Praxis Art: Content and Analysis Study Companion

The PRAXIS

Study Companion

Art: Content

and Analysis

(5135)

www.et

s.org/praxis

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Study Companion

Table of Contents

Art: Content and Analysis (5135) .......................................................................................................... 3

Test at a Glance ..................................................................................................................................................... 3

About The Test ...................................................................................................................................................... 5

Content Topics ...................................................................................................................................................... 7

Discussion Questions ............................................................................................................................................. 7

Art: Content and Analysis (5135) Sample Test Questions .............................................................. 16

Sample Questions ................................................................................................................................................ 16

Answers ............................................................................................................................................................... 24

Understanding Question Types .......................................................................................................... 39

Understanding Selected-Response and Numeric-Entry Questions ..................................................................... 39

Understanding Constructed-Response Questions .............................................................................................. 40

General Assistance For The Test ........................................................................................................ 42

Praxi s

Interactive Practice Test .......................................................................................................................... 42

Doing Your Best ................................................................................................................................................... 42

Helpful Links ........................................................................................................................................................ 42

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Art: Content and Analysis (5135)

Test at a Glance

The Praxis

Art: Content and Analysis test is designed to measure knowledge and competencies

that are important for safe and effective beginning practice as an art: content and analysis

specialist.

Test Name Ar

t: Content and Analysis

Test Code 5135

Time 2 hours

Number of Questions

85 selected-response questions (Part A); 3 constructed-

response questions (Part B)

Format

The test consists of a variety of selected-response questions,

where you select one or more answer choices. You can review

the possible question types in Understanding Question Types.

Test Delivery Computer Delivered

ntent Categories

Approximate

Number of

Questions

Approximate

Percentage of

Examination

Part A: Selected-

response questions

85 75%

I. Art Making

55 48%

A. General

B. Media and

Processes

II. Historical and

Theoretical

Foundations of Art

30 27%

A. Materials and

Processes in an Art

Historical Context

II.

III.

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B. The Western

Tradition in Art

History

C. Art Beyond the

Western Tradition

D. Responding to Art

Part B: Constructed-

response questions

3 25%

III. Art Analysis

3 25%

A. Historical and

Theoretical

Foundations of Art

B. Art Making

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About The Test

Art: Content and Analysis measures whether entry-level art teachers have the standards-

relevant knowledge, skills, and abilities deemed necessary for beginning professional practice.

The test is intended primarily for individuals completing teacher training programs who plan to

become art teachers. Test takers typically have completed a bachelor’s degree program in art or

art education. The test questions focus on concepts that are considered central to the study of

art, measuring knowledge of art making and the historical and theoretical foundations of art.

In Part A, images are included with some of the selected-response questions.

In Part B, the three constructed-response questions are divided between one 15-minute

question testing historical and theoretical foundations of art and two 10-minute questions

testing art making.

For historical and theoretical foundations of art, test takers are asked to respond to a general

topic by selecting, identifying, and analyzing a relevant art historical example from memory.

Test takers may select a work of art from any culture and any art historical period, but the work

must be verifiable. It must appear either in a textbook or online. It may not be your own work

or an example of student work. In analyzing the selected work, test takers will have to supply

specific visual evidence from memory, as well as engage with relevant art historical and

theoretical concepts.

For art making, test takers are asked to write about two (2) works of art that they have created

in two different media. Before the test date, test takers will select four (4) works they feel

comfortable writing about, photograph or scan each work to a digital JPG file (3 MB or smaller),

upload the four (4) digital images online via My Praxis Account, and print a copy of each image

(one image per page). During the uploading process, test takers will enter general information

such as title, date of completion, media, and dimensions. Each image is given a system-

generated ID number that will appear on each image printout. The deadline to upload these

images is no later than 3 days before test day. For example, the deadline to upload

images for a Saturday appointment is Wednesday at 11:59 p.m. ET. Test takers may change

their images and edit the artwork information at any time before this deadline.

Each of the two art-making questions requires test takers to choose one of the four works to

write about. The two digital image files that are chosen and used for the art-making responses

will be associated with the relevant questions through the system-generated ID number.

Therefore, it is extremely important for test takers to bring the printouts of all four

digital reproductions of their work to the testing site. The ID number appearing on the

printouts is a critical part of the art-making responses.

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If the ID number is not entered correctly, THE ART- MAKING RESPONSE WILL NOT BE

SCORED .

The system-generated ID number for the work you are writing about must be entered in

the art image ID number (AI#) box and must match the number on your previously

uploaded image files. For example, the first image you uploaded will have the image ID

number AI#001#; you must enter the last number in that series (e.g., the number 1) in the AI#

box in order to link the image to your response.

In addition, if a test taker responds to both art making questions with work in the same

medium, the response for the second art making essay will not be scored.

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Content Topics

This list details the topics that may be

included on the test. All test questions cover

one or more of these topics.

Note: The use of “e.g.” to start a list of

examples implies that only a few examples

are offered and the list is not exhaustive,

whereas the use of “i.e.” to start a list of

examples implies that the given list of

examples is complete.

Discussion Questions

In this section, discussion questions provide

examples of content that may be included

in the questions you receive on testing day.

They are open-ended questions or

statements intended to help test your

knowledge of fundamental concepts and

your ability to apply those concepts to

classroom or real-world situations. We do

not provide answers for the discussion

questions but thinking about the answers

will help improve your understanding of

fundamental concepts and may help you

answer a broad range of questions on the

test. Most of the questions require you to

combine several pieces of knowledge to

formulate an integrated understanding and

response. They are written to help you gain

increased understanding and facility with

the test’s subject matter. You may want to

discuss these questions with a teacher or

mentor.

I. Art Making

A. General

The test taker:

1. Kno

ws and understands how to

create and critique personal artwork

using at least two art processes and

media

a. brings in reproductions that

exhibit two different processes

and that are certified as the test

taker’s own work

b. describes/reflects

on/analyzes/evaluates processes

and techniques

c. describes/reflects

on/analyzes/evaluates ideation,

concepts, influences, strengths,

and weaknesses within own work

d. describes/reflects

on/analyzes/evaluates principles

and elements of design

2. Knows and understands the

elements of art and principles of

visual organization (i.e., principles of

design) as applied to two-

dimensional and three-dimensional

media

a. identifies elements and principles

of design in visual stimuli

b. explains relationships of

elements to principles

c. distinguishes uses of elements

and principles in two-dimensional

and three- dimensional art

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3. Knows and understands various

historical methods (e.g., golden

mean, hierarchical organization,

perspective) and contemporary

approaches (juxtaposition,

appropriation, transformation, etc.)

to creating art

a. defines/identifies both historical

and contemporary methods

Discussion Questions: General

• Consider why you chose particular

media or processes for several of

your works. In what ways were the

media or processes successful?

• What difficulties did they present?

• Think about the ideas on which

some of your art works are based.

How is each idea communicated?

How would you describe the ideas

and your artistic process to others?

• How did you structure the

composition of one of your works?

Why did you structure it that way?

• How do the elements and principles

interact in the work? How do they

support the meaning of work?

• Name the principles and elements

used to organize 2-D and 3-D art.

• Identify how rhythm is achieved in a

particular work of art. What impact

is created by the use of rhythm in

the work?

