 10 = 30 Marks)
Question 1 (10 Marks)
(a) 5 marks: fine art accurately characterised 1, applied art 1, new media 1, two relevant applications 2.
(b) 5 marks: five correct visually grounded comments, 1 each.
Question 2 (10 Marks)
(a) 5 marks: observe proportions 1, establish contours 1, check overlap 1, directional light 1, tonal gradation/hatching 1.
(b) 5 marks: surface texture 1, absorbency 1, tonal range 1, durability 1, purpose/portability 1.
Question 3 (10 Marks)
(a) 5 marks: three accurate distinctions 3, two applications 2.
(b) 5 marks: sketches 1, refinements 1, finished works 1, captions/metadata 1, coherent order/protection 1.
Question 4 (10 Marks)
(a) 5 marks: source identification 1, respect meaning 1, visual analysis 1, purposeful adaptation 1, attribution 1.
(b) 5 marks: correct selection 1, safe handling 1, surface preparation 1, cleaning 1, dry secure storage 1.