What to know about SEAB Syllabus | G3 Art K347 2027: Coursework, Drawing and Exam Preparation

What is the 2027 SEC G3 Art examination format, and how many images or pages can a student submit for the portfolio? The official 2027 SEAB G3 Art syllabus K347 has two compulsory papers of equal weight. Paper 1 Visual Response lasts 2 hours 15 minutes, carries 50 marks and contributes 50%. Section A is a ten-mark visual analysis of an unseen artwork; Section B is forty marks of exploratory sketching in response to the visual stimulus. Paper 2 Portfolio carries 50 marks and contributes the other 50%, completed in 30 hours within 12 weeks. Portfolio Part A allows a maximum of 15 electronic screens showing artistic exploration in at least three art forms and media. Part B is a commentary of at most 800 words on three of the student’s works, submitted in fewer than 10 A4-sized pages if images accompany it.

The key difference is that G3 Art assesses both how a student observes and develops ideas in a timed response and how the student understands and communicates their artistic development through a portfolio. A high-quality portfolio is not simply a gallery of polished final paintings. SEAB expects evidence of exploration, experimentation, technical choices, reflection and connections to context. Paper 1 also does not require a finished painted masterpiece: exploratory drawings should show the candidate’s reasoning and concept development. Students should follow the official permissible media rules rather than bring unapproved charcoal, pastels or wet media.

• Subject: SEC 2027 G3 Art K347; earlier O-Level Art reference code 6114.
• Paper 1: Visual Response, 2h15m, 50 marks, 50% overall.
• Paper 1 Section A: unseen artwork visual analysis and discussion, 10 marks.
• Paper 1 Section B: exploratory sketching and concept development, 40 marks; no finished rendering required.
• Paper 2: Portfolio, 30 hours within 12 weeks, 50 marks, 50% overall.
• Portfolio Part A: 30 marks; maximum 15 electronic screens from at least three art forms/media, including one Fine Art and one Design or Time-based category.
• Portfolio Part B: 20 marks; commentary about three candidate works; no more than 800 words and fewer than 10 A4 pages when accompanied by images.
• Academic integrity: accurate citations, genuine student artwork and compliance with submission formats are necessary.

1. G3 Art is not simply “can the child draw beautifully?”

Art involves observing, interpreting, making and communicating. A pupil may draw realistic objects accurately yet have difficulty explaining why a visual decision matters. Another may work with bold forms or animation and communicate a powerful idea without pursuing photographic realism. The SEC G3 Art syllabus includes the abilities to perceive, communicate and appreciate. Its aim is to develop understanding and personal artistic voice, not reward one narrow style as the only legitimate form of art.

The subject also connects expression with identity, culture and society. Artworks can address shared experiences, relationships, places, memory or social questions. Students learn to examine how visual elements shape meaning and how a work’s context influences interpretation. That is why Paper 1 begins with visual analysis and why the portfolio asks for discussion of artistic influences. Technique is important, but a well-developed artistic intention gives technique a purpose.

For the first SEC in 2027, the G3 Art subject is K347, with earlier O-Level reference 6114. Higher Art K348 is a separate examination. Students should not assume that a Higher Art paper or a generic visual-art practice book uses identical components, time limits or portfolio rules. The correct current syllabus is the starting point.

2. The full 50–50 assessment structure

All questions in Paper 1 are compulsory, and both papers are taken. Paper 1 is externally marked; Paper 2 is internally assessed by the school and externally moderated. These are different assessment environments, but both look for meaningful learning. A student who submits an excellent portfolio cannot ignore the timed visual-response paper. Likewise, a pupil who sketches quickly still needs to reflect on a sustained body of work.

The portfolio’s thirty-hour allocation within twelve weeks should not be confused with the twenty-two-week Design and Technology project. Those are different subjects with separate official rules. Parents should check the actual Art coursework calendar and submission requirements rather than apply a generic project schedule learned from another class.

3. What is an unseen visual stimulus?

In Paper 1, the candidate encounters an artwork not specifically presented as a familiar prelearned examination question. The task asks them to observe and analyse the visual stimulus, then develop a personal visual response through sketches. The student cannot rely on memorising commentary about one famous painting. They must be able to look carefully at unfamiliar material, identify significant features and explain their interpretation.

