Syllabus

Syllabus
Cambridge International A & AS Level Art and Design For Centres in Mauritius Syllabus code 9393 For examination in November 2012
Contents
Cambridge International A & AS Level Art and Design For Centres in Mauritius Syllabus code 9393
1. Introduction ..................................................................................... 2
1.1 Why choose Cambridge? 1.2 Why choose Cambridge International A & AS Level Art and Design? 1.3 How can I find out more?
2. Assessment at a glance .................................................................. 4 3. Syllabus aims and objectives ........................................................... 6

3.1 Aims 3.2 Assessment objectives 3.3 Weightings
4. Description of components ........................................................... 11 5. Curriculum content ........................................................................ 16 6. Appendix ....................................................................................... 22

6.1 Resources 6.2 Guidelines for administering Art and Design practical examinations 6.3 Sample outline proposal forms
7 Additional information.................................................................... 37 .
7 .1 7 .2 7 .3 7 .4 7 .5 Guided learning hours Recommended prior learning Progression Component codes Grading and reporting
Cambridge International A & AS Level Art and Design 9393. For Centres in Mauritius. Examination in November 2012. UCLES 2009
1. Introduction
1.1 Why choose Cambridge?

University of Cambridge International Examinations (CIE) is the worlds largest provider of international qualifications. Around 1.5 million students from 150 countries enter Cambridge examinations every year. What makes educators around the world choose Cambridge?
Recognition
A Cambridge International A or AS Level is recognised around the world by schools, universities and employers. The qualifications are accepted as proof of academic ability for entry to universities worldwide, though some courses do require specific subjects. Cambridge International A Levels typically take two years to complete and offer a flexible course of study that gives students the freedom to select subjects that are right for them. Cambridge International AS Levels often represent the first half of an A Level course but may also be taken as a freestanding qualification. They are accepted in all UK universities and carry half the weighting of an A Level. University course credit and advanced standing is often available for Cambridge International A/AS Levels in countries such as the USA and Canada. Learn more at www.cie.org.uk/recognition.
Support
CIE provides a world-class support service for teachers and exams officers. We offer a wide range of teacher materials to Centres, plus teacher training (online and face-to-face) and student support materials. Exams officers can trust in reliable, efficient administration of exams entry and excellent, personal support from CIE Customer Services. Learn more at www.cie.org.uk/teachers.
Excellence in education
Cambridge qualifications develop successful students. They not only build understanding and knowledge required for progression, but also learning and thinking skills that help students become independent learners and equip them for life.
Not-for-profit, part of the University of Cambridge

CIE is part of Cambridge Assessment, a not-for-profit organisation and part of the University of Cambridge. The needs of teachers and learners are at the core of what we do. CIE invests constantly in improving its qualifications and services. We draw upon education research in developing our qualifications.
Cambridge International A & AS Level Art and Design 9393. For Centres in Mauritius. Examination in November 2012.
1. Introduction
1.2 Why choose Cambridge International A & AS Level Art and Design?
The Art and Design syllabus considers expression and communication. Candidates learn about visual perception and aesthetic experience, and the ways in which art and design creates a language of its own. Most of the work for this syllabus is practical or studio based, so that candidates can develop their abilities of observation and analysis of the visual world, sensitivity, skill, personal expression and imagination. They also learn how to relate their skills to an enhanced knowledge of their own cultures, past and present, as well as an appreciation of practical design problems.
1.3 How can I find out more?

If you are already a Cambridge Centre
You can make entries for this qualification through your usual channels, e.g. CIE Direct. If you have any queries, please contact us at international@cie.org.uk.
If you are not a Cambridge Centre

You can find out how your organisation can become a Cambridge Centre. Email us at international@cie.org.uk. Learn more about the benefits of becoming a Cambridge Centre at www.cie.org.uk.
2. Assessment at a glance
Cambridge International A & AS Level Art and Design For Centres in Mauritius Syllabus code 9393
Centres and candidates may choose to: take all Advanced Level (A Level) components in the same examination session; take the AS qualification only.
Advanced Level Candidates take three components: Component 1 is compulsory for all candidates. School candidates must choose either Component 4 or Component 5 as one of their optional components. Candidates wishing to compete for the HSC Technical Side Scholarship must take Component 4. Private candidates must take Components 1, 2 and 3.
Advanced Subsidiary (AS) Level for school candidates only Candidates take two components: Component 1 is compulsory for all candidates. Component 1: Observational study Questions test the candidates ability to represent from direct observation. Assessment is by a one day externally-set assignment, marked by CIE. Candidates submit one examination piece and supporting work (maximum four sides of A2) Weighting 40% Component 2: Interpretative study Questions test the candidates ability to organise a pictorial composition. Assessment is by a one day externally-set assignment, marked by CIE. Candidates submit one examination piece (2D, A2 size) and supporting work (maximum four sides of A2) Weighting 30% See next page for remaining components
2. Assessment at a glance
Component 3: Design study Questions test the candidates ability to analyse a design brief. Assessment is by a one day externally-set assignment, marked by CIE. Candidates submit one examination piece (2D, A2 size) and supporting work (maximum four sides of A2) Weighting 30% Component 4: Coursework A study in one area undertaken over one year. The Coursework is marked by CIE. Candidates submit one Coursework piece (2D or 3D) plus a folder of supporting work (maximum five sheets 10 sides no larger than A1 and no smaller than A2) Weighting 30% Component 5: Personal study This is an investigation into any aspect of Art and Design. The Personal Study is marked by CIE. Candidates submit one study which must include an introduction, conclusion and bibliography (maximum 3,500 words, minimum size A4, maximum size A1) Weighting 30%
Availability
This syllabus is examined in the October/November examination session. It is available in Mauritius only. This syllabus is available to private candidates (private candidates must take components 1, 2 and 3). Centres in the UK that receive government funding are advised to consult the CIE website www.cie.org.uk for the latest information before beginning to teach this syllabus.
Combining this with other syllabuses