• How can the elements in a work of

art be used to support the

principles in a representational

work and in an abstract work?

• How do artistic concerns regarding

the element of space differ in works

that are two-dimensional and works

that are three- dimensional?

• How have new technologies and

time-based artworks changed the

understanding of visual

organization

• Name three historical ways of

organizing space on a 2-D picture

plane. What are some of the ways

in which many contemporary artists

organize space differently?

B. Media and Processes

The test taker:

1. Kno

ws and understands safety,

environmental, and storage issues

related to the use of art materials

(e.g., clay dust, lead pigments,

safety- label information) and art

processes (e.g., cutting, etching,

spraying)

a. identifies dangerous materials

and their effects

b. categorizes dangerous materials

and their effects

c. describes proper ventilation,

storage, and disposal procedures

based on the medium

d. demonstrates knowledge of

MSDS sheets

e. demonstrates understanding of

safety procedures and

precautions for using artist’s

materials and tools

f. demonstrates knowledge of

health issues related to the use of

artists’ materials and tools (e.g.,

toxicity)

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2. Knows and understands how to use

a variety of drawing, painting, and

printmaking materials and

processes

a. identifies characteristics of

materials

b. identifies similarities and

differences among materials

c. knows vocabulary related to

drawing, painting, and

printmaking materials and

processes

d. describes drawing, painting, and

printmaking processes

e. solves problems and evaluates

possible solutions

f. compares materials and

techniques, and analyzes the

compatibility of materials and

techniques

g. recognizes or identifies processes

through reproductions

3. Knows and understands how to use

digital photography and image

processes

a. demonstrates basic camera

knowledge (camera parts,

vocabulary)

b. demonstrates knowledge of

common editing and imaging

software (e.g., cropping, basic

manipulation, resizing)

c. demonstrates knowledge of

uploading, downloading, storing

common file types such as .jpg

and .tif, transferring and printing

images

d. knows and understands the

process of creating digital images

4. Knows and understands materials,

tools, and processes for

videography, filmmaking, and

installations

a. identifies/describes materials,

tools, and processes for

videography, filmmaking and

installations

5. Knows and understands how to use

sculptural materials and processes

a. identifies characteristics of

materials

b. identifies similarities and

differences among materials

c. knows vocabulary related to

sculptural materials and

processes

d. describes sculptural processes

e. solves problems and evaluates

possible solutions

f. compares materials and

techniques, and analyzes the

compatibility of materials and

techniques

g. recognizes or identifies processes

through reproductions

6. Knows and understands how to use

a variety of fiber art materials and

processes (e.g., weaving, basketry,

paper making, jewelry making,

processes based on sewing).

a. identifies characteristics of

materials

b. identifies similarities and

differences among materials

c. knows vocabulary related to fiber

materials and processes

d. describes fiber processes

e. solves problems and evaluates

possible solutions

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f. compares materials and

techniques, and analyzes the

compatibility of materials and

techniques

g. recognizes or identifies processes

through reproductions

7. Knows and understands the physical

aspects and effective ways of

presenting art work for display

purposes (e.g., cutting mats, display

boards)

a. identifies and describes methods

of mounting and matting work in

ways appropriate to the medium

b. identifies and describes methods

of displaying three-dimensional

work

c. describes appropriate ways of

using

d. exhibition spaces

Discussion Questions: Media and

Processes

• Name three art materials that are

toxic.

• Which pigments used in paint, ink,

or glaze have a greater level of

toxicity and which have less?

• What is a safe way to dispose of oily

rags?

• What type of precautions should be

taken when using workable fixative

on a regular basis?

• In what type of setting is it safest to

perform a raku firing?

• What are the hazards of prolonged

exposure to clay dust or plaster

dust?

• How does vine charcoal differ from

compressed charcoal?

• What are the advantages and

disadvantages of using gouache?

• How does hot-press illustration

board differ from cold-press

illustration board? What kind of

media work best on each?

• How is a burin used in printmaking?

How is a brayer used?

• What are some general differences

between the effects created by a

particular drawing medium and

those created by a particular

painting medium?

• What are the major printmaking

processes?

• If a drawing is too light in value,

what other media might the artist

experiment with?

• Why is canvas generally primed

before an artist paints on it? In what

cases might an artist choose not to

prime canvas?

• In what ways do the effects

achieved by using watercolor as a

painting medium generally differ

from those achieved by using oil

paint?

• How do changes in the aperture

setting affect photographs?

• What functions do filters have in

Adobe Photoshop™?

• What is the difference between

raster and vector formats in

computer graphics?

• How many kilobytes are in a

megabyte?

• How many megabytes are in a

gigabyte?

• What is meant by ppi and dpi, and

what information do they provide

for projecting or printing a digital

image?

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• Why are installations classified with

time-based media?

• How can wood be used to create an

additive, subtractive, or assembled

work?

• What are the differences among

earthenware, stoneware, and

porcelain? Why might an artist

choose one of them over another?

• What is a maquette and, why is it

useful to make one?

• What types of hand-building

techniques can be used to create a

ceramic vessel, and what are the

advantages of each?

• What are the steps in creating a

hollow cast bronze sculpture? What

are the advantages of casting?

• How can a viewer distinguish by

looking at a sculpture whether the

process used was additive or

subtractive?

• How do available workspace and

tools affect decisions about what

sculptural materials to use?

• What different kinds of materials

can be used to make paper?

• In weaving, what is the difference

between the warp and the weft?

• How is the shuttle used in weaving?

• How can the use of a mat or frame

influence perception of a work of

art?

• What are the advantages and

disadvantages of dry mounting?

• What are the best ways of

displaying 3D sculptures of various

sizes and media?

• How can lighting be of benefit to

the exhibition of artwork?

II. Historical and Theoretical

Foundation of Art

A. Materials and Processes in an Art

Historical Context

The test taker:

1. Kno

ws and understands the

following materials within an art

historical context: painting, drawing,

printmaking, sculpture, architecture,

photography, fiber arts, crafts

a. identifies characteristics of

materials, processes, and

techniques within an art

historical context

b. identifies similarities and

differences among materials,

processes, and techniques (e.g.,

evolution over time)

c. knows vocabulary related to two-

dimensional and three-

dimensional media and

processes within an art historical

context

d. recognizes or identifies processes

within an art historical context

through reproductions

Discussion Questions: Materials and

Processes in an Art Historical Context

• In what ancient culture did the use

of the arch in architecture become

commonplace?

• Identify advantages the arch had

over post- and-lintel construction.

• What are some reasons why artists

during the Renaissance abandoned

the traditional egg tempera

technique for painting in oils?

