Unit

SOLID SST
1
TATE

I. Multiple Choice Questions (Type-I)

1. Which of the following conditions favours the existence of a substance in the
solid state?
(i) High temperature
(ii) Low temperature
(iii) High thermal energy
(iv) Weak cohesive forces
2. Which of the following is not a characteristic of a crystalline solid?
(i) Definite and characteristic heat of fusion.
(ii) Isotropic nature.
(iii) A regular periodically repeated pattern of arrangement of constituent
particles in the entire crystal.
(iv) A true solid
3. Which of the following is an amorphous solid?
(i) Graphite (C)
(ii) Quartz glass (SiO2)
(iii) Chrome alum
(iv) Silicon carbide (SiC)
4. Which of the following arrangements shows schematic alignment of magnetic
moments of antiferromagnetic substances?

(i)

(ii)

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 (iii)

(iv)

5. Which of the following is true about the value of refractive index of quartz glass?
(i) Same in all directions
(ii) Different in different directions
(iii) Cannot be measured
(iv) Always zero
6. Which of the following statement is not true about amorphous solids?
(i) On heating they may become crystalline at certain temperature.
(ii) They may become crystalline on keeping for long time.
(iii) Amorphous solids can be moulded by heating.
(iv) They are anisotropic in nature.
7. The sharp melting point of crystalline solids is due to ___________.
(i) a regular arrangement of constituent particles observed over a short
distance in the crystal lattice.
(ii) a regular arrangement of constituent particles observed over a long
distance in the crystal lattice.
(iii) same arrangement of constituent particles in different directions.
(iv) different arrangement of constituent particles in different directions.
8. Iodine molecules are held in the crystals lattice by ____________.
(i) london forces
(ii) dipole-dipole interactions
(iii) covalent bonds
(iv) coulombic forces
9. Which of the following is a network solid?
(i) SO2 (Solid)
(ii) I2
(iii) Diamond
(iv) H2O (Ice)
10. Which of the following solids is not an electrical conductor?
(A) Mg (s) (B) TiO (s) (C) I2 (s) (D) H2O (s)

(i) (A) only

(ii) (B) Only
(iii) (C) and (D)
(iv) (B), (C) and (D)
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11. Which of the following is not the characteristic of ionic solids?
(i) Very low value of electrical conductivity in the molten state.
(ii) Brittle nature.
(iii) Very strong forces of interactions.
(iv) Anisotropic nature.

12. Graphite is a good conductor of electricity due to the presence of __________.

(i) lone pair of electrons
(ii) free valence electrons
(iii) cations
(iv) anions

13. Which of the following oxides behaves as conductor or insulator depending

upon temperature?
(i) TiO
(ii) SiO2
(iii) TiO3
(iv) MgO

14. Which of the following oxides shows electrical properties like metals?
(i) SiO2
(ii) MgO
(iii) SO2(s)
(iv) CrO2

15. The lattice site in a pure crystal cannot be occupied by _________.

(i) molecule
(ii) ion
(iii) electron
(iv) atom

16. Graphite cannot be classified as __________.

(i) conducting solid
(ii) network solid
(iii) covalent solid
(iv) ionic solid

17. Cations are present in the interstitial sites in __________.

(i) Frenkel defect
(ii) Schottky defect
(iii) Vacancy defect
(iv) Metal deficiency defect
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 18. Schottky defect is observed in crystals when __________.
(i) some cations move from their lattice site to interstitial sites.
(ii) equal number of cations and anions are missing from the lattice.
(iii) some lattice sites are occupied by electrons.
(iv) some impurity is present in the lattice.
19. Which of the following is true about the charge acquired by p-type
semiconductors?
(i) positive
(ii) neutral
(iii) negative
(iv) depends on concentration of p impurity
20. To get a n-type semiconductor from silicon, it should be doped with a
substance with valence__________.
(i) 2
(ii) 1
(iii) 3
(iv) 5
21. The total number of tetrahedral voids in the face centred unit cell is __________.
(i) 6
(ii) 8
(iii) 10
(iv) 12
22. Which of the following point defects are shown by AgBr(s) crystals?

(A) Schottky defect (B) Frenkel defect

(C) Metal excess defect (D) Metal deficiency defect

(i) (A) and (B)

(ii) (C) and (D)
(iii) (A) and (C)
(iv) (B) and (D)
23. In which pair most efficient packing is present?
(i) hcp and bcc
(ii) hcp and ccp
(iii) bcc and ccp
(iv) bcc and simple cubic cell
24. The percentage of empty space in a body centred cubic arrangement is
________.
(i) 74
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 (ii) 68
(iii) 32
(iv) 26

25. Which of the following statement is not true about the hexagonal close
packing?
(i) The coordination number is 12.
(ii) It has 74% packing efficiency.
(iii) Tetrahedral voids of the second layer are covered by the spheres of the
third layer.
(iv) In this arrangement spheres of the fourth layer are exactly aligned with
those of the first layer.

26. In which of the following structures coordination number for cations and
anions in the packed structure will be same?
–
(i) Cl ion form fcc lattice and Na+ ions occupy all octahedral voids of the
unit cell.
–
(ii) Ca2+ ions form fcc lattice and F ions occupy all the eight tetrahedral
voids of the unit cell.
(iii) O2– ions form fcc lattice and Na+ ions occupy all the eight tetrahedral
voids of the unit cell.
2– 2+
(iv) S ions form fcc lattice and Zn ions go into alternate tetrahedral voids
of the unit cell.

27. What is the coordination number in a square close packed structure in two
dimensions?
(i) 2
(ii) 3
(iii) 4
(iv) 6

28. Which kind of defects are introduced by doping?

(i) Dislocation defect
(ii) Schottky defect
(iii) Frenkel defects
(iv) Electronic defects

29. Silicon doped with electron-rich impurity forms ________.

(i) p-type semiconductor
(ii) n -type semiconductor
(iii) intrinsic semiconductor
(iv) insulator

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 30. Which of the following statements is not true?
(i) Paramagnetic substances are weakly attracted by magnetic field.
(ii) Ferromagnetic substances cannot be magnetised permanently.
(iii) The domains in antiferromagnetic substances are oppositely oriented
with respect to each other.
(iv) Pairing of electrons cancels their magnetic moment in the diamagnetic
substances.