Candidates can combine this syllabus in an examination session with any other CIE syllabus, except: syllabuses with the same title at the same level 0400 IGCSE Art and Design 0681 Cambridge International Level 1/Level 2 Certificate Art and Design 6005 O Level Art and Design 6010 O Level Art 9704 A/AS Level Art and Design
3. Syllabus aims and objectives
3.1 Aims
A course of study in Art and Design should actively seek to develop the following abilities and qualities: the ability to perceive, understand and express concepts and feelings the ability to record from direct observation and personal experience the ability to communicate by using appropriate materials and techniques in a disciplined way experimentation, innovation and the use of intuition and imagination critical and analytical faculties: the ability to identify, research and evaluate problems in a systematic way confidence, initiative and a sense of adventure and achievement the acquisition of a relevant working vocabulary an awareness and appreciation of the interdependence of Art and Design and the individual within cultural contexts.
3.2 Assessment objectives

The assessment objectives have been grouped under the following categories:
A
i.
Personal Qualities
an individual, sensitive and creative response to a stimulus; the development of an idea, theme or subject;
Candidates are expected to show:
ii. independence in concept and execution.
Manipulative, Artistic and Analytical Skills
Candidates are expected to: iii. select and control materials, processes and techniques in an informed and disciplined way to meet an objective; iv. select and record analytically from direct observation and personal experience.
Aesthetic Qualities
Candidates are expected to: v. use and compose formal elements as appropriate (contour, shape, colour/tone, texture, structure and the relationships between form and space).
Knowledge and Critical Understanding
Candidates are expected to: vi. select and communicate information relevant to an idea, subject or theme and evaluate this in a systematic way; vii. make critical judgements and use personal ideas and images to show they are developing appreciation and cultural awareness. Each of the assessment objectives are of equal importance and candidates will find there is a great deal of overlap between categories.
SPECIFICATION GRID The table illustrates the relationship between the assessment objectives and components of the scheme of assessment. Components A. Personal qualities 1 2 3 4 5 25% 25% 25% 25% 25% Assessment objectives B. Manipulative, artistic and analytical skills 25% 25% 25% 25% 25% C. Aesthetic qualities 25% 25% 25% 25% 25% D. Knowledge and critical understanding 25% 25% 25% 25% 25% Overall weighting
40% 30% 30% 30% 30%
3.3 Weightings
Component 1: Observational study criteria for assessment These are intended as a guide only. All work for Component 1 will be marked by CIE. Component 2: Interpretative study criteria for assessment These are intended as a guide only. All work for Component 2 will be marked by CIE. Component 3: Design study criteria for assessment These are intended as a guide only. All work for Component 3 will be marked by CIE. Assessment objectives Personal qualities Manipulative, artistic and analytical skills Aesthetic qualities Response to assessment objectives (i) Individual, sensitive and creative response to stimulus. (ii) Independence and confidence in concept and execution. (iii) Selection and control of media, processes and techniques. (iv) Analysis from direct observation and personal experience. (v) The recognition of contour, surface, shape, colour/tone, texture, pattern, structure, form and the relationships of forms in space, and their appropriate use. (vi) Analysis of the idea, subject of theme chosen; suitability of selection and ability to evaluate and communicate in a systematic way. (vii) Critical judgement and cultural awareness and appreciation. Total Maximum mark 25
25
25
Knowledge and critical understanding
25
100
Component 4: Coursework criteria for assessment These are intended as a guide only. All work for Component 4 will be marked by CIE. Assessment objectives Personal qualities Response to assessment objectives (i), (ii) Scope and vitality of personal ideas, subjects and themes. Degree of imagination and inventiveness. Experimentation. (iii), (iv) Use of media, processes and techniques to explore and investigate intentions. (v) Composition and the use of chosen elements to emphasise and communicate intention. (vi), (vii) Selection and evaluation of information as a means of developing intentions. Critical appraisal of the work of others; evidence of awareness of other cultural influences as displayed in work folder and/or sketch books. Total Component 5: Personal study criteria for assessment These are intended as a guide only. All work for Component 5 will be marked by CIE. Assessment objectives Personal qualities Response to assessment objectives (i), (ii) Development of personal feeling and sensitivity. Articulation of personal views. Independence, initiative and determination to sustain the study from conception to realisation. (iii), (iv) Ability to research, select and record. Use of media, processes and techniques appropriate to the study. (v) Presentation, organisation and coherence. Use of visual and written elements to communicate ideas and intention. Perception of visual art through a chosen theme. (vi), (vii) Evaluation and interpretation of information to inform personal views and articulate judgements. Visual and aesthetic judgement. Understanding of cultural context. Total Maximum mark 25 Maximum mark 25
Manipulative, artistic and analytical skills Aesthetic qualities Knowledge and critical understanding
25
25
25
100
Manipulative, artistic and analytical skills Aesthetic qualities
25
25
Knowledge and critical understanding
25 100
10
4. Description of components
4.1 Component 1: Observational study

Weighting 40% Questions will be set to test the candidates ability to represent from direct observation. Any studies must be from the object/objects themselves and not from secondary sources, such as books or magazines. If photographs are used, they should be the candidates own photographs. During their course candidates should: analyse forms and structures and their relationship in space explore elements of line, shape, colour, tone and surface qualities such as pattern and texture use a variety of wet and dry media, such as pencils, pastels, watercolour or inks.
Candidates must be prepared to draw or paint a subject from a choice that will include still life groups, the human figure, interiors and exteriors, natural and man-made objects. Candidates must submit: one examination piece (2D, A2 size) and supporting work of no more than four sides of A2 size paper.
Assessment An 8 hour externally-set assignment, that will be marked by CIE. Centres should refer to Appendix 6.2 for further guidance and invigilation instructions.
11
4.2 Component 2: Interpretative study

Weighting 30% Questions will be set to test the candidates ability to organise a pictorial composition. Candidates are required to produce a personal and original interpretation of one theme. The interpretation may be representational or developed towards abstraction. In preparing for this paper, candidates should be able to: communicate ideas and feelings inspired by the chosen theme in a personal way create a visually stimulating composition use basic visual elements such as line, tone and colour and texture to create an expressive image create volume, depth and space within the composition, if required use appropriate media with confidence and skill, allowing for an individual response. one examination piece (2D, A2 size) and supporting work of no more than four sides of A2 size paper.
Candidates must submit:
Assessment A 6 hour externally-set assignment, that will be marked by CIE. Centres should refer to Appendix 6.2 for further guidance and assessment procedures.
12
4.3 Component 3: Design study