A strong first step is observation. What shapes, colours, lines, textures, forms or compositional relationships are visible? What stands out? What is repeated or contrasted? Which elements create visual emphasis? These questions should be answered from the image rather than from assumptions about the artist’s motives. Then the learner can move toward interpretation, using the observed features as evidence.

Consider a hypothetical original visual stimulus showing three overlapping translucent shapes in a crowded urban scene. A pupil may observe repetition, overlap, strong diagonal lines or differences in saturation. They might interpret the work as exploring movement or urban complexity, but must explain how the visible qualities support that reading. It would be inappropriate to claim the artist is expressing personal sadness without relevant visual or contextual evidence.

4. Section A: ten marks of visual analysis and discussion

Section A contains one question with two sub-parts and an unseen visual stimulus. It asks candidates to interpret the stimulus, analyse visual qualities and discuss the ideas presented or the effectiveness of visual choices. A useful response is specific. “The picture uses bright colours to attract attention” may be a starting point, but a stronger analysis identifies which colours appear where, how they contrast with surrounding forms and what visual effect results.

Visual language should help express meaning rather than function as decorative vocabulary. Terms such as balance, repetition, contrast, rhythm, proportion, emphasis and space can be useful when correctly applied. The student should not include every technical term they remember. Ask which one best describes the observed relationship and why it matters for interpreting the work.

A good response can consider more than one perspective. An image may evoke different meanings depending on context, cultural references or personal experience. That openness does not mean any interpretation is equally supported. Students should link conclusions to visual evidence and avoid overconfident claims about an artist’s intentions when the prompt provides no such information.

5. Section B: forty marks for exploratory sketching

Section B requires the candidate to develop a two-dimensional concept or composition in response to the supplied visual stimulus and a Big Idea. The student explores possibilities through drawings and annotations, culminating in a sketch that communicates the proposed concept. The official document says this is not intended to be a finished solution and candidates are not expected to render, shade or colour their exploratory sketches.

This is an important correction to a common preparation mistake. Some students spend most of a timed drawing exercise polishing one attractive image, leaving little evidence of how the idea developed. The assessment values exploration, selection, synthesis and personal interpretation. Several purposeful sketches showing changes in composition may communicate more about thinking than one heavily rendered picture copied from a familiar style.

Exploratory sketching is not permission to draw unrelated doodles for forty marks. Each visual choice should help develop a concept connected to the stimulus and Big Idea. A student should be able to explain why an element was moved, enlarged, distorted, repeated or combined. The task is to turn visual analysis into meaningful creative development.

6. What drawing media are allowed in Paper 1?

The official K347 syllabus specifies permissible drawing media such as pens, markers and H or HB pencils; colour pencils and colour markers are also permissible. It expressly rules out certain dry media, including charcoal, soft graphite, chalk or soft pastels and oil pastels, as well as all wet media. Students should read the final current examination instructions for the precise materials permitted on the day.

Parents sometimes assume that allowing colour pencils means a pupil should fully colour every sketch to obtain maximum marks. But the Section B task emphasises exploration, not final rendering. Colour can be used when it serves an idea, within the permitted media, but is not a reason to neglect composition and visual thinking. The student should practise using a simple set of familiar tools efficiently.

Do not bring an extensive private art kit because a classmate said every Art exam permits it. Different examinations have different media rules, and actual centre instructions govern. Learning to make strong decisions with permitted materials is itself a useful creative discipline.

7. Five areas that Paper 1 assesses

The K347 visual-response assessment uses five criteria, each worth ten marks: Visual Analysis; Exploration of Visuals and Ideas; Creative Synthesis; Artistic Perception and Visual Communication; and Personal Interpretation. This rubric explains why technique alone is not enough. The student needs to see, explore, combine, communicate and interpret.

Visual Analysis concerns careful observation and meaningful discussion. Exploration concerns the generation and development of related ideas. Creative Synthesis asks how elements can be combined into an original response. Visual Communication examines the purposeful use of visual language. Personal Interpretation connects the response with the student’s own considered ideas. None of these is identical to the number of hours spent shading one area.

Parents can use the categories to guide general practice. When reviewing a sketch, ask what observation led to it and which part of the original stimulus was transformed. Ask why the idea is different from the first attempt and what meaning it communicates. Give feedback on one useful next step rather than declaring that the work is simply “good” or “bad”.