31. Which of the following is not true about the ionic solids?
(i) Bigger ions form the close packed structure.
(ii) Smaller ions occupy either the tetrahedral or the octahedral voids
depending upon their size.
(iii) Occupation of all the voids is not necessary.
(iv) The fraction of octahedral or tetrahedral voids occupied depends upon
the radii of the ions occupying the voids.

32. A ferromagnetic substance becomes a permanent magnet when it is placed in

a magnetic field becuase ________.
(i) all the domains get oriented in the direction of magnetic field.
(ii) all the domains get oriented in the direction opposite to the direction of
magnetic field.
(iii) domains get oriented randomly.
(iv) domains are not affected by magnetic field.

33. The correct order of the packing efficiency in different types of unit cells is ________.
(i) fcc < bcc < simple cubic
(ii) fcc > bcc > simple cubic
(iii) fcc < bcc > simple cubic
(iv) bcc < fcc > simple cubic

34. Which of the following defects is also known as dislocation defect?

(i) Frenkel defect
(ii) Schottky defect
(iii) Non-stoichiometric defect
(iv) Simple interstitial defect

35. In the cubic close packing, the unit cell has ________.
(i) 4 tetrahedral voids each of which is shared by four adjacent unit cells.
(ii) 4 tetrahedral voids within the unit cell.
(iii) 8 tetrahedral voids each of the which is shared by four adjacent unit
cells.
(iv) 8 tetrahedral voids within the unit cells.

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36. The edge lengths of the unit cells in terms of the radius of spheres constituting
fcc,bcc and simple cubic unit cell are respectively________.

4r
(i) 2 2r , , 2r
3

4r
(ii) , 2 2r ,2r
3

4r
(iii) 2r , 2 2r ,
3

4r
(iv) 2r , ,2 2r
3

37. Which of the following represents correct order of conductivity in solids?

(i) κ metals >> κ insulators< κsemiconductors
(ii) κmetals<< κinsulators < κsemiconductors
(iii) κmetals
κsemiconductors > κinsulators = zero
(iv) κ metals < κ semiconductors > κinsulators ≠ zero

II. Multiple Choice Questions (Type-II)

Note : In the following questions two or more options may be correct.

38. Which of the following is not true about the voids formed in 3 dimensional
hexagonal close packed structure?
(i) A tetrahedral void is formed when a sphere of the second layer is present
above triangular void in the first layer.
(ii) All the triangular voids are not covered by the spheres of the second
layer.
(iii) Tetrahedral voids are formed when the triangular voids in the second
layer lie above the triangular voids in the first layer and the triangular
shapes of these voids do not overlap.
(iv) Octahedral voids are formed when the triangular voids in the second
layer exactly overlap with similar voids in the first layer.

39. The value of magnetic moment is zero in the case of antiferromagnetic

substances because the domains ________.
(i) get oriented in the direction of the applied magnetic field.
(ii) get oriented opposite to the direction of the applied magnetic field.
(iii) are oppositely oriented with respect to each other without the application
of magnetic field.
(iv) cancel out each other’s magnetic moment.
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 40. Which of the following statements are not true?
(i) Vacancy defect results in a decrease in the density of the substance.
(ii) Interstitial defects results in an increase in the density of the substance.
(iii) Impurity defect has no effect on the density of the substance.
(iv) Frankel defect results in an increase in the density of the substance.

41. Which of the following statements are true about metals?

(i) Valence band overlaps with conduction band.
(ii) The gap between valence band and conduction band is negligible.
(iii) The gap between valence band and conduction band cannot be
determined.
(iv) Valence band may remain partially filled.

42. Under the influence of electric field, which of the following statements is true
about the movement of electrons and holes in a p-type semi conductor?
(i) Electron will move towards the positvely charged plate through electron
holes.
(ii) Holes will appear to be moving towards the negatively charged plate.
(iii) Both electrons and holes appear to move towards the positively charged
plate.
(iv) Movement of electrons is not related to the movement of holes.

43. Which of the following statements are true about semiconductors?

(i) Silicon doped with electron rich impurity is a p-type semiconductor.
(ii) Silicon doped with an electron rich impurity is an n-type semiconductor.
(iii) Delocalised electrons increase the conductivity of doped silicon.
(iv) An electron vacancy increases the conductivity of n-type semiconductor.

44. An excess of potassium ions makes KCl crystals appear violet or lilac in colour
since ________.
(i) some of the anionic sites are occupied by an unpaired electron.
(ii) some of the anionic sites are occupied by a pair of electrons.
(iii) there are vacancies at some anionic sites.
(iv) F-centres are created which impart colour to the crystals.

45. The number of tetrahedral voids per unit cell in NaCl crystal is ________.
(i) 4
(ii) 8
(iii) twice the number of octahedral voids.
(iv) four times the number of octahedral voids.

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46. Amorphous solid can also be called ________.
(i) pseudo solids
(ii) true solids
(iii) super cooled liquids
(iv) super cooled solids

47. A perfect crystal of silicon (Fig. 1.1)

is doped with some elements as given
in the options. Which of these options
show n-type semiconductors?

Fig. 1.1

(i) (ii)

(iii) (iv)

48. Which of the following statements are correct?

(i) Ferrimagnetic substances lose ferrimagnetism on heating and become
paramagnetic.
(ii) Ferrimagnetic substances do not lose ferrimagnetism on heating and
remain ferrimagnetic.
(iii) Antiferromagnetic substances have domain structures similar to
ferromagnetic substances and their magnetic moments are not cancelled
by each other.
(iv) In ferromagnetic substances all the domains get oriented in the direction
of magnetic field and remain as such even after removing magnetic field.

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 49. Which of the following features are not shown by quartz glass?
(i) This is a crystalline solid.
(ii) Refractive index is same in all the directions.
(iii) This has definite heat of fusion.
(iv) This is also called super cooled liquid.