Weighting 30% Questions will be set to test the candidates ability to analyse a design brief, and to arrive at an appropriate solution by producing a design on paper. The question paper will cover the following areas: graphic design, including typography, illustration and calligraphy, packaging, greetings cards and wrapping paper textile design, including print, dye and fashion design photography, including black and white and colour print making, including relief prints, intaglio and planographic methods.
Candidates should be aware of the design constraints that can apply within the commercial application of design. In their supporting studies, they must show that alternative solutions to the initial brief have been considered. The examination piece may be in any appropriate media. Candidates are advised that the exploration of different media is acceptable and integration of contrasting media is also encouraged. Candidates may use photography within this paper, but it should reflect the context, e.g. fashion or advertising. Basic photographic skills are required, through the use of black and white or colour film, as appropriate. Candidates should demonstrate their understanding through juxtaposition of image and text, cropping images, selective enlargement and the use of natural or artificial lighting. All imagery must be the candidates original work. Manipulation of secondary images through different technical processes is acceptable, but it should be stressed that these should not represent a large proportion of the work submitted, e.g. trade-processed colour prints, laser copies, digitally enhanced images from software such as Adobe Photoshop. Candidates must submit: one examination piece (2D, A2 size) and supporting work of no more than four sides of A2 size paper.
Assessment A 6 hour externally-set assignment, that will be marked by CIE. Centres should refer to Appendix 6.2 for further guidance and assessment procedures.
13
4.4 Component 4: Coursework

Weighting 30% Candidates should have completed a course of at least one year in the study of one of the areas of study, listed below. During the course they should produce a supporting portfolio of work that relates to the chosen area. They must submit this supporting portfolio for assessment along with one main piece of finished work completed during the year. The supporting work should show the development of ideas and the research and evaluation that has taken place during the course. Painting and related media Textiles Ceramics Sculpture Graphic design Fashion design Print making Photography, digital and lens media
This list is not exhaustive and other areas of study are quite acceptable. (See Curriculum content). Candidates must submit: One coursework project, either 2D or 3D. If it is 3D then the project should not exceed 4.5 kilograms or 750mm in any direction. If 2D, the project should not exceed A1. Textile projects that can be folded should not exceed 1m 1.5m. In addition to the project, candidates must submit a folder of supporting work, no more than five sheets (10 sides), no larger than A1 and no smaller than A2. Assessment This will be externally marked by CIE. Centres are advised to refer to Appendix 6.2 for further guidance.
14
4.5 Component 5: Personal study

Weighting 30% The personal study is an investigation into any aspect of Art and Design. While first-hand study of existing works in museums, galleries, studios or at specific sites should form the main focus of the investigation, candidates may also include relevant comparisons with other works only available in reproduced forms. Candidates may present the study, which must include an introduction, conclusion and a bibliography, in any appropriate format (e.g. a written submission integrated with illustrative material; a carefully annotated series of practical responses). Written material should not exceed 3,500 words. Whichever format a candidate chooses, they should submit an outline proposal listing: intentions details of first-hand research undertaken (e.g. the sites, workshops, museums and exhibitions visited) bibliography.
Teachers advice to candidates will be important in guiding them to submit a formal proposal (see Appendix 6.3). Candidates must identify sources for their first-hand study and also the main focus of their intentions. The Centre must submit the outline proposal form for approval and comment by CIE examiners at least six months before the examination period. Centres should obtain outline proposal forms from MES. Candidates must submit: one study, which must include an introduction, conclusion and bibliography (no more than 3,500 words, minimum size A4; maximum size A1).
Assessment This component will be externally marked by CIE. Centres are advised to refer to Appendix 6.2 for further guidance.
15
5. Curriculum content
Art and Design covers a broad range of related activities, areas and approaches to study. This syllabus allows Centres to emphasise their strengths in terms of staff expertise and interests, and allows candidate choice; it provides a suitable range of study within the subject. Centres can design their own course of study, by selecting from the following: Areas of study Painting and Related Media Sculpture Printmaking Textiles Graphic Design Ceramics Fashion Design
Photography, Digital and Lens Media
For Component 4 candidates must specialise in one of the above areas. The following details are to be used for guidance only and are not prescriptive or comprehensive. The intention is for candidates to follow a field of study in research, development and realisation, at some depth.
Painting and related media