8. The Big Ideas: artistic inquiry beyond one medium

The syllabus uses three Big Ideas within a broader framework involving visual learning content and core learning experiences. It encourages students to explore connections among self, culture and society while developing meaning through visual forms. These are directions for artistic inquiry, not a list of fixed exam pictures. The same Big Idea can lead students toward different subject matter and forms of expression.

For teaching, ask what the learner wants to communicate and why. A student exploring the idea of belonging might draw personal objects, public spaces or overlapping figures, depending on what the stimulus invites and their own interpretation. The final response should be grounded in the actual task. An image about belonging is not strong merely because the student writes that word in a caption; the visual decisions should express the relationship.

Open-ended art can still be assessed meaningfully because students show their thinking, technical choices and communication. The goal is not to predict one correct image but to develop a convincing visual response under the given conditions.

9. What the twelve-week Portfolio is meant to show

Paper 2 consists of the selection of visual materials and a commentary. It provides evidence of the student’s artistic learning across the upper-secondary course and how the learner develops ideas, experiments, receives feedback and reflects. The portfolio is not a competition to produce the largest number of final pieces. Its purpose is to show relevant growth and understanding through well-chosen evidence.

The portfolio must be completed in thirty hours within twelve weeks. The actual school schedule and submission procedures should be confirmed with the teacher. Students should avoid assuming that all thirty hours can be shifted freely into the final weekend, or that an adult can complete the digital assembly without the candidate understanding the work. The responsible centre supervises the assessed process.

A clear portfolio tells a story of exploration. The chosen screens should help a reader see different media, processes and connections in the work. Repeated photographs of one finished drawing may be less revealing than carefully selected examples of investigation, experimentation and artistic decisions across the required categories.

10. Maximum fifteen screens: more is not necessarily better

Part A is a maximum of fifteen electronic screens. The content can include art journal pages, research, sketches, work in progress, experiments and documentation of the candidate’s artwork. SEAB does not require students to fill all fifteen screens simply to reach a mark target. The selected material should provide relevant evidence of exploration and development.

A student may be tempted to include ten almost identical pictures because each represents many hours of work. Another may focus entirely on final polished paintings and omit the exploration that led to them. A stronger selection makes the artistic journey visible. Why was a technique chosen? What was tested? How did the student respond to feedback? Which work shows a meaningful change in understanding?

SEAB states that the Part A screens need not be sequenced or annotated. This is useful because the selection itself can communicate through the works. However, parents should not infer from this that the commentary is unnecessary or that the source of outside art influences can be ignored. The two parts have different requirements and complement each other.

11. At least three art forms and media, with required category diversity

Part A must demonstrate study of at least three different art forms and media. At least one must be from the Fine Art category, and at least one from either Design or Time-based categories. This is a substantial practical requirement. Three paintings in similar media may demonstrate variation in subject matter but do not automatically satisfy the breadth the official specification intends.

A learner might work across drawing or painting, graphic or communication design, photography or time-based practices according to the current syllabus and available school opportunities. The exact categories and acceptable materials should be confirmed through the teacher and the full PDF. The educational point is exposure to different ways of seeing, making and communicating—not simply collecting three labels.

Students who prefer one medium can still find productive connections. A painter may learn how digital composition changes visual hierarchy. A photography student may discover how drawing helps plan a frame. A learner exploring animation can use traditional observation to improve movement and character. Different forms can enrich a coherent artistic practice.

12. The 800-word commentary is not a biography of the student

Part B requires a commentary about three of the candidate’s own works, with a maximum of eight hundred words. It should articulate artistic intention, connect the candidate’s work to other artworks or influences, discuss technical or conceptual decisions and reflect on learning. The purpose is not simply to describe personal hobbies or praise every finished piece. The student should explain the relationship between ideas, form and meaning.

The commentary is twenty marks and may include relevant images in a softcopy file of fewer than ten A4-sized pages. It must include citations and comply with the specified file naming, size and type rules. This means documentation and attribution are part of the task. A pupil should not copy an art critic’s commentary or let an AI system invent meanings that the student cannot genuinely explain.

Writing about art requires precise language. Instead of “my picture is colourful and nice”, the student could explain why a repeated red shape creates emphasis, how an artist’s approach influenced a material choice or what changed after experimentation. Specific evidence of artistic thinking is more valuable than vague superlatives.