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B. The Western Tradition in Art

History

The test taker:

1. R

ecognizes stylistic traits of art and

architecture from each of the

following time periods: Prehistory;

Egypt and the Ancient Near East;

Ancient Greece and Rome; Early

Christian, Byzantine, and Medieval

periods; the Renaissance; the

Baroque; 18th through 20th

centuries in Europe and North

America; contemporary art

a. identifies the styles of works of

art and architecture

b. categorizes art and architecture

according to style and/or period

c. identifies major works of art and

architecture by title, style, and/or

artist, as appropriate

d. analyzes/explains the influence of

art historical periods or schools

on later work

e. analyzes compositional elements

and principles of design in works

of art and architecture

f. recognizes the impact of major

artistic and technological

innovations (e.g., linear

perspective, the invention of the

camera, the invention of oil and

acrylic paints) on the stylistic

traits of art

2. Knows and understands the

content, context, and/or purpose of

art and architecture from each of

the following time periods:

Prehistory; Egypt and the Ancient

Near East; Ancient Greece and

Rome; Early Christian, Byzantine,

and Medieval periods; the

Renaissance; the Baroque; 18th

through 20th centuries in Europe

and North America; contemporary

art

a. explains the purposes of works of

art from various time periods

b. decodes/analyzes the narrative

or intended content of a work of

art

c. analyzes/explains the

interrelationships between art

and social factors, cultural

context, and events

d. explains the impact of major

artistic and technological

innovations on the content,

context, and purposes of art (e.g.,

linear perspective, the invention

of the camera, the invention of oil

and acrylic paints)

e. acquires and evaluates

information about art and artists

from various sources

Discussion Questions: The Western

Tradition in Art

• When in the history of Western

culture did European artists begin

to create self-portraits and why?

• What does it mean to say that art is

conceptual?

• Why were the Surrealists attracted

to the idea of automatic drawing?

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• How did the shift of patronage from

the church to secular merchants in

the Renaissance affect the creation

of art?

• How did the First World War affect

art in Europe?

• What are some of the reasons that

artists in the early twentieth century

began to create works without

representational imagery?

• How did technological innovations

that enabled the building of taller

buildings (skyscrapers) in the late

nineteenth century impact cities

and urban life?

C. Art Beyond the Western Tradition

The test taker:

1. Kno

ws and understands the general

visual characteristics of art and

architecture from Asia, Africa, the

Americas, the South Pacific region

a. classifies works of art and

architecture by regions/cultures

b. describes/analyzes works of art

and architecture using

compositional elements and

principles of design

c. describes/analyzes the

interrelationships between art

from beyond the Western

tradition and art from the

Western tradition

d. identifies major works of art and

architecture by title, style, and/or

artist, as appropriate

2. Knows and understands the general

content, context, and purposes of

art from Asia, Africa, the Americas,

the South Pacific region

a. explains the content and/or

purpose (as appropriate) of

frequently referenced works of

art from various locations and

cultures

b. identifies the general role of a

work of art in its culture (e.g.,

celebration, ritual or ceremony,

historical documentation)

c. explains how the context in which

a work of art is created conveys

information about various

lifestyles and belief systems (e.g.,

how Mesoamerican pyramids

illuminate life and culture)

d. acquires and evaluates

information about art and artists

from various sources

Discussion Questions: Art Beyond the

Western Tradition

• Choose one African culture. What

are the salient visual characteristics

of that culture’s art?

• What are some features of a Maya

pyramid that distinguish it from an

Egyptian pyramid?

• What visual characteristics

distinguish a landscape painted in

China or Japan from those painted

in the European tradition?

• Identify at least one mosque and

one Buddhist temple that you can

recognize visually.

• What was the function of a pyramid

in Maya life and culture?

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• How can the design and use of art

forms in at least one culture

function as signifiers of social rank

or family importance?

• In what ways is a statue of Buddha

designed to suggest spiritual

enlightenment?

D. Responding to Art

The test taker:

1. Kno

ws and understands the major

theories of art and aesthetics (e.g.,

formalism, expressionism,

deconstructivism, and

representationalism)

a. describes the major

characteristics of various theories

of art and aesthetics

b. distinguishes among the major

theories of art and aesthetics

c. compares and contrasts the

differences/ similarities among

theories of art and aesthetics

d. interprets and evaluates works of

art based on theories of art and

aesthetics (as opposed to

personal opinion)

e. knows and understands the

relationship between art and

critical response

f. demonstrates knowledge of

critical reactions to well-known

works and/or art movements

g. recognizes/uses multiple

viewpoints in examining a work

of art (e.g., multiple viewpoints

can be applied to the same work

of art; visual or written analysis;

looking at various analyses of

works in history; “lenses”)

h. recognizes the way personal

experience affects interpretation

of art (understanding that each

person’s experiences will affect

how that person sees art)

i. recognizes and discusses how

meaning is created in art (e.g.,

through symbols, iconography,

formal elements, and principles)

lifestyles and belief systems (e.g.,

how Mesoamerican pyramids

illuminate life and culture)

j. acquires and evaluates

information about art and artists

from various sources

Discussion Questions: Responding to

Art

• Identify two or three works or

movements that caused

controversy. In each case, how did

art critics respond?

• How do culture, experiences, and

individual perception affect a critical

response? For example, how might

a critical response to a Christian

religious work differ if the work is

viewed by a Muslim or an atheist?

• How might gender or age affect a

person’s critical responses to a

specific work of art or a general

type of art?

• Choose three works of art from

three different time periods. In each

work, how is the meaning of the

work communicated?

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E. Responding to Art

The test taker:

1. Knows and understands the major

heories of art and aesthetics (e.g.,

formalism, expressionism,

deconstructivism, and

representationalism)

a. describes the major

characteristics of various theories

of art and aesthetics

b. distinguishes among the major

theories of art and aesthetics

c. compares and contrasts the

differences/ similarities among

theories of art and aesthetics

d. interprets and evaluates works of

art based on theories of art and

aesthetics (as opposed to

personal opinion)

2. Knows and understands the

relationship between art and critical

response

a. demonstrates knowledge of

critical reactions to well-known

works and/or art movements

b. recognizes/uses multiple

viewpoints in examining a work

of art (e.g., multiple viewpoints

can be applied to the same work

of art; visual or written analysis;

looking at various analyses of

works in history; “lenses”)

c. recognizes the way personal

experience affects interpretation

of art (understanding that each

person’s experiences will affect

how that person sees art)

d. recognizes and discusses how

meaning is created in art (e.g.,

through symbols, iconography,

formal elements, and principles)

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Art: Content and Analysis (5135) Sample Test Questions

Sample Questions

The sample questions that follow illustrate the kinds of questions on the test. They are not,

however, representative of the entire scope of the test in either content or difficulty. Answers

with explanations follow the questions.

For the test, images appear as small thumbnail versions above or to the left of the question(s)

they refer to. To expand an image thumbnail, click on the plus sign in the lower-right corner.

While the image is expanded, you will see a plus sign and a minus sign that allow you to zoom

in and out. To close the image, click on the “x “in the upper-right corner. You can open and close

each image as many times as you like.

Directions: Ea

ch of the questions or incomplete statements below is followed by four

suggested answers or completions. Select the one that is best in each case.

Art Making

1. A triad on a color wheel can be described as

(A) three analogous colors

(

B) three colors equally spaced apart

(D) a complementary set

2. Which of the following terms refers to the use of distortion to create the illusion of an object

extending into space?

(A) Cantilevering

(B) Contrapposto

(D) Foreshortening

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Nationaux / Art Resource, NY

3. In the work shown above, Max Ernst anticipated and manipulated which of the following

postmodern design principles as a means of conveying a sense of the irrational and the

illogical?

(A) Gazing

(B) Hybridity

(D) Juxtaposition

4. Which of the following is the most reasonable action to take for an artist whose work

requires the use of a specific hazardous product?