50. Which of the following cannot be regarded as molecular solid?

(i) SiC (Silicon carbide)
(ii) AlN
(iii) Diamond
(iv) I2

51. In which of the following arrangements octahedral voids are formed?

(i) hcp
(ii) bcc
(iii) simple cubic
(iv) fcc
52. Frenkel defect is also known as ________.
(i) stoichiometric defect
(ii) dislocation defect
(iii) impurity defect
(iv) non-stoichometric defect
53. Which of the following defects decrease the density?
(i) Interstitial defect
(ii) Vacancy defect
(iii) Frankel defect
(iv) Schottky defect

III. Short Answer Type

54. Why are liquids and gases categorised as fluids?
55. Why are solids incompressible?
56. Inspite of long range order in the arrangement of particles why are the crystals
usually not perfect?
57. Why does table salt, NaCl, some times appear yellow in colour?
58. Why is FeO (s) not formed in stoichiometric composition?
59. Why does white ZnO (s) becomes yellow upon heating?

Exemplar Problems, Chemistry 10

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60. Why does the electrical conductivity of semiconductors increase with rise in
temperature?
61. Explain why does conductivity of germanium crystals increase on doping
with galium.
62. In a compound, nitrogen atoms (N) make cubic close packed lattice and metal
atoms (M) occupy one-third of the tetrahedral voids present. Determine the
formula of the compound formed by M and N?
63. Under which situations can an amorphous substance change to crystalline form?

IV. Matching Type

Note : In the following questions match the items given in Column I with
the items given in Column II. In some questions more than one item of
Column I and Column II may match.

64. Match the defects given in Column I with the statements in given Column II.
Column I Column II
(i) Simple vacancy defect (a) shown by non-ionic solids and
increases density of the solid.
(ii) Simple interstitial defect (b) shown by ionic solids and decreases
density of the solid.
(iii) Frenkel defect (c) shown by non ionic solids and density
of the solid decreases
(iv) Schottky defect (d) shown by ionic solids and density of
the solid remains the same.
65. Match the type of unit cell given in Column I with the features given in
Column II.
Column I Column II
(i) Primitive cubic unit cell (a) Each of the three perpendicular
edges compulsorily have the different
edge length i.e; a≠b≠c.
(ii) Body centred cubic unit cell (b) Number of atoms per unit cell is one.
(iii) Face centred cubic unit cell (c) Each of the three perpendicular
edges compulsorily have the same
edge length i.e; a = b = c
(iv) End centred orthorhombic (d) In addition to the contribution from
unit cell the corner atoms the number of atoms
present in a unit cell is one.
(e) In addition to the contribution from
the corner atoms the number of
atoms present in a unit cell is three.
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 66. Match the types of defect given in Column I with the statement given in
Column II.
Column I Column II
(i) Impurity defect (a) NaCl with anionic sites called
F-centres
(ii) Metal excess defect (b) FeO with Fe3+
(iii) Metal deficiency defect (c) NaCl with Sr2+ and some cationic sites
vacant

67. Match the items given in Column I with the items given in Column II.
Column I Column II
(i) Mg in solid state (a) p-Type semiconductor
(ii) MgCl2 in molten state (b) n-Type semiconductor
(iii) Silicon with phosphorus (c) Electrolytic conductors
(iv) Germanium with boron (d) Electronic conductors

68. Match the type of packing given in Column I with the items given in Column II.
Column I Column II
(i) Square close packing in (a) Triangular voids
two dimensions
(ii) Hexagonal close packing (b) Pattern of spheres is repeated in
in two dimensions every fourth layer
(iii) Hexagonal close packing in (c) Coordination number 4
three dimensions
(iv) Cubic close packing in (d) Pattern of sphere is repeated in
three dimensions alternate layers

V. Assertion and Reason Type

Note : In the following questions a statement of assertion followed by a
statement of reason is given. Choose the correct answer out of the following
choices.
(i) Assertion and reason both are correct statements and reason is correct
explanation for assertion.
(ii) Assertion and reason both are correct statements but reason is not correct
explanation for assertion.
(iii) Assertion is correct statement but reason is wrong statement.
(iv) Assertion is wrong statement but reason is correct statement.

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69. Assertion : The total number of atoms present in a simple cubic unit cell
is one.
Reason : Simple cubic unit cell has atoms at its corners, each of which
is shared between eight adjacent unit cells.
70. Assertion : Graphite is a good conductor of electricity however diamond
belongs to the category of insulators.
Reason : Graphite is soft in nature on the other hand diamond is very
hard and brittle.
71. Assertion : Total number of octahedral voids present in unit cell of cubic
close packing including the one that is present at the body
centre, is four.
Reason : Besides the body centre there is one octahedral void present
at the centre of each of the six faces of the unit cell and each
of which is shared between two adjacent unit cells.
72. Assertion : The packing efficiency is maximum for the fcc structure.
Reason : The cordination number is 12 in fcc structures.
73. Assertion : Semiconductors are solids with conductivities in the
intermediate range from 10–6 – 104 ohm–1m–1.
Reason : Intermediate conductivity in semiconductor is due to partially
filled valence band.

VI. Long Answer Type

74. With the help of a labelled diagram show that there are four octahedral voids
per unit cell in a cubic close packed structure.
75. Show that in a cubic close packed structure, eight tetrahedral voids are present
per unit cell.
76. How does the doping increase the conductivity of semiconductors?
77. A sample of ferrous oxide has actual formula Fe0.93O1.00. In this sample what
2+
fraction of metal ions are Fe ions? What type of nonstoichiometric defect is
present in this sample?

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 ANSWERS
I. Multiple Choice Questions (Type-I)

1. (ii) 2. (ii) 3. (ii) 4. (iv) 5. (i) 6. (iv)

7. (ii) 8. (i) 9. (iii) 10. (iii) 11. (i) 12. (ii)
13. (iii) 14. (iv) 15. (iii) 16. (iv) 17. (i) 18. (ii)
19. (ii) 20. (iv) 21. (ii) 22. (i) 23. (ii) 24. (iii)
25. (iv) 26. (i) 27. (iii) 28. (iv) 29. (ii) 30. (ii)
31. (iv) 32. (i) 33. (ii) 34. (i) 35. (iv) 36. (i)
37. (i)

II. Multiple Choice Questions (Type-II)

38. (iii), (iv) 39. (iii), (iv) 40. (iii), (iv) 41. (i), (ii), (iv)

42. (i), (ii) 43. (ii), (iii) 44. (i), (iv) 45. (ii), (iii)

46. (i), (iii) 47. (i), (iii) 48. (i), (iv) 49. (i), (iii)