13. How to select three works for commentary

Choose works that allow a meaningful discussion of the candidate’s interests, techniques and development. They need not be the three largest or most expensive pieces. A smaller work that introduced a significant idea may be important to the student’s learning. Another may show a failed experiment followed by an informed revision. The selection should allow honest reflection across different choices.

Consider an original illustration. A student made an observational drawing, a photographic series and a digital visual narrative. The works might explore the relationship between private memories and public spaces. The commentary could explain how each medium shaped the idea and which influences contributed to the decisions. This is a hypothetical learning example, not a prepared national portfolio answer.

The student should be able to connect the three works without forcing a fictional theme onto them. If they genuinely explore different interests, the commentary can discuss how those interests developed. The rubric values insight and making connections rather than an artificially perfect story.

14. Citations and artistic influence: how to be honest about sources

SEAB explicitly requires relevant citations when referencing other artists’ works. Students can learn from artworks in museums, books and legitimate digital collections, but should not present another creator’s image, style study or conceptual idea as if it were wholly their own. Accurate attribution helps a reader understand what was learned from an influence and where the candidate made original decisions.

Good art education does not forbid influence. It teaches students to recognise and transform it thoughtfully. A pupil might study a particular compositional approach, then use it in a different context with their own materials and intent. The commentary should explain that relationship without pretending to have invented the source technique. Respect for copyright and authorship is part of a mature visual practice.

When using photographs in the portfolio, confirm that the images are genuine and comply with school policies, including privacy considerations. Do not fabricate artworks or process evidence with image generation and represent them as actual candidate work. A truthful record is more valuable than an attractive but misleading submission.

15. Electronic portfolio formatting is an assessment responsibility

Part A uses electronic screens, while Part B uses a softcopy document with specified word and page limits. Students should follow current instructions on file names, size and formats. A submission that cannot be opened or is organised in the wrong form can create an avoidable problem. Practice saving and checking files before the assessed deadline, using the school’s authorised software and procedures.

Good digital organisation can include clear file labels and separate folders for original artwork, legitimate reference images and submission materials. But the student should avoid inventing their own examination submission route. The school controls what is accepted and how work is moderated. Parents can help the learner develop general file-management habits without taking over the portfolio.

A screenshot is not automatically the best evidence of every medium. The selection should show important details clearly enough for assessment, while remaining faithful to the original work. Ask the teacher about suitable documentation practices rather than assume an online portfolio template meets SEAB’s requirements.

16. Visual language: line, colour, shape, rhythm and space

Art communicates through relationships among visual elements. A line can direct attention, a colour contrast can create emphasis, repeated shapes can suggest rhythm, and negative space can affect how the viewer reads an image. The goal is not to list every element in every answer. Select the relationships that actually matter in the particular work.

For an original simple example, imagine a composition in which a single small yellow circle appears against a dark blue field. Its contrast and isolation may create a focal point. If several circles are added, the visual rhythm and distribution change. The pupil can explain how those choices affect interpretation. A vague statement that “yellow symbolises happiness” is not necessarily justified; the response should consider the actual artwork and context.

Students can practise by changing one visual feature at a time in a rough sketch and comparing the effect. This develops intentional design. An image becomes a communication choice rather than a collection of marks made without reflection.

17. Critique: observations, interpretations and evaluations are different

An observation describes what can be seen. An interpretation proposes meaning based on the work. An evaluation judges effectiveness according to relevant criteria. Students often jump directly to “I like this artwork” without explaining why, or assume a personal interpretation is a proven statement of the artist’s intention. A structured critique can be more respectful and insightful.

Take a hypothetical artwork with repeated crowded figures and a narrow empty corridor. Observation: the figures occupy much of the composition, leaving a limited passage. Interpretation: the arrangement might suggest pressure, movement or limited personal space. Evaluation: the composition may communicate that idea effectively because of the visible compression. The student’s response should connect the statements instead of treating a mood word as proof.

Critique is also a chance to consider different cultural perspectives. A symbol may carry different meanings in different contexts. The student should avoid stereotypes and be open to revising an interpretation when credible information becomes available. Art analysis trains both careful seeing and intellectual humility.

18. Process, Product and Discourse: three connected learning experiences

The syllabus emphasises ongoing art-making, reflection and conversation rather than isolated finished products. The broad connection between process, product and discourse helps pupils understand how an idea develops, what the resulting work communicates and how discussion can lead to further insight. A portfolio that includes only final products hides much of the learning process; a sketchbook that never leads to considered outcomes may reveal a different weakness.