(A) Finding a nontoxic product to use and adapting the art-making process as necessary

(B) Reading the product’s label and proceeding according to the label directions

(D) Checking with a qualified toxicologist before using the material

5. In storing printmaking supplies, it is important to store which of the following materials

separately from the others?

(A) Acetic acid

(B) Rosin powder

(D) Solvents

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6. Which of the following is most characteristic of gesture drawing?

(A) An outline

(B) Action and movement

(D) Carefully observed details

7. A hard-edge painting is most likely to be characterized by

(A) an even, solid paint application

(B) blurry color mixed on the painting’s surface

(D) translucent multiple layers of paint

8. Which of the following statements accurately describes a JPEG compressed digital

photograph?

(A) The JPEG format is used only for color photos.

(B) A JPEG compression alters the proportions of the original image by rearranging data.

(D) The JPEG format compresses file size by selectively discarding data.

9. Which of the following digital camera settings can be used to keep colors accurate under a

variety of light conditions?

(A) White balance

(B) Aperture

(D) Shutter speed

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10. The term that best describes an artwork that incorporates theatrical elements such as body

movement, audience participation, music, and projected images is

(A) m

imesis

(B) installation art

(D) digital collage

11. Which of the following terms refers to pottery that has NOT been bisque fired?

(A) Ra

(B) Greenware

(D) Stoneware

12. In weaving, the vertical and horizontal threads in a loom are called the

(A) bo

bbin and quill

(B) shuttle and paddle

(D) warp and weft

13. Fragile works of sculpture can be displayed most securely by placing the works

(A) in

glass-paneled cases

(B) on a series of pedestals

(D) in shadow boxes with signs that read “Do Not Touch”

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Historical and Theoretical Foundations of Art

14. Which of the following terms refers to Archaic Greek statues whose poses—rigidly frontal

with clenched fists—recall the stance of ancient Egyptian statues?

(A) Caryatids

(B) Telamones

(D) Kouroi

15. The layout and design of the Temple of Heaven in Beijing, China (above), are intended

mainly as a symbolic expression of the

(A) philosophical principles of feng shui

(

B) metaphysical teachings of the Buddha

(D) emperor’s absolute power over earthly matters

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16. In Michelangelo’s sculpture, above, David’s expression is best characterized as

(A) calm and brave

(B) youthful and idealized

(D) angry and intense

17. The 19th-century photographic process used to create a daguerreotype was notable for its

(A) quick exposure time

(B) ability to capture sharp detail

(D) use of paper negatives

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18. The imagery in the work shown above is a typical decorative motif of Islamic architectural

mosaics known as

(A) calligraphy

(

B) an arabesque

(D) a paisley

19. Which of the following artists is an English landscape painter who created a poetic sense of

changing atmospheric effects by using tiny applications of local color?

(A) John Constable

(

B) William Morris

(D) Joshua Reynolds

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20. Which of the following figures is a contemporary installation artist who uses image

projection and videos?

(A) B

ill Viola

(B) Betye Saar

(D) Rachel Whiteread

21. The aesthetic philosophy that claims that the value of a work of art is determined by

museums and galleries is known as

(A) capi

talism

(B) conceptualism

(D) Institutionalism

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Answers

1. Option (B) is correct. A triad on a color wheel refers to any three equally spaced colors.

The most common triads are the primary colors (red, blue, yellow) and the secondary

colors (purple, green, orange). However, any three hues that are equidistant from each

other constitute a triad.

2. Option (D) is correct. Foreshortening is the representation of any object on a two-

dimensional surface in such a way that the object appears to advance or recede. This is

accomplished by representing the perspectival “distortion” of the form.

3. Option (D) is correct. Juxtaposition refers to the use of unrelated images, materials, etc.,

to create a new image. Although the term has become standard in recent years,

Surrealists such as Max Ernst sometimes used much the same process. In L’Immaculée

Conception manquée, Ernst included images that have no apparent connection to each

other, such as the rabbit, the weeping statue, and the figures, to create a sense of

connections outside the scope of reason.

4. Option (B) is correct. Although it is preferable for artists of all ages to avoid toxic

materials, there are times when a working artist may have to use a toxic material for a

specific purpose. In such cases, the most reasonable course of action is for the artist to

read all directions and cautions carefully and take the necessary precautions.

5. Option (C) is correct. Nitric acid is an oxidizing agent that can react with any of the other

supplies to cause an explosion or fire.

6. Option (B) is correct. Gesture drawing refers to quick, expressive representation, usually

of figures, which is intended to convey the essential movement of the figure. Action and

movement are the essence of gesture drawing.

7. Option (A) is correct. “Hard-edge” is a term used to refer to paintings such as those of

Frank Stella and Ellsworth Kelly in which each area of paint is sharply defined and applied

in a smooth way, without visible brushstrokes or other signs of gesture.

8. Option (D) is correct. JPEG (widely known as .jpg) compression of a digital file is a process

through which a file can be made smaller and, therefore, easier to store and transfer. The

compression is executed by selectively removing data from the image file. It can be used

for black- and-white as well as color files. JPEG compression does not sharpen details or

alter proportions.

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10. Option (C) is correct. Performance art differs from painting, sculpture, or even some

other forms of experimental media in that it emphasizes art as a participatory event that

happens at a particular place and a particular time. It is usually avant-garde or conceptual

in scope. Although not all works of performance art include every element listed here, the

only kind of art that could incorporate all of them is performance art.

11. Option (B) is correct. Bisque firing refers to preliminary firing that is done to harden the

piece prior to glazing and glaze firing. Greenware is a term referring to any pottery that

has not been bisque fired.

12. Option (D) is correct. Weaving on a loom involves stringing a series of threads along the

loom lengthwise (warp) and weaving other threads crosswise (weft), in and out of the

lengthwise threads.

13. Option (A) is correct. Although some of the other choices might provide a bit of protection

for fragile sculptures, a glass-paneled case that allows viewers to see fragile items but not

touch them is the best solution for secure display.

14. Option (D) is correct. “Kouroi” is the term used for Archaic Greek statues of standing male

youths. Made primarily from marble, but sometimes from limestone, wood, bronze, or

terracotta, these life-size Greek statues imitate Egyptian prototypes in that each is posed

stiffly, facing directly forward, with clenched fists and an advancing left foot.

15. Option (C) is correct. A Daoist temple complex constructed between 1406 and 1420, the

Temple of Heaven is laid out in a grid of interlocking circles and squares intended to

symbolize the connection between Heaven and Earth. Traditionally, this relationship was

mediated by the emperor, called the Son of Heaven, who prayed at the Hall of Prayer for

Good Harvests, located in the center of the complex, during important biannual

ceremonies.

16. Option (C) is correct. For his monumental statue of David, Michelangelo chose not to

portray the biblical hero holding the head of the slain Goliath—as both Donatello and

Verrocchio had done—but rather to depict him awaiting the fatal encounter. David stands

with furrowed brow, veins bulging from his neck, his gaze one of studied concentration as

he prepares for Goliath’s challenge.