Candidates may use any of the following materials: oil colour, water-colour, acrylic, gouache, powder or poster paint, coloured inks, pen and wash, pastels, oil pastels, coloured pencils. They may combine these media or use them in conjunction with other materials, e.g. collage. The list is not prescriptive or comprehensive. The work produced may include still life (an arrangement of a group of specified objects), portraiture, landscape studies or abstract and figurative compositions. It may be either expressive or interpretative in content, or it may seek to record a response to the visual world, but it should show evidence of a personal response and a developing style. Candidates should have a broad understanding of the history of painting and other channels of visual communications, and they should use the resources of museums, galleries, local collections or exhibitions to make a first-hand study of paintings wherever possible.
Textiles
Candidates should be encouraged to develop their designs from original drawings, to experiment with threads and fabrics, and to realise the design into a finished piece of artwork. Visits to museums, collections and practising designers are essential to help candidates to appreciate the historical development and current trends within this coursework area. Study needs to include functional design as well as the purely decorative aspects of the craft.
16
Candidates should be given the opportunity to explore the main areas of the craft: woven textiles, embroidery, fashion and design, printed and dyed textiles. Candidates may wish to specialise in only one of these areas, but should show an awareness of how the areas could be combined. (i) Woven textiles The course could include aspects of: looms and the equipment used in setting up warps the properties of natural and man-made fibres experimental weaving using raffia, string, beads, etc.
(ii) Embroidery The course needs to be broad in approach, including functional and decorative items in two and three dimensions. Candidates should gain an understanding of the properties of materials and threads, and ways in which they can be used to explore ideas and create structures. (iii) Fabric printing Candidates should become familiar with a range of methods of decorating cloth. These include block printing, tie-dye, batik, silk-screen printing, spraying or airbrushing. Candidates should explore the use of natural and synthetic fabrics and dyes for different effects. They also need to consider the function of the cloth in terms of drape, pattern, size and colour alternatives.
Ceramics
Candidates should be encouraged to explore this field in some depth, so that they are familiar with handbuilding techniques, throwing and casting and have some knowledge of the use of decorating slips, oxides and pigments. They should have some understanding of glaze-mixing, glazes and different methods of firing and finishing work. Candidates should make visits to museums and galleries, where feasible, and some awareness of historical and current developments within the area should be included as an important element in the course. Candidates should be aware of the links between form and function, and their relationships to the different forms of ceramics being produced today, expressive fine-art work, industrial ceramics and traditional handcrafted pottery. The coursework project should demonstrate the candidates understanding of these distinctions and should show the development of a personal style. Emphasis will be placed on the exploration of ideas and design work.
17
Sculpture
Candidates may work with traditional or new materials. They may wish to specialise in one area carving, modelling or construction but they should demonstrate an ability to solve problems of related mass and space, and show a broad understanding of form. The work may be figurative or abstract and may take the form of relief, mobile, freestanding or kinetic sculpture. Candidates should be aware of the range of materials and methods available, although it is likely that they will concentrate on developing skills in one of the following areas: (i) Carving Wood, stone, etc. (ii) Modelling in clay and fired in clay and cast in plaster, concrete, fibreglass, metal, etc. in plaster over an armature
(iii) Construction Wood, metal, plastic, wire, card, mixed media (iv) Soft sculpture Fabric, leather, rope, plastic, etc. Candidates will be expected to have an understanding of the role of sculpture in society as personal response to form, mass, space and void, as a magical, religious, celebratory or political image or as an integral part of architecture.
18
Graphic design
Candidates may wish to specialise in only one of these areas, but should show an awareness of how the following areas could be combined: (i) Graphics The graphics undertaken can be for any purpose: information, publication, advertising, including typography, calligraphy, and in any medium. The briefs undertaken may cover, for example, corporate identity, layout work, symbols and visual communication of information e.g. book jackets, CD and DVD sleeves, posters and brochures. It is expected that candidates will have a good working vocabulary and be familiar with terms such as half tone and overlays. Typography will not be treated as a separate area. Candidates should be encouraged to use established and modern typefaces in the graphic work. Where applicable, these may be hand-drawn or produced by another method. Candidates must attach a clear written brief to the work. They must clearly mark preliminary work in the folder of supporting work, to show how it relates to the work submitted. (ii) Illustration Illustration can be for any purpose and from any source material. It is hoped that candidates will experiment with as many techniques as possible; pen and ink, gouache, watercolour, airbrush, printing, painting, coloured pencil and pastel. (iii) Package design This section is concerned with package design for any product or material. Aesthetic appreciation will be expected within the limits of functional and production requirement. Candidates should present design in both two- and three-dimensional forms. Both the graphics and the three-dimensional shape of the package are to be part of the brief undertaken. Candidates should cover production methods, including the engineering of card and printing processes. (iv) Computer graphics Computer graphics work should demonstrate appreciation of the fundamental concepts using whatever software is available. As wide a range of software as possible should be available and include, at least, access to: an art package/graphics package, a CAD package, a range of fonts and a colour printer. Access to the use of the video camera and video digitiser scanner, though not essential, would be helpful for this topic. The work should show the candidates mastery in using a computer to represent information graphically, either in sequential or individual presentation, for use in a variety of ways (general advertising, the design of logos using lettering and mirror images, magazine and newspaper layout using text and illustration, repeat and reversed patterns for 2D designs and the initial frames of television programmes or moving display frames). Candidates must attach a full explanation of the brief to the work. They must present work in the form of hard copy, with the hardware and software package used clearly acknowledged on the work. The Centre should retain disks used by candidates until after the work has been marked.
19
Fashion design
Candidates should be encouraged to explore personal solutions in designing garments or items for personal decorative adornment, for different occasions and age groups. They should be able to identify the requirements of dress for specific purposes, occasions and environments, and suggest practically how these demands may be met. Candidates should examine the function of clothing in terms of protection and warmth, as well as the ease of the wearer. It will be necessary for candidates to consider the properties of different materials and how fashion items are constructed, to gain understanding of feasibility and production. Candidates designs should demonstrate their knowledge of shape, line, colour and texture. The candidate should be asked to consider and understand the different purposes of clothing, and the way in which this affects the design and fabric used in production. They should also consider the psychological influence of wearing particular garments or adornments. Candidates should be aware of the changes in technology which have made available different possibilities for fashion items. They should also be aware of the need to achieve a balance between the function and the conventions that influence fashion choices and, in particular, those factors that bring about change over time. Candidates should have some knowledge of the work of contemporary fashion designers. Visits to fashion shows and/or garment construction outlets should be encouraged.
Printmaking
The candidate should be encouraged not only to develop traditional methods and materials, but also to explore new areas of the various printmaking techniques. They may use any manual or photographic technique to make a print. They may use any combination of techniques in any one print. Prints should be presented with a margin of virgin paper round the image, with edition details, title and candidates name. Candidates may use any source of inspirational material. The folder of supporting work may contain ideas for work in a variety of techniques, but the actual coursework project undertaken may be limited to only one method. The work of the candidate should reveal the qualities of an edition print. It is hoped that the candidates will become aware of both the historical development of print making and the work of contemporary print makers. Candidates should include in the folder of supporting work the preparation and development work leading to prints. (i) Relief prints Candidates may use images from any kind of block, either in colour or tone. They may use reduction prints, multiple blocks of any texture or shape, and figurative or abstract work from any inspirational source. (ii) Intaglio Candidates may submit intaglio etching or dry point, on any suitable surface, in colour or tone, figurative or abstract, and from any stimulus. They can employ the use of both hard and soft grounds, the process of burnishing, stopping-out and aquatint. Candidates should retain more than one copy of a print at each stage, and include them in the folder of supporting work, to show the various steps in the production of a finished print.
20
(iii) Planographic methods Candidates may use planographic methods such as silk screening, lithography, or card printing. As in the other sections within print making, any exploration or development is permissible.
Photography, digital and lens based media

