New Curriculum Third Term Visual Arts examination for SS 1

Class: SSS 1
Term: Third 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 student exaggerates the height of figures to express celebration. This is an example of ________. (a) print registration    (b) expressive distortion    (c) mechanical tracing without change    (d) strict anatomical measurement
2. A museum curator selects, researches and interprets objects for an exhibition. Which skill is most central? (a) Exclusively the operation of a sewing machine    (b) Research, collection knowledge and communication    (c) Only the ability to mix paint    (d) The memorisation of ticket prices alone
3. An exhibition places Nok terracotta beside Benin bronze. Which comparison is most relevant? (a) Which object is taller without any other information    (b) Material, historical context and artistic function of the works    (c) The price of unrelated imported paper    (d) The current school fees of the artist
4. A heritage committee wants to preserve a fragile ritual object. Which decision best balances cultural function and conservation? (a) Remove it without documentation or consent    (b) Ignore the community’s interpretation    (c) Use it for any event regardless of context    (d) Consult custodians about meaning and appropriate handling while planning preservation
5. A student studies Bruce Onobrakpeya and Nike Davies-Okundaye. Which comparison best suits their practices? (a) Treat their artistic contributions as identical    (b) Consider printmaking and textile-based approaches as different yet significant strands of Nigerian art    (c) Assume both work exclusively in Greek marble    (d) Ignore material and technique altogether
6. An art gallery organises a temporary show of contemporary paintings. This most directly demonstrates ________. (a) legal ownership of every artwork displayed    (b) a requirement to prohibit public interpretation    (c) exhibition and promotion of current artistic practice    (d) the complete replacement of historical museums
7. A designer sells 15 cards at ₦1,200 each. If making each card costs ₦650, what is the gross profit before other expenses? (a) ₦9,750    (b) ₦27,750    (c) ₦18,000    (d) ₦8,250
8. A comparison of Leonardo’s painting and Hokusai’s prints should focus most productively on ________. (a) the assumption that one culture copied every feature of the other    (b) their different media, compositions and historical contexts    (c) whether both artists used the same citizenship certificate    (d) the number of unrelated modern advertisements
9. An artist sells six prints at ₦8,000 each. If total production and selling costs are ₦31,500, what is the profit? (a) ₦79,500    (b) ₦48,000    (c) ₦16,500    (d) ₦31,500
10. A pupil claims abstraction is the absence of planning. Which response best corrects this? (a) Abstract works can still organise colour, line and form deliberately    (b) Only realistic paintings use design principles    (c) A planned arrangement automatically becomes photography    (d) Abstraction prohibits all observation
11. A student combines calligraphic line with an abstract Nigerian mural. Which evaluation is most useful? (a) Assume the combined media cannot create meaning    (b) Judge the work solely by the number of alphabets represented    (c) Ignore the final visual outcome    (d) Assess how the line quality and composition work in the new context
12. Which description best connects Akwete weaving to art history? (a) An invention attributed only to a single photographer    (b) A specialised textile tradition shaped by technique and local cultural practice    (c) A school of European marble sculpture    (d) A type of contemporary digital animation
13. A learner researches Uli and Adire. Why should the practices not be treated as interchangeable? (a) Neither practice is associated with design    (b) All indigenous Nigerian arts use identical materials    (c) They have distinct contexts, methods and visual traditions    (d) Both were invented by one modern gallery