50. (i), (ii), (iii) 51. (i), (iv) 52. (i), (ii) 53. (ii), (iv)

III. Short Answer Type

54. The liquids and gases have a property to flow i.e. the molecules can move
past and tumble over one another freely. Hence, they have been
categorised as fluids.
55. The distance between the constituent particles (atoms, ions, molecules
etc.) is very less in solids. On bringing them still closer repulsion will start
between electron clouds of these particles. Hence, they cannot be brought
further close to each other.
56. Crystals have long range repeated pattern of arrangement of constitutent
particles but in the process of crystallisation some deviations from the
ideal arrangement (i.e. defects) may be introduced, therefore, crystals are
usually not perfect.
57. Yellow colour in sodium chloride is due to metal excess defect due to
which unpaired electrons occupy anionic sites. These sites are called
F-centres. These electrons absorb energy from the visible region for the
excitation which makes crystal appear yellow.
58. In the crystals of FeO, some of the Fe2+ cations are replaced by Fe3+ ions.
Three Fe2+ ions are replaced by two Fe3+ ions to make up for the loss of
positive charge. Eventually there would be less amount of metal as
compared to stoichiometric proportion.
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 59. On heating ZnO loses oxygen according to the following reaction.
heating 2+ 1 –
ZnO 
→ Zn + O2 +2e
2

Zn2+ ions and electrons move to interstitial

sites and F-centres are created which impart
yellow colour to ZnO(s).
60. The gap between conduction band and
valence band is small in semiconductors
(Fig. 1.1), therefore, electrons from the
valence band can jump to the conduction
band on increasing temperature. Thus they
become more conducting as the
temperature increases.
61. On doping germanium with galium some of
the positions of lattice of germanium are
occupied by galium. Galium atom has only
three valence electrons. Therefore, fourth
valency of nearby germanium atom is not
satisfied. The place remains vacant. This
place is deficient of electrons and is therefore Fig. 1.2 : Semi conductor
called electron hole or electron vacancy.
Electron from neighbouring atom comes and
fills the gap, thereby creating a hole in its original position. Under the
influence of electric field electrons move towards positively charged plates
through these holes and conduct electricity. The holes appear to move
towards negatively charged plates.
62. M2N3
63. See page no. 3 of NCERT textbook for Class XII.

IV. Matching Type

64. (i) → (c) (ii) → (a) (iii) → (d) (iv) → (b)

65. (i) → (b), (c) (ii) → (c), (d) (iii) → (c), (e) (iv) → (a), (d)
66. (i) → (c) (ii) → (a) (iii) → (b)
67. (i) → (d) (ii) → (c) (iii) → (b) (iv) → (a)
68. (i) → (c) (ii) → (a) (iii) → (d) (iv) → (b)

V. Assertion and Reason Type

69. (i) 70. (ii) 71. (iii) 72. (ii) 73. (iii)

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 VI. Long Answer Type

74. [Hint : Draw structure and discuss]

75. [Hint :Draw structure and discuss]
76. See page no. 26 of NCERT textbook for Class XII.
77. Let the formula of sample be
2+ 3+
(Fe )x (Fe )yO.
On looking at the given formula of the compound
x + y = 0.93 ... (1)
Total positive charge on ferrous and ferric ions should balance the two
units of negative charge on oxygen. Therefore,
2x + 3y = 2 ... (2)

3
⇒ x+ y= 1 ... (3)
2

On subtracting equation (1) from equation (3) we have

3
y − y = 1 − 0.93
2

1
⇒ y = 0.07
2

⇒ y = 0.14
On putting the value of y in equation (1) we get,
x + 0.14 = 0.93

⇒ x = 0.93 – 0.14
x = 0.79

2+ 0.79
Fraction of Fe ions present in the sample = = 0.81
0.93

Metal deficiency defect is present in the sample because iron is less in

amount than that required for stoichiometric composition.

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 FINE ARTS
Subject Code: 049 TO 052
Classes XI-XII (2025-26)

Arts can broadly be classified into the Visual, Literary, and Performing Arts. It involves
innovative and imaginative ways of expression in different forms using a variety of material
and media.
NEP 2020 helps students to utilize various aspects and forms of art and culture as the
basis for learning concepts across subjects. A part of the thrust on experiential learning,
art-integrated education, embedded in classroom transactions, not only creates joyful
learning but helps in imbibing the Indian ethos through the knowledge of Indian art and
culture.
Art in School Education addresses the Goals and Competencies for every student to find
diverse ways of persisting and solving problems. We not only create an artwork, but also
enjoy the experience of viewing and responding to many forms of cultural expression.
When they create artwork together and work collaboratively, they recognize one another’s
strengths and develop deeper connections with the world around them. Such a process
nurtures empathy, appreciation, cooperation, and trust, all of which are fundamental for
developing social and human values, such as ahimsa, love, compassion, friendship, and
peaceful co-existence. As a common language, the Arts bring people together and lead
them to develop acceptance, understanding, and mutual respect
Art classes involve three important processes—making artwork, thinking creatively in the
Arts, and appreciating all forms of artistic expression down the ages. This immersive
experience of producing art improves cognition, leaving a positive and long-lasting impact
on the development of aesthetic sensibilities, expression, imagination, observation,
crafting skills, creativity, and students’ overall confidence in their own abilities.
Aims
Through Art students should be able to connect with their culture and appreciate the
diversity of artistic expressions. For an effective Art Education programme, schools must
aim to achieve:
a. Joy in exploring and creating artwork: This would mean gaining a variety of
aesthetic experiences and deriving joy from all forms of art.
b. Imagination and creativity: Acquiring and applying creative thinking and artistic
capacities through experimentation and sustained practice in the Arts is at the heart
of Art Education.
c. Empathy and sensitivity: Meaningful experience in the Arts has great potential to
nurture empathy and sensitivity towards the expressions of others.
d. Understanding of connections with other disciplines: The Arts teaches
appreciation of beauty in nature and the observation of details and patterns. This
approach to the understanding of disciplines makes for aesthetic experiences in
themselves.
e. Sense of belonging: Through artistic engagement, students will find connections
1
 to their own culture and traditions, as well as learn an appreciation for India’s
multicultural diversity and knowledge of contemporary artists and art practices.
f. Development of Aesthetic Sensibilities: Students should be able to describe the
characteristics of things they find beautiful, do subjective interpretations, assess
the aesthetic qualities of artwork based on the commonly accepted criteria in the
Arts and expand their ‘tastes’ by participating in art processes.
Art Education deals with developing creativity, aesthetic sensibilities, cultural literacy
which familiarizes them with significant events, figures, and works of literature, that have
shaped a society and had a lasting impact on its development. This is done through the
knowledge of various forms of Visual Arts
Practical & Theory
Art education at Secondary stage focus on giving Emphasis on Process, and not
just Product
Artistic processes, such as ideation, creation, presentation, response, review, and making
connections, ensures development of cognitive, affective, psychomotor, socio-emotional,
and language while learning the Arts as thinking, making, and appreciation processes are
fundamental to Art Education.
Thinking processes refer to a wide range of cognitive activities while working in the
Arts. The first is the process of generating ideas and innovating while creating artwork.
The second is understanding and applying the elements of various Art forms (point, line,
shape & form, colour, shape tones, texture, space.)
The third is inquiry and critical probing into art practices and aesthetic experiences.
The fourth is to attempt newer, reasonable interpretations while working in the Arts.
The fifth is to connect the Arts with other knowledge as well as one’s own experiences.
Making processes are related to the execution and production of artwork. These
processes engage the mind and body for expressing ideas and feelings. This includes use
of materials, tools, and other resources. The making processes also focus on exploring
techniques, refining skills, and practicing creative improvisation while producing artwork.
Appreciation processes begin with the exposure to a wide range of art forms, artists, and
their practices through structured Art sessions or through the local environment and
culture. This develops an awareness of how the Arts communicate a variety of
expressions. Furthermore, the process reveals how these expressions are interpreted
differently by every individual. While viewing Art, one also needs to consider the social,
historical, and contextual background of an artwork and its viewers. Responding to art also
requires the ability to describe aesthetic experiences and share personal interpretations
or viewpoints. The capacity to assess artwork and develop aesthetic judgement is also an
important part of the appreciation processes. All these processes are interlinked and
cannot be addressed in isolation if a meaningful and complete art learning experience is
desired.