It is expected that the candidate will have a good knowledge of black and white photographic materials and techniques, but the work must also show aesthetic and pictorial qualities. Good technical work is expected, but evidence of imagination, flair and intuition will be required. The candidate should show in their work evidence of awareness of the immediate surroundings and sensitivity to imagery from all sources. Candidates may use natural and/or studio lighting to produce related and collected images, presented as a series or sets of sequential images. Candidates should be aware of the critical and historical aspects of the subject that may be reflected in the study. Candidates may enter trade-processed colour prints or slides, but their own manually-produced black and white and/or colour prints MUST form the greater part of the work. They should not submit test strips and other preparatory material, unless they form an integral part of the work. Candidates should be familiar with: photographic equipment cameras, enlargers, lenses, filters, flash guns, studio lighting, black and white/ colour film of various types and speeds photographic processing production of contact prints and enlargements, colour and image modification digital imagery.
21
6. Appendix
6.1 Resources
The following list helps teachers to select appropriate texts for teaching this syllabus. If a text is included, this does not mean that it is recommended or approved by CIE. Wherever possible, the International Standard Book Number (ISBN) is given for each book. This information should be accurate and the books listed should all be in print. CIE welcomes comments about the books on the list and suggestions for additions or omissions. To obtain copies of the books listed, please contact your normal supplier of educational textbooks. In case of difficulty, contact the publishers of the specific books. Please note that CIE is not able to supply textbooks or to place orders on behalf of Centres. Author Albers J. Amason H. H. Berger J. Chamberlain W. Clark G. Clark G. Clark K. Colchester C. Curtis W. J. R. Dawtrey L. (et al.) Dawtrey L. (et al.) Dormer P . Title The Interaction of Colour A History of Modern Art Ways of Seeing Etching and Engraving The Potter's Art The Photograph The Nude The New Textiles Modern Architecture Since 1900 Investigating Modern Art Critical Studies in Action The New Ceramics: Trends and Traditions Nineteenth Century Art: A Critical History Objects of Desire: Design and Society Publisher Yale U. P . Thames and Hudson Penguin Thames and Hudson Phaidon Oxford U. P . Penguin Thames and Hudson Phaidon Yale U. P . Yale U. P . Thames and Hudson ISBN Number 0300 01846 0 0500 23757 3 0140 13515 4 0500 68001 9 07148 3202 2 019 284200 5 0140 17336 6 0500 27737 0 07148 3524 2 0300 06796 8 0300 06798 4 0500 27775 3
Eisenham S. F . (et al.) Forty A.
Thames and Hudson
0500 28683 8
Thames and Hudson
0500 27412 6
22
6. Appendix
Gage J.
Colour and Culture: Meaning from Antiquity to Abstraction The Story of Art Art and Illusion The Use of Images Industrial Design The Shock of the New Design and Form: The Basic Course at the Bauhaus Costume and Fashion: A Concise History Movements in Art since 1945 Interior Design of the 20th Century Embroidered Textiles Meaning in the Visual Arts Outline of European Architecture Sources of Modern Architecture and Design Modern Sculpture Art and Photography The Language of Sculpture Studio Pottery The Bauhaus Information Graphics
Thames and Hudson
0500 27818 0
Gombrich E. H. Gombrich E. H. Gombrich E. H. Heskett Hughes R. Itten J.
Phaidon Phaidon Phaidon Thames and Hudson Thames and Hudson Thames and Hudson
07148 3355 X 07148 1756 2 07148 3655 9 0500 20181 1 0500 20906 2 0442 24039 2
Laver
Thames and Hudson
0500 20266 4
Lucie-Smith E. Massey A. Paine S. Panofsky E. Pevsner N. Pevsner N.
Thames and Hudson Thames and Hudson Thames and Hudson Penguin Penguin Thames and Hudson
0500 20344 6 0500 20247 8 0500 27823 7 014 013622 3 014 013524 3 0500 20072 6
Read H. Scharf A. Tucker W. Watson O. Whitford F . Wilding and Burke
Thames and Hudson Penguin Thames and Hudson Phaidon Thames and Hudson Thames and Hudson
0500 20014 9 014 013132 9 0500 27104 6 07148 2928 X 0500 20193 5 0500 28077 5
23
6. Appendix
Series of individual books Title The World of Art Oxford History of Art Ethnic Arts Graphic Editions and Design Library Practical Manuals Publisher Thames and Hudson Oxford U. P . Thames and Hudson Internos Books Thames and Hudson
For books on photography, architecture, graphic design, interior design, textiles: refer to Thames & Hudson or Phaidon.
24
6. Appendix
6.2 Guidelines for administering Art and Design practical examinations

Art and Design practical examinations often have specific requirements which are usually different from written examinations. In the majority of cases they will be held in the art studio but a significant number of Centres may choose to hold them in standard classrooms. Depending on the media that candidates are using, they may find that they have a considerable amount of equipment and materials on their work space. In addition, some candidates will need to be able to move around the studio because they need to access specific technical equipment and different materials. These guidelines should be consulted by the teacher, prior to, during and after the examination, and also by the invigilator. The teacher will need to read these in conjunction with the relevant syllabus. You are advised to contact MES where an issue arises that is not covered in these guidelines.
Part 1: Prior to starting any supporting work

Teacher Information Size and Weight of Work Before candidates begin to plan their finished piece or start their supporting work, they must be aware of the size and weight restrictions. Each candidates work must not exceed 4.5 kg; nor must it exceed 750 mm in any direction. Inappropriate Material Candidates may work in any appropriate media. CIE does not wish to restrict the creative process behind works of art, but Teachers are reminded that the use of inappropriate media can be potentially dangerous to those packing the scripts and to the examiners. The following is a list of items presented in the past that are deemed to be inappropriate. Hypodermic needles Syringes Any glass, including mirrors Animal skin Fresh organic matter Barbed wire Plaster Unfired clay Razor blades Plant material with roots attached
Centres are advised to contact MES if they are in doubt about the suitability of materials. Any work carried out in an inappropriate medium will not be assessed, as Health and Safety considerations render this impossible. Teachers must be aware that certain materials will create problems with Customs and Excise or are CITES (Convention on International Trade of Endangered Species) listed.
25
6. Appendix
Use of Sketchbooks Candidates should be advised they may use a sketchbook for any drawings/other research material. If a candidate wishes to submit any of this as supporting work, then this must be detached from the sketchbook prior to the start of the examination.
Part 2: Prior to the examination supporting work