14. A painter reduces a market scene to overlapping planes of colour and line. What makes it abstract rather than purely realistic? (a) Every represented object must disappear completely    (b) The artist must use only circles    (c) The work prioritises selected visual relationships over literal appearance    (d) The scene cannot communicate an idea
15. An artist uses a broken chain as a visual sign of freedom in a mural. This is best interpreted as ________. (a) a compulsory scientific diagram    (b) proof that symbols have no context    (c) a random measuring tool    (d) symbolic abstraction that conveys an idea
16. A gallery compares Peju Alatise’s sculptural work with a modern painter’s canvas. What is the clearest analytical starting point? (a) Which artist has the larger social media audience alone    (b) Which artwork has the shorter label    (c) How medium and form shape each artist’s message    (d) Whether the works were created on the same day
17. A student enjoys sequential character drawing and digital storytelling. Which visual-art career is most directly related? (a) Archaeological excavation alone    (b) Ceramic kiln maintenance alone    (c) Tax assessment    (d) Animation
18. The correct step for a museum seeking to preserve and interpret an ancient object is to ________. (a) Document provenance, conserve the object and communicate its context    (b) Concentrate only on attracting commercial advertisements    (c) Sell every object immediately to visitors    (d) Discard information about ownership
19. A community uses a patterned textile at ceremonies to signal identity. This illustrates art’s ________. (a) exclusive value as a laboratory instrument    (b) lack of connection to public life    (c) cultural and social communicative function    (d) automatic absence of symbolic meaning
20. A learner compares Hokusai’s prints with modern graphic design. Which visual feature is appropriate to investigate? (a) Only the sale price of printing equipment    (b) Line, composition and repeated design influences    (c) The artist’s presumed political affiliation    (d) Whether every image uses exactly the same paper
21. Which conclusion about Nigerian indigenous artforms is NOT justified? (a) Their only value is to decorate buildings    (b) Some are connected to ceremonies and historical memory    (c) They may support communication    (d) They can express identity
22. A client requests a large mural but the brief omits the wall dimensions. What should the artist do first? (a) Clarify measurements, materials, access and the intended message before quoting    (b) Promise a fixed price without understanding the work    (c) Start painting without visiting or measuring the surface    (d) Assume every wall requires the same quantities
23. A scholar is unsure whether a bronze object is correctly attributed. What is the best professional response? (a) Conceal contradictory evidence to improve the exhibition    (b) Invent a famous artist’s signature    (c) Examine provenance and stylistic evidence before making a definitive claim    (d) Assume any bronze object is from one workshop
24. The main reason it is misleading to group all contemporary Nigerian artists under one style is that ________. (a) Their media, themes and working approaches vary considerably    (b) Art cannot respond to society    (c) Every artist must follow one studio method    (d) All contemporary works use only Adire dye
25. A designer simplifies a bird into three clear shapes while retaining a recognisable silhouette. The method is ________. (a) perspective correction alone    (b) unplanned destruction of the subject    (c) direct photographic duplication    (d) stylisation through simplification
26. A textile research project associates Akwete weaving with southeastern Nigerian heritage. What is the most responsible design use? (a) Study the weaving tradition and acknowledge its cultural origin    (b) Claim it was invented by every Nigerian community simultaneously    (c) Copy a motif without recording its source    (d) Treat cultural patterns as meaning-free decoration
27. An illustrator’s brief changes after client feedback. Which professional skill is being tested? (a) Ability to revise visual solutions while communicating clearly    (b) Refusal to consider the intended audience    (c) A requirement to discard all drafts    (d) The belief that clients should never explain needs