2
A student may offer any one of the following courses:
A. Painting (Code No.049)
OR
B. Graphics (Code No.050)
OR
C. Sculpture (Code No.051)
OR
D. Applied Art-Commercial Art (Code No.052)

The following art terminologies for all the four subjects are prescribed for reference
and general enrichment.
1 Shadanga: “Roopabhedah- The knowledge of form
Six limbs of Indian Painting and proportion, including the difference
between forms
Pramanan- Measurement and structure
Bhava- Expression and emotion
Lavanya-Yojanam
Sadrishyam- Aesthetic composition and
grace in art
Varnakabhangam- Use of colour
2 Fundamentals of Visual Arts
The seven Elements Point, line, shape & form, colour, tones,
texture and space.
The seven principles Unity, harmony, balance, rhythm,
emphasis, proportion and contrast
3 Media of Composition Sketching, drawings in vertical, horizontal
format in two and three dimensions using
Drawing, Technique Style foreshortening, perspective, eye level,
fixed point of view, vanishing point, ratio-
Materials proportion. Still-life, landscape, anatomy,
abstraction and stylization. Transparent
and opaque techniques using various
kinds of locally available materials such
as Paper or Surface - Cartridge, Canvas
and Hard- board, handmade Sheet
Colours-Charcoal, Soft Pastels, Oil
Pastels Crayons, Natural Colours, Earth
colours Pencil, Water, Acrylic, Poster,
Inks etc..
4 Painting Paintings, Wall-Mural, Collage, Mosaic,
Fresco, Installation Art, New and Digital
art etc.
5 Sculpture Relief and round sculpture, modeling with
clay, terra-cotta, carving in wood, stone,
bronze casting, plaster of paris and metal
welding, 3D Printing etc.

3
 6 Graphics Linocut, relief printing, etching,
lithography, silkscreen printing, offset
printing.
7 Applied Art – Commercial Calligraphy, Book cover design and
Art illustration, cartoon, poster,
Advertisements, newspaper and
magazine, animation and printing
processes, photography, computer-
graphic, digital art, hoarding and
Television, letter press and offset
printing
8 Portfolio Assessment Sketch file, artworks done during the
Method entire two year related to the subject
chosen by the student: Painting, Applied
Art, Graphics, Sculpture.

Art portfolio
The Art Portfolio will consist of a compilation of all art works, from sketch to finished
product. The submission would include original artworks reflective of gradual
improvement.
Step by step development of the work will be assessed in all units.
At least one artwork should be based on Experiential Learning and Art Integration
Arts integration cannot be a replacement for dedicated Art classes in the school
curriculum.

Components of a Portfolio:
 Timeline based completion of artworks.
 Research based artworks promoting Folk and Contemporary Art and Artists.
 Resources and materials based on newness and local availability
 Study of connections with Indian Artists and art movements.
 Creating Art with Aesthetic Sensibility.
 Developing personal artistic style.
 Art centric studies (e.g. artworks based on Observation and Imagination)
 Portfolio based on the creative thinking and may include all varied forms of Artistic
Expression.
 Evaluation of final work that develop aesthetic judgement
 Any kind of personalized creative addition in relation to artwork

Profile of Learners Growth Values and Attitudes Rubric. The learner develops the
ability to:
 Respect, appreciate and demonstrate an open mind towards the artistic
expression of others.
 Appreciates the commonality, interconnectedness, and diversity of aesthetic
sensibilities across Indian and global Art practices and cultures.
 Acceptance, Adaptation, Exploration and Experimental based creative learning.
 Be sensitive towards other's creations
 Be ready to research and transfer his/her learning to their own art

4
  Take initiative, develop confidence and overall Aesthetic Sensibilities.
 Promoting enjoyable, experiential and holistic learning for their own growth.
 Art students should be able to apply theoretical knowledge in practical contexts
 Maintaining balance between technology and creative hand skills
 Be resourceful and organized to meet the designated submission deadlines.
 Students must learn to uphold values through art, listen and engage attentively,
encourage rational questioning and critically reflect through the artwork.