Invigilator and Teacher Information Candidates must have at least three weeks1 preparatory time in which to produce their supporting work. During the preparatory time, candidates should produce supporting work in response to one question from the question paper. They must bring this supporting work into the examination as their reference material. Any pre-prepared material, such as outlines or sketches made onto the paper/canvas in advance of the examination, or pre-prepared tracings, are not allowed. The supporting work alone should act as the source material for the examination and any tracing or copying that is required (e.g. for repeat-pattern designs for textiles) should take place during the examination. If tracing paper is required during the examination (e.g. for repeat-pattern designs for textiles), then it must be attached to the supporting studies as evidence; this will, however, not contribute to the total number of sheets of supporting studies. Candidates own photographs may be used as reference material but must also be submitted with the supporting studies (either mounted on the supporting studies sheets or included in a labelled envelope and attached to the work). Candidates must not take enlarged photographs into the examination to trace from. Supporting work must be brought into the examination room at the start of the examination and must not leave the examination room until it is sent to MES with the final examination piece. Candidates are not allowed access to their supporting work between examination sessions and they cannot replace or submit additional supporting work once the examination has started. All supporting work must be labelled and must be clearly distinguishable from the final examination piece. When the candidates arrive, ensure all their supporting work is placed on their work stations. All supporting work and examination work must be made secure after each session and overnight at the end of each day. Candidates who have not brought any supporting work to the start of the examination will not be allowed to submit any at a later time. They should be instructed to start the examination piece and not attempt to produce supporting work during the allotted examination time. Candidates are not allowed to take books/magazines into the examination room as supporting work. 1 three weeks is defined as school weeks. Any holiday time that might fall within the period should be treated as additional time.
26
6. Appendix
If a candidate decides that they do not want to submit all the supporting work that they taken into the examination then the unwanted work must be handed to the invigilator at the end of the examination. This work should be clearly marked up as not to be submitted and the invigilator must ensure that it is retained securely until after the end of the enquiries on results period. Additional Note for Teachers Teachers are reminded that candidates must select sufficient supporting work to support the final examination piece(s). Supporting work comprises work that is the candidates own work/photographs, and should be selected and organised in a manner that shows research, exploration of ideas, development of theme and experiments with media and materials.
Part 3: The examination preparation of materials

Invigilator and Teacher information Prepared grounds, such as patterned or textured paper, are permissible but any pre-prepared material, such as outlines or sketches made onto the paper/canvas in advance of the examination, or pre-prepared tracings, are not allowed. The supporting work alone should act as the source material for the examination and any tracing or copying that is required (e.g. for repeat-pattern designs for textiles) should take place during the examination. If tracing paper is required during the examination (e.g. for repeat-pattern designs for textiles), then it must be attached to the supporting studies as evidence; this will, however, not contribute to the total number of sheets of supporting studies. Candidates own photographs may be used as reference material but must also be submitted with the supporting studies (either mounted on the supporting studies sheets or included in a labelled envelope and attached to the work). Candidates must not take enlarged photographs into the examination to trace from. Also, in certain circumstances, candidates may require technical assistance from specialist teaching staff. The following are NOT to be included in the time allowance for the examination: arrangement of still life groups mixing of photographic chemicals and washing and drying of prints rest periods for life models; casting, mounting and trimming of work stretching of screens/preparation of blocks trimming and mounting of finished piece(s)
Any painted work must be carried out in a quick-drying medium and must be completely dry before it is despatched for marking.
27
6. Appendix
Part 4: Invigilation of the examination

Invigilator and Teacher Information The Teacher who has prepared the candidates for the examination must not be the sole invigilator. However, it is necessary that a teacher who has prepared the candidates be available at the start of each examination session and as required throughout the whole examination to deal with any technical issues that may arise (see Handbook for Centres). 1. Familiarise yourself with the Checklist for Invigilators, which applies to Invigilators of both written and practical examinations. CIE regulations require that all persons, except members of staff acting as invigilators, or other authorised personnel such as artists models, and the candidates engaged in each examination, must be excluded from the examination room.
2. Prior to the arrival of the candidates and the start of the examination, familiarise yourself with the set up of the room. It is unlikely that the room will be free from art work but you should be confident that candidates cannot easily access any work that is not their own, to copy or submit as their own. 3. Where possible candidates should carry out the work in sessions lasting no less than three hours. Candidates will normally require one or two consecutive days (8 and 6 hours) to be set aside to complete the examination. 4. Centres are provided with a final date by which the examination must be completed and should schedule the examination date/s accordingly within that period. In some cases it may be necessary for Centres to schedule different groups of candidates to take the same examination, on different days. For example 9393/01 candidates A to M take the examination on 4 and 5 October and candidates N to Z take the same examination on 10 and 11 October. 5. In some cases, it may be necessary for examination dates to be rescheduled. Candidates who may qualify for Special Consideration due to missing part of the examination because of recent illness; accident etc. (see Handbook for Centres, Section 6.15) may be advised to reschedule their examination later in the period. Centres are advised to refer to the Handbook for Centres and to seek clarification from CIE. 6. Rescheduling within the period should not be used to accommodate candidates who might have failed to turn up for a session without good reason. 7 . All candidates must be provided with their own equipment such as scissors, erasers, paint etc. Candidates should not need to share basic art equipment.
8. During the examination, it is recognised that some movement by candidates and spoken instructions may be necessary but please ensure that these are essential to the examination. All equipment and chemicals should be arranged so as to minimise the need for any movement. Throughout the examination, a subject specialist should be made available to help you deal with any technical difficulties or safety issues that may arise. Candidates should initially direct questions/issues relating to technical matters and materials to the invigilator, who will in turn refer them to the available technician/teacher. 9. Candidates must not talk to each other or distract each other in any way. 10. The invigilator must be constantly vigilant and observant.
28
6. Appendix
11. You should move around the studio. In the unlikely event that there is a serious breach of examination security (e.g. obvious collusion between candidates), the Head of Centre should be informed and the incident detailed on the Supervisors Report. MES must be informed immediately of any such incident. If a candidate is disruptive, the Head of Centre should be informed and the candidate should be removed quietly from the examination room. Again, MES must be informed immediately of such an incident. 12. If a candidate appears to be having problems with faulty equipment or if they incur any accidents such as water being spilt and spoiling work, inform the technician/teacher. A note should be made on the Supervisors Report of any such help given to the candidate and included with the scripts for despatch to MES. 13. Invigilators and technicians/teachers must not comment on any aspect of the candidates work, and should not communicate with candidates except for administrative or safety reasons. It is permissible for teachers to instruct candidates on clearing up and tidying procedures at the end of the session and as appropriate throughout the examination. 14. If a candidate is experiencing difficulties in the examination, communication should be with that candidate only and general announcements should not be made. If there is a problem with the equipment supplied, an announcement may be made but, again, a note must be made in the Supervisors Report, detailing the announcement and reasons, and included in the scripts for despatch to MES.
29
6. Appendix
Part 5: At the end of the examination