28. A student calls every science museum an art gallery. What distinction has been overlooked? (a) Every museum is a retail shop    (b) All science collections are paintings    (c) Galleries must never contain historical objects    (d) Institutions vary by collection purpose and forms of preservation or exhibition
29. Why should the origin of a borrowed global artform be acknowledged? (a) It helps distinguish creative influence from misrepresentation or uncredited copying    (b) Attribution always prevents original work    (c) All historical styles are owned by one person    (d) A design has no relation to its historical context
30. Which practice best supports a sustainable small art enterprise? (a) Set prices without considering materials or time    (b) Ignore deadlines after receiving a deposit    (c) Keep cost records, agree on client terms and protect the quality of work    (d) Use other artists’ work without attribution
31. A class discusses the Igun bronze-casting tradition of Benin. Which aspect deserves emphasis? (a) Skilled casting methods and long-standing artistic heritage    (b) Its exclusive production as paper sketches    (c) The claim that it involves no technical knowledge    (d) Its supposed origin as modern plastic printing
32. In an abstract composition, large angular shapes dominate a narrow curved line. Which visual contrast is being used? (a) A written narrative without visual elements    (b) Geometric form against organic movement    (c) Identical shapes at identical scale    (d) Only differences in material price
33. Which exhibition layout best supports visitor understanding? (a) Remove every title and date from the displays    (b) Mix fragile works into unmarked exits    (c) Place the largest display in front of a doorway    (d) Group works meaningfully and provide readable labels with safe circulation routes
34. The strongest evidence for identifying a traditional artform includes ________, rather than an unattributed decorative label. (a) the first anonymous image search result    (b) only a decorative colour label    (c) its material technique, community context and documented history    (d) the work’s weight without provenance
35. A contemporary artist uses discarded materials to create an installation about consumer waste. Which interpretation is strongest? (a) Recycled materials prevent a work from conveying meaning    (b) The artwork must be judged solely by weight    (c) Material choice can reinforce the artwork’s social theme    (d) Installation art is always a traditional oil portrait
36. ________ is the type of composition built from rectangles, circles and repeated angles. (a) unmodified architectural photography    (b) geometric abstraction    (c) literal still-life realism    (d) documentary portraiture
37. Why is a portfolio useful when applying for a design internship? (a) It makes creative development unnecessary    (b) It gives concrete evidence of skill, process and range of completed work    (c) It replaces the need for professional conduct    (d) It guarantees a job without interview
38. All these are appropriate ways to evaluate an abstract painting EXCEPT ________. (a) Considering its intended expressive effect    (b) Examining rhythm and visual balance    (c) Discussing its colour relationships    (d) Rejecting it solely because objects are not photographically accurate
39. An artist adapts Nsibidi-inspired marks for a logo. What should be considered before use? (a) Whether any random mark can be called Nsibidi    (b) Whether all traditional forms are publicly anonymous    (c) Whether the logo needs no audience interpretation    (d) Whether the symbols carry cultural meanings requiring careful attribution and respectful use
40. What method is shown when an artist combines Renaissance perspective and Nigerian textile rhythms in one artwork? (a) creative adaptation across artistic traditions    (b) proof that local sources have been rejected    (c) an inability to use formal elements    (d) evidence that all traditions are identical