Portfolio Assessment for fine arts may be done on the basis of following criteria

Creativity: Portfolio should demonstrate student’s unique creative approach to problem-

solving through art. Artworks of students with disabilities must be viewed with compassion
and inclusive approach.
Relevant support material should form a part of submission such as:
1. Sketches & drawing to develop aesthetic judgement and sensibility.
2. Detailed Study - observation, record, analysis
3. Interpreting a variety of themes and unique ideas
4. Capturing moods and emotions
5. Sophistication of technique using the Fundamentals of Visual Arts (Elements
and Principles)
6. Artistic statement and expressions that artist wants to convey through the
artwork

Innovation: To execute the knowledge gained with the help of art in developing
confidence to explore, depict, and celebrate human experience through the Art. Exercises
their imagination and creativity freely.
Technique: To foster creativity and self-expression student should explore basic
processes, materials, and techniques (basic understanding of colour concept and
application in relation to colour and texture of the material used by the student). Size,
details, proportion required according to the base used for the painting medium chosen
according to their art stream. Techniques studied from folk style, contemporary art or
traditional art should be used while creating a new concept, observing beauty in their
surroundings, to develop an interest in a variety of local Art forms and cultural practices

The learners develop capacities in any one form of Visual Arts and an appreciation for
diverse Art practices and traditions in India.
 Discover their potential for creativity, self-expression and visual awareness
through art.
 Feel confident with the chosen medium as a means of communicating and
generating ideas.
 Develop a habit of observation, recording, manipulation and application skills.
 Experiment with a range of media and techniques.
 Relate their work to other artists work and understand the historical and cultural
context of their work.
5
  Include a diversity of context, resources, and artistic genres.
 Develop critical awareness and promote democratic values, respect, and
compassion for a variety of artistic expressions. Dialogues around art and
aesthetics must aim to develop multiple perspectives and respect diverse
viewpoints.
 Include traditional and contemporary practices in the Arts.

Competencies Based Execution of Work

 The focus of Art Education is to provide wide exposure to a range of materials,
techniques, and tools before developing excellence in any one Art form or
process.
 Originality in the presentation (paintings, sketches, etc.)
 Demonstrate an understanding of basic colour principles, colour mixing and
representation.
 Employ a variety of traditional and experimental techniques and processes.
 Use a variety of media and materials.
 Observe, record, analyses, interpret a variety of subjects, including:
- the manufactured environment
- Familiar Themes
- Interdisciplinary Practice
- Practicing Art Etiquette and Ethics
- the natural environment
- the human figure
 Showcase artworks of personal aesthetic style and self-expression.
 Discuss and connect own artwork with other class students and recognize master
artist’s work.
 Observe and collaborate with experimental art and design areas.
 Self-evaluation and critical judgment of their artworks during the creative process.

Experimentation: A gateway to creative exploration

A. Exploration based: Students should express their ideas and emotions freely and
fearlessly through experimental approach.
B. Skills based: It is expected that their skills will demonstrate proof of the process
and exploration of a wide range of subjects. An accepted standard of achievement
using a range of media and material should be an integral part of students’
development.
C. Research based: Art students are required to show artworks based on research
carried out on aesthetic judgment and their research skills should be demonstrated
in the process presented by students through their art.
D. Field trips: Excursions and visits to museums, art galleries, local artisans, art fairs,
artists’ studios etc. must be encouraged as an integral part of art curriculum

6
 A. PAINTING (Subject Code 049)

Introduction
The course in Painting at Second phase of Secondary stage as an elective subject is aimed
to develop aesthetic sense of the students through the understanding of various important
well-known aspects and modes of visual art expression in India’s rich cultural heritage
from the period of pre-Historic times to the present time. It also encompasses practical
exercises in drawing and painting to develop their mental faculties of observation,
imagination, creation and physical skills required for expressions and aesthetic
appreciation of art.

Objectives
A. Theory (History of Indian Art)
The objective of including the history of Indian Art for the students is to familiarize them with
the various styles and modes of art expressions from different parts of India. This would
enrich their vision and enable them to appreciate and develop an aesthetic sensibility to
enjoy the beauty of nature and life. The students will also have an opportunity to observe
and study the evolution of its mutations and synthesis with other style and the rise of an
altogether new style. The students should be made aware of art as a human experience.
The teachers should be able to expose them to the wide range of artistic impressions, the
media and the tools and technique used. The history of Indian art is vast; hence the
students should be made well acquainted with brief glimpses of the development of Indian
visual art that are required for concept formation. Examples included in their course of study
are selected for their aesthetic qualities and artistic relevance that are intended purely as
guidelines.
B. Practical
The purpose of introducing practical exercises in painting is to help and enable the
students:
a. To develop skill of using drawing and painting material (surface, tools
equipment and techniques etc.) effectively.
b. To sharpen their observation skills through study of common objects and
various geometrical and non-geometrical forms found in life and nature.
c. To develop their skills to draw and paint these observations.
d. To develop an understanding of painting-composition (The use of the
elements and the principles of painting-composition).
e. To create the forms and the colour schemes in imagination with an ability
to express them effectively in drawing and painting.
f. To express the different feelings and Emotions of life and nature in lines,
forms and colours.
g. To develop aesthetic sensibility and skill enhancement.

7
 PAINTING THEORY
CLASS–XI

Theory Paper 30 Marks

Unit wise Weightage Time: 2 Hours
Units History of Indian Art Marks
1 Pre-Historic rock paintings and art of Indus / Sindhu Saraswati 15
Civilization (Indus valley Civilization) Buddhist, Jain and Hindu
Art
2 Temple Sculptures, Bronzes and 15
Artistic aspects of Indo-Islamic architecture

Unit 1 Content
Pre-Historic Rock-Paintings
1.  Introduction
 Period and Location
 Study and appreciation of following pre-historic paintings:
Wizard's Dance, Bhimbethaka
 Extension: In about 1500 miles. Harappa &Mohenjo-daro (Now in
Pakistan)Ropar, Lothal, Rangpur, Alamgirpur, Kali Bangan, Banawali
and Dholavira (in India)
2 Study and appreciation of following: Sculptures in Bronze and Terra
cottas: Introduction to Method of Bronze casting
 Dancing girl (Mohenjo-daro) Bronze, 10.5 x 5 x 2.5 cm. Circa 2500 B.C.
(Collection: National Museum, New Delhi).
 Male Torso (Harappa)Red lime Stone, 9.2 x 5.8 x 3 cms. Circa 2500
B.C. (Collection: National Museum, New Delhi)
 Mother Goddess (Mohenjo-daro) terracotta, 22 x 8 x 5 c Circa2500
B.C. (Collection: National Museum, New Delhi)
3 Study and appreciation of following Seal:
 Bull (Mohenjo-daro)Stone (Steatite), 2.5 x 2.5 x 1.4 cm. Circa 2500
B.C. (Collection: National Museum, New Delhi).
 Decoration on earthen wares: Painted earthen-ware (Jar) Mohenjo-
daro (Collection: National Museum, New Delhi).