Teacher Information 1. Work carried out using chalk, pastels or charcoal must be fixed before despatch. 2. Candidates work should not be individually wrapped in tissue paper or protective film as this not only adds to the transportation costs but hinders the marking process. If necessary, a single loose sheet of tissue paper could be placed on top of the work. 3. Trimming and mounting of work is not included in the examination time. This should be completed after the examination but the Centre must ensure that the work remains secure and within the weight/height restrictions. Centres are advised not to mount work using heavy card or board. 4. Candidates must be instructed to label their work correctly. The candidates name, number and Centre number must all be written clearly on the labels provided. The label must be attached to the top righthand corner of the front of each sheet of work. As a precaution, the same information should be printed clearly on the reverse of the work. 5. If a candidate has produced supporting work that they then decide they do not wish to submit for assessment, this work must be handed to the invigilator at the end of the examination. The work should be clearly marked up as not to be submitted and the Centre must ensure that this work is retained securely until after the end of the enquiries on results period.
Part 6: Despatch of examination work and supporting work

Teacher Information 1. The examination work and the appropriate supporting work must be packed together with the examination work on top. Supporting work must be securely fastened to the examination piece at the top left-hand corner, and it must be packed in candidate number order so that candidate with the lowest candidate number is placed on top of the pile, i.e. the order in which the candidates appear on the attendance register. The attendance register must be placed on the top of the pile.
2. Ideally, work should not be folded or rolled. 3. Any 3D work must be packed in durable containers and in such a way as to minimise the movement of the work within the container. Centres are advised to obtain polythene bubble wrap. Newspaper and sawdust are not suitable packing materials. 4. Examination work and supporting work must be sent to MES as soon as it is completed. Centres should not wait until the end of the examination period before despatching the work. 5. Where possible the work should be packed in the large white plastic envelopes provided by MES. Work for each component must be packed separately. All work should be sent to MES.
30
6. Appendix
6.3 Sample outline proposal forms
31
OUTLINE PROPOSAL FORM

for GCE AS and A Level Examinations
SAMPLE A
Name of Centre Candidate Name Syllabus Title DEVE ART & DESIGN: PERSONAL STUDY Centre Number Candidate Number
(if known)
Syllabus Code Component Number
9 0 2
9 5
If this is a re-submission, please tick here Examination/Assessment Session: Title of Proposal November
LANDSCAPES OF MAURITIUS
Details of Proposal (see over)

SOURCES FOR FIRST HAND STUDY: Exhibitions of the work of Marcel Lagesse, Yves David and Roger Charoux. INTENTIONS: To choose 3 landscapes by each artist for analyses of composition, space and the use of colour and tone. Comparisons with photographic archive of actual sites. Further references to landscapes of Monet and Cezanne. BIBLIOGRAPHY Landscape Into Art: Landscape and Memory: Cezanne by Himself: The Colour of Time: Claude Monet: Clark Scharma Kendall A. Sutton
TEACHERS COMMENTS: Works by Lagesse and Charoux are easily accessible. We will make sure that a few carefully chosen examples are focused on in depth.
Date For CIE use only: APPROVED APPROVED WITH PROVISO (see comments) NOT APPROVED More information required Approval not required; please see comments Comments:
3 1
1 0 1
Thorough sources for first hand investigation and stimulating intentions to compare local artists depictions with records of the Mauritian landscape. Comparisons with the French painters will also inform your personal judgements.
Advisers Initials
JDH
Date
1 4 1 1 1 1

SAMPLE B
Name of Centre Candidate Name Syllabus Title SANDHYA ART & DESIGN: PERSONAL STUDY Centre Number Candidate Number
(if known)
9 0 2
9 5
THE FLORA AND FAUNA OF PARADISE

SOURCES FOR FIRST HAND STUDY: The works of Vaco Baissac and Malcolm de Chazal seen through direct contact and visits to studios. INTENTIONS: Analyses and comparisons of paintings which combine animals, insects, plants, trees and the landscape to create bright and decorative compositions. Further comparisons will be made with the works of Gauguin, Rousseau and Matisse. BIBLIOGRAPHY Modern Masters: Manet to Matisse: Primitivism in 20th Century Art: Rousseau: Gauguin: Henri Matisse: Lieberman Rubin Stabenow Goldwater Gowing
TEACHERS COMMENTS: She has already made visits to see the works of the local artists. Her enjoyment of colour and the natural world will motivate a personal and enthusiastic study.
0 6 1
A well considered proposal with clear sources for first hand study. A focus on a selection of works will encourage in depth study and informed personal judgements.
Advisers Initials
JDH
Date
0 3 1 2 1 1

SAMPLE C
Name of Centre Candidate Name Syllabus Title JOSEPHINE ART & DESIGN: PERSONAL STUDY Centre Number Candidate Number
(if known)
9 0 2
9 5
DANCE, MUSIC AND RITUAL

SOURCES FOR FIRST HAND STUDY: The works of Kamla Jundoosingh and Rikesh Boodhun seen in exhibitions, studies and galleries. INTENTIONS: To choose 3 works by each artist for thorough analyses of cultural contexts, inspirations, compositional styles and use of media. To include further references and comparisons to relevant works on the theme by Picasso, Matisse and Kandinsky. BIBLIOGRAPHY The Shock of the New: Picasso, Style and Meaning: The Blue Rider: The World of Matisse: Hughes Cowling Roethel Russell
TEACHERS COMMENTS: A demanding theme, but her insight and understanding is beginning to show the maturity of a mature Advanced Level student.
3 1
1 0 1
Clearly a very personal choice with strong sources for investigation and stimulating intentions to make relevant comparisons. This will encourage well considered personal evaluations.
Advisers Initials
JDH
Date
1 4 1 1 1 1

Name of Centre Candidate Name Syllabus Title If this is a re-submission, please tick here Examination/Assessment Session: Title of Proposal November
Centre Number Candidate Number

(if known)
Advisers Initials
Date
6. Appendix
INSTRUCTIONS FOR COMPLETION OF THIS FORM