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17. Option (B) is correct. The first commercially successful photographic process, the

daguerreotype, was developed in France in the early 19th century by Louis-Jacques-

Mandé Daguerre. Each image was a direct positive made in the camera on a silver-plated

copper plate. Since the image was made directly on the silvered surface, it was very

fragile and could not be reproduced; it also required a somewhat lengthy exposure

period. Despite such drawbacks, the daguerreotype quickly became a popular medium,

especially for portraiture, largely because of its ability to capture crisp, accurate detail.

18. Option (B) is correct. An arabesque is an intricate design of repeated lines, often in the

form of plants whose leafy vines interlace. In Islam, these designs constitute an infinite

pattern that extends beyond the material world, symbolizing the limitless nature of

creation and conveying a sense of spirituality.

19. Option (A) is correct. Perhaps the best known English landscape painter of his era, John

Constable used delicate brushstrokes to convey a sense of changing weather in works

such as The Haywain. Constable’s use of natural color, stippled with white, is one of the

most innovative aspects of his paintings; it was central to his ability to demonstrate

shifting atmosphere and changing seasons.

20. Option (A) is correct. Bill Viola is an internationally recognized contemporary video artist,

whose installations frequently incorporate the projection of images and videos.

21. Option (D) is correct. Institutionalism, also known as the institutional theory of art, is an

aesthetic philosophy that stipulates that an object can only be considered art within the

framework of the art world, defined primarily—but not exclusively—by museums and

galleries. Theorists often cite the example of Marcel Duchamp’s Fountain, the urinal

submitted to the Society for Independent Artists exhibit in New York City in 1917. By

being placed in a gallery, the work’s meaning changed: it ceased to be a functional object

and became an art object instead. Fountain is now studied as an exemplar of the

readymade.

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Constructed-Response

Questions Suggested

time—35 minutes for 3

Questions

Directions: For the first question, read the

information presented and then respond

completely to all parts of the task.

• Do not spend too much time on any

one question. Each of these questions

contributes equally to determining

your score for this part of the test; the

three questions combined count for

approximately one-quarter of the

total test score.

• Be sure to read each question

completely before planning your

response to it. ANSWER EVERY PART

OF THE QUESTION COMPLETELY.

• These questions are not primarily a

test of your writing ability but rather

of your understanding of the subject

area. Your responses should be

written as clearly as possible, but it is

understood that your responses will

be less polished than if they had been

developed at home, edited, and

carefully presented.

• Take some time to organize your

thinking before you write. You may

use the scratch paper provided for

making notes. These notes will not be

counted toward your score. No credit

will be given for any responses

marked on scratch paper. All scratch

paper must be turned in to the

administrator at the end of the testing

session.

The scoring of each response will be based

on your ability to

• choose appropriate works of art and

analyze them;

• demonstrate understanding of the

subject matter relevant to the

question; and

• answer all parts of the question

Constructed-Response

Questions

Part B

Three constructed-response questions

Suggested time: 35 minutes

For Historical and Theoretical Foundations

of Art, readers will assign scores based on

the following scoring guide.

HISTORICAL AND THEORETICAL

FOUNDATIONS OF ART GENERAL

SCORING GUIDE

NOTES

The choice of example is critical to the test

taker’s ability to answer the question. Test

takers who select weak or inappropriate

examples are at a disadvantage in that their

examples will not provide the materials

needed to produce relevant analysis.

The scoring guide that follows provides a

general outline of characteristics at each

score point. It is neither expected nor likely

that one response will show evidence of all

of the characteristics of a particular score

point. The score assigned is the score that

best captures the response as a whole.

In general, the difference between a

descriptive and an analytical response is

reflected by the difference between the

score points of 0–1 and 2–3.

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The highest score a response can receive if

the test taker does not clearly identify an

appropriate artwork is a 1.

Suggested time for this question is 15

minutes.

Score of 3

HIGH DEGREE OF COMPETENCE

In a response at this level, the test taker

generally:

• Selects and clearly identifies an

appropriate example

• Shows clear insight into the issues

and/or concepts presented in the

question by using specific visual

evidence obtained from memory to

analyze the work selected

• Provides clear, logical, and accurate

support for general statements,

without significant digression or

factual errors

• Uses art historical and/or theoretical

terminology accurately, as

appropriate

Score of 2

COMPETENCE

In a response at this level, the test taker

generally:

• Selects and identifies an appropriate

example clearly enough for the

example to be verified

• Shows basic insight into the issues

and/or concepts presented in the

question by providing a reasonable

analysis of the work selected,

although the link between the visual

evidence and the topic of the question

may be somewhat general or tenuous

• Provides logical support for general

statements, but the discussion may

lack specificity, digress slightly, and/or

include minor factual errors

• Uses art historical and/or theoretical

terminology with general accuracy, as

appropriate

Score of 1

LIMITED COMPETENCE

In a response at this level, the test taker

generally:

• Selects and identifies an appropriate

example, but the identification may

be difficult to decipher or mostly

implied, even if the artist is clearly

identified

• Demonstrates limited or incomplete

understanding of the issues and/or

concepts presented in the question;

e.g., by discussing the artwork only in

very general or abstract terms

• Provides scant, somewhat illogical,

and/or factually inaccurate support

for general statements in a discussion

that may be primarily descriptive,

superficial, and/or digressive

• Uses art historical and/or theoretical

terminology inaccurately or

inappropriately, or uses very little

terminology, even if it is needed to

make the response coherent

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Score of 0

LITTLE TO NO COMPETENCE

In a response at this level, the test taker

generally:

• Fails to select an appropriate example

or may not provide enough

information for the example to be

identified with any degree of

certainty, even if the artist is clearly

identified

• Demonstrates insufficient

understanding of the issues and/or

concepts presented in the question;

e.g., by failing to connect the topic of

the question to the work selected in

any meaningful way

• Provides little or no support for

general statements, and the support

that is provided may be entirely

descriptive, superficial, digressive,

and/or factually inaccurate

• Provides a response that is too short

for the degree of understanding to be

ascertained

• Addresses a question other than that

asked

• Fails to use art historical and/or

theoretical terminology with any

degree of accuracy, or fails to use

such terminology at all, even if it is

needed to make the response

coherent

History/Theory Sample Question

and Responses

Suggested time—15 minutes

Directions: Read the question carefully and

choose an appropriate example for your

response. Identify your example as fully as

possible. For this question, you may NOT

use your own work or any other student

work as an example. You may discuss

artwork from any time period, but the

example you select must be verifiable; it

must appear either in a textbook or online.

Be sure to address specific visual features

of the example you select in your response.

In many cultures, artists have used

portraiture, including self-portraiture, to

explore aspects of identity. These aspects

often include social or cultural issues such

as race, gender, religion, class, and politics.

Select and clearly identify one such work in

any medium. The work must be a portrait of

a person or persons; the medium can be

either two- or three-dimensional. Using

specific visual evidence, analyze how the

portrait addresses at least one social and/or

cultural issue in relation to identity.

Sample Response That Received a

Score of 3

The contemporary artist Shepard Fairey

created a number of portraits of Barack

Obama during his presidential campaign,

especially the emblematic portrait “HOPE.”

The text on the work of art addresses an

important aspect of Obama’s political

identity. Obama was running for the

position of president under the motto

“hope.” He believed in changing America.