For a general practice task, ask the pupil to create two variations of one visual idea, compare their effects and explain which communicates the intention more clearly. Then invite a classmate to describe what they see without being told the intended message. The difference between intention and audience interpretation can inform another revision. This is a powerful form of feedback when used respectfully.

Meaningful art conversations should not become competitions to deliver the fanciest vocabulary. Specific observations and questions help the artist think. A comment such as “the repeated diagonal lines make the scene feel busy” is more useful than “this artwork is beautiful” when the learner is deciding whether a visual mechanism works.

19. Working across media does not require mastering everything at once

The portfolio’s category requirements encourage breadth, but students have limited time and different starting points. They should explore legitimate school-taught media purposefully rather than attempt every conceivable process. Each medium offers particular ways of expressing ideas. Drawing can develop observation, photography can examine framing and time-based work can communicate change and sequence, for example.

A pupil who enjoys painting may be initially hesitant with digital tools. A small purposeful exercise can help them understand a new medium without requiring professional-level software mastery. Another student may be fluent digitally but need stronger foundational observation. The best teaching identifies what the student is trying to communicate and which new capability will help.

Actual school facilities, curriculum and assessment rules determine available methods. Families should not purchase costly equipment solely because a commercial guide suggests that advanced technology is necessary for high marks. Good artistic thought can be expressed through appropriately chosen materials.

20. Personal voice is demonstrated through decisions

A student’s artistic voice is not a fixed signature style they must discover at age fifteen. It grows through repeated choices, reflection and engagement with visual culture. A learner may explore a personal experience, reinterpret a familiar object or respond to a public question. What matters is whether the candidate makes and explains meaningful decisions rather than copy an attractive style without understanding.

For example, a student might use a family photograph as a starting point for thinking about memory. They could examine how composition, omission, repetition or medium changes the viewer’s relationship to the scene. This is a hypothetical exercise; students must observe privacy and copyright rules when using real photographs. The artistic result is valuable when the choice has a considered purpose.

The portfolio commentary gives candidates a chance to articulate that growth. It should be honest about uncertainty and influences. A thoughtful student can explain why an early attempt did not communicate as intended and what they learned from changing it. Growth is not the same as a flawless collection.

21. Twelve common mistakes and what they reveal

1. Preparing for Higher Art K348 instead of G3 Art K347.
2. Treating Paper 1 as a finished painting examination.
3. Ignoring the ten-mark visual analysis section.
4. Spending all the time polishing one sketch rather than developing ideas.
5. Bringing unapproved charcoal, soft pastels or wet media into Paper 1.
6. Submitting more than fifteen portfolio screens without checking the official rules.
7. Showing only one medium when the portfolio requires breadth across categories.
8. Using commentary to praise the work without explaining artistic decisions.
9. Ignoring the eight-hundred-word commentary limit or page restrictions.
10. Failing to cite relevant artists or borrowed images.
11. Representing fabricated artwork or process evidence as genuine candidate work.
12. Allowing adults to assemble a portfolio so completely that the student cannot explain it.

Different mistakes require different teaching. A pupil who can draw beautifully but struggles to analyse a stimulus needs more visual-literacy practice. One who has broad experimental work but cannot select relevant screens needs help identifying evidence of artistic growth. A student whose commentary is vague needs to connect intention, form and influence. A good plan names the first unstable skill.

22. Case study: the realistic drawing that misses the big idea

A Secondary 4 learner produces a highly realistic sketch of the supplied object, but the task asks for a developed personal response to a Big Idea. The teacher asks what interpretation the student wants to convey and how the drawing could be modified to express it. They explore changes in scale, repetition and arrangement. The next sketch is less polished but more conceptually purposeful. This develops exactly the kind of creative synthesis the examination values.

23. Case study: a strong portfolio with too many similar screens

Another pupil has dozens of images of one painting in progress and is unsure how to select a maximum of fifteen screens. The tutor explains that Part A is a curated demonstration of artistic exploration across the required media. The student identifies work that shows different techniques, ideas and meaningful changes rather than including every photograph. The result is a clearer account of their learning, not merely a shorter gallery.