1 2 3 4 Use a ball point pen or type information in the spaces provided. Use one form for each candidate. If extra space is required to complete the outline proposal, use a second OPF Form. Do not attach separate sheets of paper for any reason. Please check you have filled in the appropriate boxes at the top of the forms. If the top of the form is not completed correctly, the form will be returned. The outline should normally include: (i) the title or aim of the piece of work; (ii) the methods to be used to collect and analyse information and data; where possible and appropriate, a brief list of sources; (iii) a bibliography (in appropriate syllabuses only); (iv) sources for first hand study, other sources and contacts. Any teachers comment should be clearly identifiable in the Details of Proposal box. 5 6 The complete form must be sent before the candidate starts the work. The top copy will be returned with the advisers comments and should be included in the completed study after the title page. Please complete the form in line with the guidelines for specific syllabuses and send to MES as instructed. All three parts should be sent. The top white copy will be returned, the second yellow copy will be retained by Cambridge International Examinations and the third pink copy will be retained by the adviser. 7 When re-submitting a proposal, please send the original proposal as well; candidates who adjust their proposal in line with the advisers comment need not resubmit.
36
7 Additional information .
7 Guided learning hours .1

Advanced Level (A Level) syllabuses are designed on the assumption that candidates have about 360 guided learning hours per subject over the duration of the course. Advanced Subsidiary Level (AS Level) syllabuses are designed on the assumption that candidates have about 180 guided learning hours per subject over the duration of the course. (Guided learning hours include direct teaching and any other supervised or directed study time. They do not include private study by the candidate.) However, these figures are for guidance only, and the number of hours required may vary according to local curricular practice and the candidates prior experience of the subject.
7 Recommended prior learning .2

Ideally we recommend that candidates who are beginning this course should have previously completed an O Level or IGCSE course in Art and Design or the equivalent but we recognise that in some cases candidates beginning this course will not have studied Art and Design previously.
7 Progression .3
Cambridge International A Level Art and Design provides a suitable foundation for the study of art or related courses in higher education. Equally it is suitable for candidates intending to pursue careers or further study in art or the arts, or as part of a course of general education. Cambridge International AS Level Art and Design constitutes the first half of the Cambridge International A Level course in Art and Design and therefore provides a suitable foundation for the study of art at A Level and thence for related courses in higher education. Depending on local university entrance requirements, it may permit or assist progression directly to university courses in art or some other subjects. It is also suitable for candidates intending to pursue careers or further study in art, or as part of a course of general education.
7 Component codes .4
Because of local variations, in some cases component codes will be different in instructions about making entries for examinations and timetables from those printed in this syllabus, but the component names will be unchanged to make identification straightforward.
37
7 Additional information .
7 Grading and reporting .5

A Level results are shown by one of the grades A*, A, B, C, D or E indicating the standard achieved, Grade A* being the highest and Grade E the lowest. Ungraded indicates that the candidate has failed to reach the standard required for a pass at either A Level or AS Level. Ungraded will be reported on the statement of results but not on the certificate. If a candidate takes an A Level and fails to achieve grade E or higher, an AS Level grade will be awarded if both of the following apply: the components taken for the A Level by the candidate in that session included all the components making up an AS Level the candidates performance on these components was sufficient to merit the award of an AS Level grade.
For languages other than English, CIE also reports separate speaking endorsement grades (Distinction, Merit and Pass), for candidates who satisfy the conditions stated in the syllabus. AS Level results are shown by one of the grades a, b, c, d or e indicating the standard achieved, Grade a being the highest and Grade e the lowest. Ungraded indicates that the candidate has failed to reach the standard required for a pass at AS Level. Ungraded will be reported on the statement of results but not on the certificate. For languages other than English, CIE will also report separate speaking endorsement grades (Distinction, Merit and Pass) for candidates who satisfy the conditions stated in the syllabus. The content and difficulty of an AS Level examination is equivalent to the first half of a corresponding A Level.
38
University of Cambridge International Examinations 1 Hills Road, Cambridge, CB1 2EU, United Kingdom Tel: +44 (0)1223 553554 Fax: +44 (0)1223 553558 Email: international@cie.org.uk Website: www.cie.org.uk University of Cambridge International Examinations 2009

Syllabus

Uploaded by

Document Information

Original Description:

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Syllabus

Uploaded by

Copyright:

Available Formats

Syllabus

2. Assessment at a glance .................................................................. 4 3. Syllabus aims and objectives ........................................................... 6

4. Description of components ........................................................... 11 5. Curriculum content ........................................................................ 16 6. Appendix ....................................................................................... 22

1.1 Why choose Cambridge?

Not-for-profit, part of the University of Cambridge

1.3 How can I find out more?

If you are not a Cambridge Centre

Combining this with other syllabuses

3. Syllabus aims and objectives

3. Syllabus aims and objectives

3.2 Assessment objectives

Candidates are expected to show:

ii. independence in concept and execution.

Manipulative, Artistic and Analytical Skills

Knowledge and Critical Understanding

3. Syllabus aims and objectives

40% 30% 30% 30% 30%

3. Syllabus aims and objectives

Knowledge and critical understanding

3. Syllabus aims and objectives

Manipulative, artistic and analytical skills Aesthetic qualities

Knowledge and critical understanding

4.1 Component 1: Observational study

4.2 Component 2: Interpretative study

Candidates must submit:

4.3 Component 3: Design study

4.4 Component 4: Coursework

4.5 Component 5: Personal study

Photography, Digital and Lens Media

Painting and related media

Photography, digital and lens based media

Eisenham S. F . (et al.) Forty A.

Thames and Hudson

Thames and Hudson

Thames and Hudson

Gombrich E. H. Gombrich E. H. Gombrich E. H. Heskett Hughes R. Itten J.

Thames and Hudson

Lucie-Smith E. Massey A. Paine S. Panofsky E. Pevsner N. Pevsner N.

Read H. Scharf A. Tucker W. Watson O. Whitford F . Wilding and Burke

6.2 Guidelines for administering Art and Design practical examinations

Part 1: Prior to starting any supporting work

Part 2: Prior to the examination supporting work

Part 3: The examination preparation of materials

Part 4: Invigilation of the examination

Part 5: At the end of the examination

Part 6: Despatch of examination work and supporting work

6.3 Sample outline proposal forms

OUTLINE PROPOSAL FORM

Syllabus Code Component Number

Details of Proposal (see over)

OUTLINE PROPOSAL FORM

Syllabus Code Component Number

THE FLORA AND FAUNA OF PARADISE

Details of Proposal (see over)

OUTLINE PROPOSAL FORM

Syllabus Code Component Number

DANCE, MUSIC AND RITUAL

Details of Proposal (see over)

OUTLINE PROPOSAL FORM

Centre Number Candidate Number

Syllabus Code Component Number

Details of Proposal (see over)