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A more latent message related to identity

has to do with race. Obama was the first

African American to be so successful in a

presidential campaign, causing many artists

to emphasize the color of his skin and

celebrate his unique race and what an

accomplishment it would be for Obama to

be the first African-American president.

Fairey, however, did not color Obama’s skin

brown. His stenciled, linear portrait of a flat,

graphic quality was filled in with red, white,

and blue: the colors that have come to

symbolize the United States of America. The

message that Fairey was conveying was that

race and ethnicity were not the central

characteristics of Obama’s identity. Instead,

his allegiance to the United States and his

patriotism defined who he was.

The graphic style that I described may also

have conveyed an even more subtle

message. If Obama was “flat” (just like his

blocky, unmodeled portrait), then he was

dependable, without any hidden agendas or

facets to his identity that were not clear and

public. Visually, Fairey’s portrait “HOPE” tells

voters that what you see is what you get.

Commentary on Response That

Received a Score of 3

The response includes a clear, logical, and

insightful rendering of how a portrait can

convey both political and racial identity by

using a clearly identified and appropriate

example, Shepard Fairey’s poster HOPE. For

these reasons, a score of 3, indicating “High

Degree of Competence,” is merited.

Specifically, there is a rich abundance of

visual evidence in the analysis of HOPE. The

test taker remarks that Fairey emphasized

Obama’s political identity by “not color[ing]

Obama’s skin brown. His stenciled, linear

portrait of a flat, graphic quality was filled

with red, white, and blue: the colors that

have come to symbolize the United States

of America.” Another comment deals

directly with race: “race and ethnicity were

not the central characteristics of Obama’s

identity.” Further support is provided in the

analytical statement, “If Obama was ‘flat’

(just like his blocky, unmodeled portrait)

then he was dependable . . . Visually,

Fairey’s portrait ‘HOPE’ tells voters that what

you see is what you get.”

In summary, a response with a high degree

of competence includes analysis that is

clear, logical, and insightful. It goes beyond

mere description and general statements to

produce a compelling analysis of the

chosen work, directly answering the issues

raised by the question.

Sample Response That Received a

Score of 2

Sam Taylor-Wood is a contemporary,

London-based artist whose work consists of

photography and film. In her recent series

Self Portrait Suspended (2004), Taylor-

Wood seeks to address issues relevant to

women, such as body image, identity, and

women’s roles in society. Of particular

importance is Sam Taylor-Wood’s battle

against breast cancer.

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In this photographic series, Sam Taylor-

Wood floats between the hardwood floor

and ceiling of her studio, magically falling,

twisting, and posing in mid-air. These

photographs emphasize the femininity of

the artist’s body. The physical impossibility

of these poses entices the viewer to ask

questions as to how and why the woman

dangles in mid-air.

To quickly sum up my interpretations, I

would propose that Taylor-Wood seeks in

this series to (1) express her feelings

dealing with breast cancer (a significant

female issue); (2) contradict the traditional,

often misogynistic male view upon women;

and (3) explore her own self-image and

identity.

Commentary on Response That

Received a Score of 2

The response merits a score of 2, indicating

“Competence,” because it shows basic

insight into how portraiture can address

issues related to identity; in this case,

gender. The artist Sam Taylor-Wood is

clearly identified and so is an appropriate

example of her work, the photographic

series Self Portrait Suspended. Visual

evidence is referenced generally in the

statement, “Sam Taylor-Wood floats

between the hardwood floor and ceiling of

her studio, magically falling, twisting, and

posing in mid-air.” There is ample evidence

throughout the response that the candidate

understands the concepts presented in the

question and is attempting a thoughtful

analysis of Taylor- Wood’s series of self-

portraits.

That said, the analysis lacks specificity.

Although the test taker gestures toward

what Self Portrait Suspended might be

saying about “issues relevant to women,

such as body image, identity, and women’s

roles in society,” these statements are not

supported with specific visual evidence

drawn from the photographs. The student

does not address how Taylor-Wood

“express[es] her feelings dealing with breast

cancer” in the series Self Portrait

Suspended. Because this issue is not

addressed, the link between the visual

evidence and the topic of the question is

somewhat general and tenuous. It may be

that in choosing a series, rather than a

single work, the test taker was unable

to provide the kind of specific visual detail

needed to support a deeper analysis of

what Self Portrait Suspended tells us about

Sam Taylor-Wood.

Sample Response That Received a

Score of 1

Rembrandt was well known for his beautiful

paintings. His own self portraits show his

progress as an artist in his own life and give

commentary on how he even viewed

himself. Near the end of his life he painted

his last self portrait of himself as an old

man. This painting gives insight (when

compared with his earlier ones) as to his

own feelings about himself and his social

class as an artist.

Rembrandt’s earlier self portraits display his

rise to fame. He painted himself as an

arrogant young professional. He glorified

himself in fancy clothes and smug looks.

This clearly illustrates the high social class

enjoyed by artists at this time. As an artist,

Rembrandt was a proud member of upper-

class society.

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Study Companion

His painting of himself as an old man shows

something immensely different. His

tattered clothes, humble look and dull

colors show Rembrandt’s humility. He no

longer enjoys a high social status. This is

because he is no longer an important artist.

Comments on Sample Response

That Received a Score of 1

“Limited Competence” is an appropriate

designation for the response, as it provides

scant, somewhat illogical, and factually

inaccurate support for general statements

about Rembrandt’s self portraits. From an

artistic standpoint, Rembrandt is an

excellent choice for an essay about how

portraiture can be used to explore aspects

of identity, but the example cited, “his last

self portrait,” is difficult to identify and

mostly implied. Moreover, the visual

evidence provided is either minimal—“He

glorified himself in fancy clothes and smug

looks”—or questionable—“His tattered

clothes, humble look and dull colors show

Rembrandt’s humility.”

Limited competence is also demonstrated

by an incomplete understanding of the

issues and concepts presented in the

question. The test taker does refer to social

class, but the evidence provided is either

dubious or inaccurate. Indeed, most of the

supporting statements are factually

incorrect, as it is not true that “Rembrandt

was a proud member of upper-class

society” nor that his portraits changed with

time “because he [was] no longer an

important artist.” As such, the response

demonstrates only limited understanding of

how portraiture might address issues

related to identity, such as social class.

For Art Making, readers will assign scores

based on the following scoring guide:

Art Making General Scoring Guide

NOTES

The scoring guide that follows provides a

general outline of characteristics at each

score point. It is neither expected nor likely

that one response will show evidence of all

of the characteristics of a particular score

point. The score assigned is the score that

best captures the response as a whole.

In general, the difference between a

descriptive and an analytical response is

reflected by the difference between the

score points of 0–1 and 2–3.

If both Art Making questions are answered

with reference to two works in the same

medium, the second response will not be

scored.

Suggested time for each Art Making

question is 10 minutes.