8
Buddhist, Jain and Hindu Art (3rd century B.C. to 8th century A.D.)
1. General Introduction and understanding of Art during
 Mauryan Period: Mirror like polish (eg. Chauri Bearer from Didar
Ganj/Yakshi called Monalisa of India, Iron Pillar of Qutab Minar that
has never rusted. Shunga:
 Kushana Period: evolution and mutation of Gandhara, Mathura
 Gupta Period: Amalgamation of Gandhara, Mathura into Gupta Style
2. Study and appreciation of following Sculptures.
i. Lion Capital from Sarnath
Circa: 3rd Century BCE Period: Mauryan
Material: Polished sandstone,
Collection: Sarnath Museum, U.P.
ii. Chauri Bearer from Didar Ganj (Yakshi)
Circa 3rd Century BCE Period:
Mauryan
Material: Polished sandstone, Collection: Patna Museum, Bihar.
iii. Seated Buddha from Katra Mound, Mathura
Circa 3rd Century C.E.
Period: Kushan (Mathura Style)
Material: Red-spotted Sandstone, Collection: Govt. Museum, Mathura
iv. Jain Tirathankara
Circa: 5th Century
Period: Gupta period:5th Century CE Material: Stone
Collection: State Museum, Lucknow U.P.
3. Introduction to Ajanta Location
Period: 5th Century CE No of caves:30
Chaitya Caves: 5(9,10,19,26,29) subject matter- Buddha meditating Vihara
Caves: 25 subject matter- Bodhisattva
Padmapani Techniques: Rock cut Architecture, sculpture, fresco painting

Unit 2 Temple Sculpture, Bronzes and

artistic aspects of Indo- Islamic Architecture
(A) th
Artistic aspects of Indian Temple sculpture Period: 6 Century CE to
13th Century CE

1. 1. Introduction to Temple Sculpture

Overview of temple sculpture practices in India, with a focus on key periods,
regions, and stylistic developments between the 6th and 13th centuries CE.

9
 2. Study and Appreciation of Notable Temple Sculptures:

Descent of Ganga
 Period: Circa 7th Century CE
 Dynasty: Pallava
 Material: Granite Rock
 Location: Mahabalipuram, Tamil Nadu
Trimurti
 Period: Circa 9th Century CE
 Material: Stone
 Location: Elephanta, Maharashtra
Lakshmi Narayana (Kandariya Mahadev Temple)
 Period: Circa 10th Century CE
 Dynasty: Chandela
 Material: Stone
 Location: Khajuraho, Madhya Pradesh
Cymbal Player (Konark Sun Temple)
 Period: Circa 13th Century CE
 Dynasty: Ganga Dynasty
 Material: Stone
 Location: Odisha
Mother and Child (Vimal-Shah Temple, Dilwara)
 Period: Circa 13th Century CE
 Dynasty: Solanki Dynasty
 Material: White Marble
 Location: Mount Abu, Rajasthan

(B) Bronzes:
1. Introduction to Indian Bronzes.
2. Method of casting (solid and hollow)
3. Study and appreciation of following South Indian Bronze:
Nataraj
 Period: Circa 12th Century CE
 Dynasty: Chola
 Location: Thanjavur District, Tamil Nadu
 Collection: National Museum, New Delhi

(C) Artistic aspects of the Indo-Islamic architecture:

1. Introduction
2. Study and appreciation of following architecture:
 Qutub Minar, Delhi
 Gol Gumbad of Bijapur

10
 PAINTING PRACTICAL
CLASS–XI
Practical Paper 70 Marks
Unit wise Weightage Time: 6 Hours (3+3)
Content Marks
1 Nature and Object Study (Observation Based) 25
2 Painting Composition (Imagination based) 25
3 Portfolio Assessment 20
70

Part Content Marks

1 Nature and Object Study (Observation Based)
Study of two or three natural and geometric forms in pencil
with light and shade from a fixed point of view. Natural forms
like plants, vegetables, fruits and flowers, etc., are to be 25
used. Geometrical forms of objects like cubes, cones,
prisms, cylinders and spheres should be used.
2 Painting Composition (Imagination based) Simple
exercises of basic drawing and colouring of human figures
organized in attractive visual compositions.
Sketches from life and nature 25
3 Portfolio Assessment
(a) Record of the entire years' performance from sketch to
10
finished product.
(b) Five selected nature and object study exercises in any 5
media done during session including minimum of two
still life exercises.
(c) One selected work of paintings composition done during 2
the year
(d) Two selected works of paintings done during the year 3

Note: These selected works prepared during the course by the candidates and certified
by the school authorities as the work done in the school will be placed before the examiner
for assessment.

1. The candidates should be given one hour-break after first three hours.

2. The time-table to be so framed as to allow the students to work

continuously for minimum of two periods at a stretch.

11
 PAINTING THEORY
CLASS–XII

Theory Paper Maximum Marks:30

Unit wise Weightage Time: 2 Hours

Unit Content Marks

1  The Rajasthani School of Miniature Painting 15

 Pahari School of Miniature Painting
 The Mughal School of Miniature Painting
 Deccan Schools of Miniature Painting
2  Indian National Flag 15
 The Bengal School of Painting
 The Modern Trends in Indian Art Paintings, Graphic Prints,
Sculptures
30

Unit 1 Miniature Paintings

(16th Century A.D. to 19th Century A.D.)
A brief introduction to Indian Miniature Schools: Western- Indian, Pala,
Rajasthani and Pahari, Mughal and Deccan, Central India.
Appreciation of art works from your syllabus from the following schools
a. The Rajasthani School
b. The Pahari School
c. The Mughal School
d. The Deccan School
based on their:
1. Origin and Development
2. Sub-Schools
3. Main features
4. Characteristics
5. Aesthetic parameters
6. Competency based identification of style & technique
7. Understanding of emotions and moral values
8. Respect for life.