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 geometric, expressive and symbolic abstraction and give two methods of adapting a natural object into an abstract design. (5 marks)
(b) Using Figure C as a starting point, propose an abstract poster about community cooperation and describe five compositional choices. (5 marks)

Question 2 (10 Marks)
(a) Compare three indigenous Nigerian artforms by materials, process and function, explaining why attribution matters. (5 marks)
(b) Explain five ways Nigerian traditional motifs can contribute to design while respecting cultural meaning and community context. (5 marks)

Question 3 (10 Marks)
(a) Compare a Nigerian artistic tradition with a foreign one and explain three kinds of creative influence that could result. (5 marks)
(b) Design a mini-museum display plan including five collection or visitor-care requirements. (5 marks)

Question 4 (10 Marks)
(a) Compare the contributions of two Nigerian artists or groups and one foreign artist named in the syllabus, with an example of a relevant visual-art career. (5 marks)
(b) An artist sells 12 prints at ₦7,500 each, pays ₦54,000 production costs and ₦9,000 selling costs. Calculate the profit and propose two sound enterprise practices. (5 marks)

OBJECTIVE MARKING SCHEME (40 Marks)
Question 1 – ✅ (b) expressive distortion
Question 2 – ✅ (b) Research, collection knowledge and communication
Question 3 – ✅ (b) Material, historical context and artistic function of the works
Question 4 – ✅ (d) Consult custodians about meaning and appropriate handling while planning preservation
Question 5 – ✅ (b) Consider printmaking and textile-based approaches as different yet significant strands of Nigerian art
Question 6 – ✅ (c) exhibition and promotion of current artistic practice
Question 7 – ✅ (d) ₦8,250
Question 8 – ✅ (b) their different media, compositions and historical contexts
Question 9 – ✅ (c) ₦16,500
Question 10 – ✅ (a) Abstract works can still organise colour, line and form deliberately
Question 11 – ✅ (d) Assess how the line quality and composition work in the new context
Question 12 – ✅ (b) A specialised textile tradition shaped by technique and local cultural practice
Question 13 – ✅ (c) They have distinct contexts, methods and visual traditions
Question 14 – ✅ (c) The work prioritises selected visual relationships over literal appearance
Question 15 – ✅ (d) symbolic abstraction that conveys an idea
Question 16 – ✅ (c) How medium and form shape each artist’s message
Question 17 – ✅ (d) Animation
Question 18 – ✅ (a) Document provenance, conserve the object and communicate its context
Question 19 – ✅ (c) cultural and social communicative function
Question 20 – ✅ (b) Line, composition and repeated design influences
Question 21 – ✅ (a) Their only value is to decorate buildings
Question 22 – ✅ (a) Clarify measurements, materials, access and the intended message before quoting
Question 23 – ✅ (c) Examine provenance and stylistic evidence before making a definitive claim
Question 24 – ✅ (a) Their media, themes and working approaches vary considerably
Question 25 – ✅ (d) stylisation through simplification
Question 26 – ✅ (a) Study the weaving tradition and acknowledge its cultural origin
Question 27 – ✅ (a) Ability to revise visual solutions while communicating clearly
Question 28 – ✅ (d) Institutions vary by collection purpose and forms of preservation or exhibition
Question 29 – ✅ (a) It helps distinguish creative influence from misrepresentation or uncredited copying
Question 30 – ✅ (c) Keep cost records, agree on client terms and protect the quality of work
Question 31 – ✅ (a) Skilled casting methods and long-standing artistic heritage
Question 32 – ✅ (b) Geometric form against organic movement
Question 33 – ✅ (d) Group works meaningfully and provide readable labels with safe circulation routes
Question 34 – ✅ (c) its material technique, community context and documented history
Question 35 – ✅ (c) Material choice can reinforce the artwork’s social theme
Question 36 – ✅ (b) geometric abstraction
Question 37 – ✅ (b) It gives concrete evidence of skill, process and range of completed work
Question 38 – ✅ (d) Rejecting it solely because objects are not photographically accurate
Question 39 – ✅ (d) Whether the symbols carry cultural meanings requiring careful attribution and respectful use
Question 40 – ✅ (a) creative adaptation across artistic traditions

THEORY MARKING SCHEME (Answer 3 × 10 = 30 Marks)
Question 1 (10 Marks)
(a) 5 marks: three categories 3, simplification 1, distortion/stylisation 1.
(b) 5 marks: purposeful symbol 1, hierarchy 1, contrast 1, rhythm 1, explanation of meaning 1.
Question 2 (10 Marks)
(a) 5 marks: three accurate artform examples 3, contextual distinction 1, attribution 1.
(b) 5 marks: research 1, consent where relevant 1, acknowledge origin 1, preserve significant features 1, purposeful adaptation 1.
Question 3 (10 Marks)
(a) 5 marks: two informed descriptions 2, material 1, composition 1, technique 1.
(b) 5 marks: provenance 1, safe placement 1, labels 1, access/circulation 1, conservation/security 1.
Question 4 (10 Marks)
(a) 5 marks: three accurate contributions 3, career 1, relevant skill 1.
(b) 5 marks: revenue ₦90,000 1, total costs ₦63,000 1, profit ₦27,000 1, record keeping 1, client contracts/ethical attribution 1.