Score of 3

HIGH DEGREE OF COMPETENCE

In a response at this level, the test taker

generally:

• Shows clear understanding of the

issues and/or concepts raised by the

question in relation to the work

selected

• Analyzes the work in a manner that

demonstrates coherent thought and

understanding

• Provides convincing and logical

support for general statements with

no significant digression

• Uses art vocabulary accurately, as

appropriate

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Study Companion

Score of 2

COMPETENCE

In a response at this level, the test taker

generally:

• Shows basic understanding of the

issues and/or concepts raised by the

question in relation to the work

selected

• Analyzes the work in relation to the

question, but the discussion may be

somewhat simplistic or digressive

• Provides some logical details or

examples

• Uses art vocabulary with general

accuracy, as appropriate

Score of 1

LIMITED COMPETENCE

In a response at this level, the test taker

generally:

• Shows limited understanding of the

issues and/or concepts raised by the

question in relation to the work

selected

• Makes observations about the work

selected that may include some

illogical comments

• Does not support general statements

in a clear and/ or logical fashion

• May digress considerably from the

intent of the question

• May omit some aspect of the question

• Uses art vocabulary inaccurately or

inappropriately, or uses very little art

vocabulary, even if it is needed to

make the response coherent

ore of 0

LITTLE TO NO COMPETENCE

In a response at this level, the test taker

generally:

• Shows little or no understanding of

the issues and/or concepts raised by

the question in relation to the work

selected

• Provides few, if any, logical

observations of the work selected

• Provides unclear and/or illogical

support, or no support at all, for

general statements

• Provides a response that is too short

for the degree of understanding to be

ascertained

• Addresses a question other than that

asked

• Fails to use art vocabulary with any

degree of accuracy, or fails to use art

vocabulary at all, even if it is needed

to make the response coherent

Art Making Sample Question and

Responses

Suggested time–10 minutes

Directions: For each question, you are to

discuss ONE of the four reproductions of

your work that you have uploaded digitally

and brought with you. You must

discuss a different work in each question.

The work discussed must be in a different

medium for each question. If both works

are in the same medium, the response to

the second question will not be scored.

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Study Companion

The system-generated ID number for the

work you are writing about must be

entered as the first line of each art-

making response and must have the

EXACT format shown on the prints of

your image files. For example, the first

image you uploaded will have the ID

number AI#001#. You must use the exact ID

number on the printout in order to link the

image to your response. Do NOT embed the

ID in the text of your response, and do not

write anything else on the first line other

than the ID number.

Read both questions before deciding which

of your works you will discuss in each.

You will be required to turn in your

reproduction of each work at the end of

this test.

For each question, read the information

presented and then respond completely to

all parts of the task.

• Do not spend too much time on any

one question. Each question

contributes equally to determining

your score for this part of the test; the

three questions combined count for

approximately one- quarter of the

total test score.

• Be sure to read each question

completely before planning your

response to it. ANSWER EVERY PART

OF THE QUESTION COMPLETELY.

• These questions are not primarily a

test of your writing ability but rather

of your understanding of the subject

area. Your responses will be less

polished than if they had been

developed at home, edited, and

carefully presented.

• Take some time to organize your

thinking before you write. You may

use the scratch paper provided for

making notes. These notes will not be

counted toward your score. No credit

will be given for any responses

marked on scratch paper. All scratch

paper must be turned in to the

administrator at the end of the testing

session.

The scoring of each response will be based

on your ability to

• choose appropriate works of art and

analyze them;

• demonstrate understanding of the

subject matter relevant to the

question; and

• answer all parts of the question

Identify the idea behind this work and the

process or technique that you used to

create it. How did the process or technique

help you to express this idea? (10 minutes)

The Praxis

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Study Companion

Sample Response That Received a

Score of 3

itle of work: Speak Up

Dimensions of work. Height: box approx. 8”

Width: 24” Depth: 1 1/2”

Medium or media: Wood

Other relevant physical characteristics (if

any): None

AI#002#

For me, one of the most interesting things

about sculptures is their ability to be

interactive. This piece was about taking art

and letting the audience use it to say what

they want to. Typically art expresses what

the artist wants to say visually and I wanted

to give viewers the opportunity to express

themselves and interact with art to become

part of it. With the interaction, I knew

people would be picking up the squares of

wood and handling them. This meant that

as well as being visually appealing I wanted

the pieces to be pleasing to the touch. For

this reason I decided to sand all of the 200

letters to make them

smooth to the touch and round the edges.

Someone might need to rummage through

the letters to find what they wanted and I

did not want sharp edges to discourage

them or cause them to write something else

or nothing at all.

My inspiration for the design of the pieces

was Scrabble® so to mirror the precise look

of the letter and the dark against the light I

burned the letters into the wood.

Commentary on Response That

Received a Score of 3

In this response, the test taker

demonstrates a “High Degree of

Competence”; therefore, the response

merits a score of 3.

The idea behind the work is clearly

identified: “This piece was about taking art

and letting the audience use it to say what

they want to I wanted to give

viewers the opportunity to express

themselves and interact with art to become

part of it.” The process is also clearly

expressed: “I decided to sand all of the 200

letters to make them smooth to the touch

and round the edges.” Further elaboration

is provided: “I burned the letters into the

wood” to mimic the look, as well as the feel,

of Scrabble® tiles, which people are

accustomed to holding and manipulating.

Though the technical discussion of process

is relatively general, the process is

convincingly and logically connected

to the idea behind the work: “as well as

being visually appealing I wanted the pieces

to be pleasing to the touch….My inspiration

for the design of the pieces was Scrabble.”

All statements about process link directly

with the stated idea of drawing in viewers

to interact with the work.

As a whole, the response is focused

squarely on the question asked and on the

work shown. Discussion of the work shows

clear, articulate thinking about making art.

The Praxis

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Study Companion

Sample Response That Received a

Score of 2

Title of work: Tic Toc Work

Dimensions of work. Height: 19” Width 12.5”

Medium or media: Photomechanical screen

Other relevant physical characteristics (if

any): Cotton base paper

AI#004#

In my screen print piece “Tic Toc Work” I

had to make a decision before starting on

which screen print method I wanted to use.

Because this piece was going to have a lot

of layers and fine details, the best approach

was to use photomechanical screen

printing. I could duplicate an image with

fine detail and also layer it later using the

same screen exposure. I next had to choose

my colors. When picking out a color

combination for this image I knew I wanted

it to represent coffee and business “gold” so

I started off with a brown cotton paper base

and then mixed colors that were darker

than my base. In some of my colors I mixed

transparent paint so some images will show

through others. This is to depict a more

dream like feel, it’s not all there, and I also

show the amount of work that went into

this piece. With these two aspects in place, I

was able to make fine detail cogs and a

translucent dreamlike image drowned in

coffee and business tones.

The Praxis

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Study Companion

Commentary on Response That

Received a Score of 2

The response merits a score of 2, indicating

“Competence,” because it demonstrates

basic understanding of the question.

The response begins with the selection and

elaboration of the process—

“photomechanical screenprinting”—and

goes on to explain technical decisions that

followed. These decisions included color

choices and the use of both transparent

and, by implication, opaque inks. The

discussion of technique is clear and

generally informative. By contrast, the

concept has to be pieced together from two

different statements: “I knew I wanted it to

represent coffee and business ‘gold’” and

“This is to depict a more dream like feel.”

These two concept statements do not have

an obvious connection to each other, which

weakens the overall coherence of the

response. Nor are the links between idea

and process absolutely clear.

As a whole, the response provides

considerable information about the process

and analyzes the work in relation to the

question, thereby showing basic

understanding.