24. Case study: excellent artwork, weak commentary

A student has three thoughtful pieces but writes only “I enjoyed making them because I like art”. The teacher asks specific questions about intention, materials, influences, obstacles and changes in approach. The pupil writes a clearer explanation using examples from the actual works and appropriate citations. The improvement is in reflection and communication, not the visual quality of the artwork alone.

25. A four-week preparation plan before assessed portfolio work

Week 1: practise observation and analysis

Choose a legally accessible artwork not used in the live examination. Ask the student to describe specific visual qualities, identify relationships and offer an interpretation supported by those observations. Avoid relying on artist biographies or memorised labels before looking closely at the image. Check whether the pupil can separate what is seen from what is inferred.

Week 2: explore through sketches

Use an original practice stimulus and develop several two-dimensional ideas under suitable time constraints. Ask what the changes communicate and why one alternative seems more effective. Use permissible simple media and focus on idea exploration rather than final rendering. The exercise should be independent of any live assessment task.

Week 3: develop cross-media understanding

Examine how a similar theme can be expressed through different forms and techniques. Discuss what changes when the medium changes and what remains central to the artistic intention. The student can practise selecting evidence of exploration from ordinary classwork, but must follow the school’s actual instructions for official portfolio selection.

Week 4: explain artistic decisions

Choose three original non-assessed practice works and write a short reflective account of intentions, influences and changes. Practise appropriate citation and check whether the discussion is specific enough to help a reader understand the work. Use new visual stimuli to verify transfer, then identify the next skill to strengthen. Protect time for school, CCA and rest throughout.

26. Frequently asked questions

What is the 2027 G3 Art subject code?

K347, with earlier O-Level Art reference 6114.

How long is G3 Art Paper 1?

Two hours fifteen minutes, fifty marks and fifty percent of the final subject grade.

How many marks is visual analysis?

Section A carries ten marks and uses an unseen visual stimulus with two sub-parts.

How many marks is exploratory sketching?

Section B carries forty marks. It involves developing a concept through sketches and does not require a finished painting.

Can students use wet media in Paper 1?

No. The 2027 syllabus disallows all wet media and certain dry media including charcoal and soft pastels. Check the current candidate instructions for the full permitted-material list.

How much is the portfolio worth?

Fifty marks and fifty percent, completed in thirty hours within twelve weeks under school arrangements.

Can the portfolio exceed fifteen screens?

No. Part A allows a maximum of fifteen electronically submitted screens.

What art forms must be included?

At least three different forms and media, including one from Fine Art and one from either Design or Time-based categories, following the syllabus definitions.

How many words is the commentary?

No more than eight hundred words, based on three of the candidate’s works.

Is the commentary limited to ten pages?

It must be fewer than ten A4-sized pages when accompanied by images under the syllabus wording. Check the exact submission instructions and file rules.

Are citations needed?

Yes. Students must attribute sources and observe academic honesty when referencing others’ artworks.

Is Paper 2 externally marked?

It is assessed internally by the school and moderated externally. Paper 1 is externally marked.

Does a polished painting automatically receive higher marks?

No. The assessment includes observation, concept development, creative synthesis, communication and reflection. Technical finish alone cannot replace the task’s other requirements.

Can private candidates take the Art portfolio assessment?

The school-candidate syllabus describes school-supervised internal assessment and moderation. Private eligibility and arrangements must be checked directly against SEAB’s applicable private-candidate directory; do not assume a school-coursework route is automatically open privately.

Will this portfolio guarantee admission to an art school?

No. A receiving institution defines its own admission, portfolio and selection requirements. K347 documents the national secondary assessment, not a guaranteed future offer.

27. Official documents and connected reading

Official sources checked 7 November 2026: SEAB 2027 SEC G3 Art K347 syllabus, Visual Response and Portfolio requirements; SEAB G3 2027 school-candidate subject directory. All illustrative examples here are original educational prompts, not live examination stimuli or assessed portfolio submissions.

Related eduKate reading: Secondary Art 2027: observation, media and Higher Art pathways; how the separate Design and Technology coursework scheme differs; the G3 Higher Music creative assessment route; and finding the correct 2027 SEC subject document.

The best preparation for G3 Art is to learn to look carefully, explore possibilities, make intentional visual choices and explain what those choices communicate. The examination structures those abilities, but art remains a way of understanding ourselves, other people and the world.