Sample Response That Received a

Score of 1

itle of work: Untitled

Dimensions of work. Height: 8” Width: 10”

Medium or media: Photography

Other relevant physical characteristics (if

any): black & white

AI#004#

In this work it was important for me to

create a balance in the work. The girl is

offset in the work, but is balanced because

of the window.

I also wanted to keep the viewer interested

in the work. I felt by having the girl looking

up, that will keep you guessing as to what

she is looking up at or why is this girl

standing next to this building that looks

abandoned. The message that it conveys is

once again left for the viewer to detect.

The technique for this image is shot middle

of frame. If I were to shoot this image in any

other direction it would have not given the

same results.

The Praxis

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Study Companion

Commentary on Sample Response

That Received a Score of 1

This response demonstrates “Limited

Competence” and therefore merits a score

of 1. The stated ideas are to “create a

balance” and “to keep the viewer interested

in the work.” Yet the response does not

specify the kind of balance nor does it

provide a reason for composing the image

with the balance that the image shows.

Holding a viewer’s interest is an extremely

general idea.

The statement that the intended message is

“once again left for the viewer to detect”

suggests that perhaps one idea behind the

work was to create a mysterious image. The

description of the figure looking up and her

placement in front of the building appear to

support that suggestion, but the connection

between the idea and the work is

somewhat thin.

The declaration “The technique for this

image is shot middle of frame” is the only

reference to technique or process in the

response, and even this could be

considered as composition rather than

actual process. No real explanation is

included of how the process or technique

might have helped to express the ideas that

are either stated or implied.

As a whole, the response does not provide

logical support for general statements. In

addition, the lack of discussion about

photographic technique or process means

that the question is never fully addressed.

The Praxis

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Study Companion

Understanding Question Types

The Praxis

assessments include a variety of question types: constructed response (for which

you write a response of your own); selected response, for which you select one or more

answers from a list of choices or make another kind of selection (e.g., by selecting a sentence in

a text or by selecting part of a graphic); and numeric entry, for which you enter a numeric value

in an answer field. You may be familiar with these question formats from taking other

standardized tests. If not, familiarize yourself with them so you don’t spend time during the test

figuring out how to answer them.

Understanding Selected-Response and Numeric-Entry Questions

For most questions, you respond by selecting an oval to select a single answer from a list of

answer choices.

However, interactive question types may also ask you to respond by:

• Selecting more than one choice from a list of choices.

• Typing in a numeric-entry box. When the answer is a number, you may be asked to

enter a numerical answer. Some questions may have more than one entry box to enter

a response. Numeric-entry questions typically appear on mathematics-related tests.

• Selecting parts of a graphic. In some questions, you will select your answers by selecting

a location (or locations) on a graphic such as a map or chart, as opposed to choosing

your answer from a list.

• Selecting sentences. In questions with reading passages, you may be asked to choose

your answers by selecting a sentence (or sentences) within the reading passage.

• Dragging and dropping answer choices into targets on the screen. You may be asked to

select answers from a list of choices and to drag your answers to the appropriate

location in a table, paragraph of text or graphic.

• Selecting answer choices from a drop-down menu. You may be asked to choose

answers by selecting choices from a drop-down menu (e.g., to complete a sentence).

Remember that with every question you will get clear instructions.

The Praxis

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Study Companion

Understanding Constructed-Response Questions

Some tests include constructed-response questions, which require you to demonstrate your

knowledge in a subject area by writing your own response to topics. Essays and short-answer

questions are types of constructed-response questions.

For example, an essay question might present you with a topic and ask you to discuss the

extent to which you agree or disagree with the opinion stated. You must support your position

with specific reasons and examples from your own experience, observations, or reading.

Review a few sample essay topics:

• Brown v. Board of Education of Topeka

“We come then to the question presented: Does segregation of children in public

schools solely on the basis of race, even though the physical facilities and other

‘tangible’ factors may be equal, deprive the children of the minority group of equal

educational opportunities? We believe that it does.”

A. What legal doctrine or principle, established in Plessy v. Ferguson (1896), did the

Supreme Court reverse when it issued the 1954 ruling quoted above?

B. What was the rationale given by the justices for their 1954 ruling?

• In his self-analysis, Mr. Payton says that the better-performing students say small-group work

is boring and that they learn more working alone or only with students like themselves.

Assume that Mr. Payton wants to continue using cooperative learning groups because he

believes they have value for all students.

o Describe TWO strategies he could use to address the concerns of the students

who have complained.

o Explain how each strategy suggested could provide an opportunity to improve

the functioning of cooperative learning groups. Base your response on principles

of effective instructional strategies.

• “Minimum-wage jobs are a ticket to nowhere. They are boring and repetitive and teach

employees little or nothing of value. Minimum-wage employers take advantage of people

because they need a job.”

o Discuss the extent to which you agree or disagree with this opinion. Support

your views with specific reasons and examples from your own experience,

observations, or reading.

The Praxis

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Study Companion

Keep these things in mind when you respond to a constructed-response question:

1. Answer the question accurately. Analyze what each part of the question is asking you

to do. If the question asks you to describe or discuss, you should provide more than just

a list.

2. Answer the question completely. If a question asks you to do three distinct things in

your response, you should cover all three things for the best score. Otherwise, no

matter how well you write, you will not be awarded full credit.

3. Answer the question that is asked. Do not change the question or challenge the basis

of the question. You will receive no credit or a low score if you answer another question

or if you state, for example, that there is no possible answer.

4. Give a thorough and detailed response. You must demonstrate that you have a

thorough understanding of the subject matter. However, your response should be

straightforward and not filled with unnecessary information.

5. Take notes on scratch paper so that you don’t miss any details. Then you’ll be sure to

have all the information you need to answer the question.

Reread your response. Check that you have written what you thought you wrote. Be sure not

to leave sentences unfinished or omit clarifying information.

The Praxis

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Study Companion

General Assistance For The Test

Praxis

Interactive Practice Test

This full-length Praxis

practice test lets you practice answering one set of authentic test

questions in an environment that simulates the computer-delivered test.

• Timed just like the real test

• Correct answers with detailed explanations

• Practice test results for each content category

ETS provides a free interactive practice test with each test registration. You can learn more

here

Doing Your Best

Strategy and Success Tips

Effective Praxis test preparation doesn’t just happen. You'll want to set clear goals and

deadlines for yourself along the way. Learn from the experts. Get practical tips to help you

navigate your Praxis test and make the best use of your time. Learn more at

Strategy and Tips

for Taking a Praxis Test.

Develop Your Study Plan

Planning your study time is important to help ensure that you review all content areas covered

on the test. View a sample plan and learn how to create your own. Learn more at

Develop a

Study Plan.

Helpful Links

Ready to Register – How to register and the information you need to know to do so.

Disability Accommodations – Testing accommodations are available for test takers who meet

ETS requirements.

PLNE Accommodations (ESL) – If English is not your primary language, you may be eligible for

extended testing time.

What To Expect on Test Day – Knowing what to expect on test day can make you feel more at

ease.

Getting Your Scores – Find out where and when you will receive your test scores.

The Praxis



Study Companion

State Requirements – Learn which tests your state requires you to take.

Other Praxis Tests – Learn about other Praxis tests and how to prepare for them.

To search for the Praxis test prep resources

that meet your specific needs, visit:

www.ets.org/praxis/testprep

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