The Rajasthani School:

Title Painter Sub- School
Maru-Ragini Sahibdin Mewar
Chaugan Players Dana Jodhpur
Krishna on swing Nuruddin Bikaner
Radha (Bani- Thani) Nihal Chand Kishangarh
Bharat Meets Rama at Chitrakuta Guman Jaipur

12
 The Pahari School:
Title Painter Sub-School
Krishna with Gopis Manku Basohli
Nand, Yashoda and Nainsukh Kangra
Krishna with Kinsmen Going to
Vrindavana

The Mughal School:

Title Painter
Krishna Lifting Mount Govardhan Miskin
Falcon on a Bird-Rest Ustad Mansoor
Kabir and Raidas Ustad Faquirullah Khan
Marriage Procession of Dara Shukoh Haji Madni

The Deccan School:

Title Painter Sub-School
Hazrat Nizamuddin Auliya and Unknown Hyderabad
Amir Khusro
Chand Bibi Playing Polo (Chaugan) Unknown Gol Konda

Unit 2: The Bengal School of Painting and the Modern trends in Indian Art
(About the beginning to mid of the 20th Century), contribution of Indian artists
towards freedom movement, Revival of Indian Art, Indian National Flag
Appreciation of art works from your syllabus based on their:
1. Origin and Development
2. Main features
3. Characteristics
4. Aesthetic parameters
5. Symbolic representation in artworks.
6. Competency based identification of style & technique
7. Understanding of emotions and moral values
8. Respect for life.

A National Flag of India: The Symbolic significance of its forms and the colours.
Contribution of Indian artists in the struggle for National Freedom Movement.
B The Bengal School of Painting
Title Painter
Journey’s End Abanindranath Tagore
Shiv and Sati Nandlal Bose
Radhika M.A.R. Chughtai
Meghdoot Ram Gopal Vijaivargiya
C The Modern Trends in Indian Art
Appreciation of the following contemporary (Modern) Indian Art
i. i. Paintings:
Rama Vanquishing the Pride of the Ocean Raja Ravi Varma
13
 Mother and child Jamini Roy
Haldi Grinders Amrita Sher Gill
Mother Teresa M.F. Hussain
ii. ii. Graphic - prints:
Children Somnath Hore
Devi Jyoti Bhatt
Of Walls Anupam Sud
Man, Woman and Tree K. Laxma Goud
iii. iii. Sculptures:
Triumph of Labour Triumph of Labour
Santhal Family Santhal Family
Cries Un - heard Cries Un - heard
Ganesha Ganesha

The names of artists and titles of their artworks as listed above are only suggestive and
in no way exhaustive. Teachers and students should expand this according to their own
resources. However, the questions will be set from the above-mentioned artworks only.

14
 jjjjj

PAINTING PRACTICAL
CLASS–XII

Practical Paper Maximum Marks:70

Time allotted: 6 hours (3+3)
Unit wise Weightage

Unit Content Marks

1 Nature and Object Study 25
2 Painting Composition 25
3 Portfolio Assessment 20
Total 70

Unit 1 Nature and Object study 25 marks

Studies on the basis of exercises done in class XI with
two or three objects and two draperies (in different
colours) for background and foreground. Exercises in
pencil with light and shade and in full colour from a
fixed point of view.
Unit 2: Painting Composition 25 marks
Imaginative painting based on subjects from Life
and Nature in water and poster colours with colour
values.
Unit 3: Portfolio Assessment 20 marks
a) At least 6 best paintings of two years from sketch to 6 marks
finished product.
b) 6 selected nature and object study exercises in any 6 marks
media done during the sessions
c) 2 selected works of painting- composition done by the 4 marks
candidate during the year
d) 1 selected work based on any Indian Folk Art 1 4 marks
individual work of student’s own style.
e) 6+6+2+1+1=16 art works 20 marks

These selected works, prepared by the candidate during the course and certified by the
school authorities as the work done in the school, will be presented to the examiners for
assessment.

Note:
1. The candidates should be given one hour-break after first three hours.
2. The timetable should be framed in such a way that it allows students to work
continuously for a minimum of two periods in a row.

15
 Guidelines for Evaluation of Practical
1. Marking Scheme:
Part I: Still – Life (Nature and Object Study) 25 marks
(i) Drawing (composition) 10
(ii) Treatment of media/colours 05
(iii) Overall impression 10
Part II: Painting Composition 25 marks
(i) Compositional arrangement including emphasis on the subject 10
(ii) Treatment of media (colour) and appropriate colour scheme 05
(iii) Originality, creativity and overall impression 10

Part III Portfolio Assessment 20 marks

(i) Record of the entire year's performance from sketch to finished 06
product.
(ii) Six selected nature and object study exercises in any media 06
(iii) Two selected painting compositions prepared by the candidate 04
02
(iv) One selected work based on any Indian Folk Art
02
(v) One selected original artwork of the student in OWN style

2. Format of the Questions:

Part I: Nature and Object Study

 Draw and paint the still-life of a group of three objects
 Choose three different objects of three different materials. (eg. glass, book,
terracotta)
 Arrange them on a surface before you
 Add two draperies with different colours to enhance the objects
 Sit on a place allotted and view from a fixed point of view
 Use a half imperial size drawing paper
 Colour with any medium or mix media.
 Your drawing should be proportionate to the size of the paper.
 The objects should be painted in realistic manner with proper light, shade,
shadow, proportion, perspective, etc.
 In this study the base should not be included.

Note: A group of objects to be decided by the external and internal examiners jointly as
per instructions and arranged before the candidates.

16
Part II: Painting Composition:
 Make a painting - composition on any ONE of the following five subjects.
 At least four to five full size human figures in action should be made.
 The figures should be large and big enough covering at least half the space.
 A choice from any of the following medium can be made (water/pastel, tempera,
acrylic)
 Use a half imperial size drawing-paper of either horizontally or vertically.
 The composition should be original and effective.
 Weightage will be given to a well composed drawing, effective use of media,
proper emphasis on the subject matter and utilization of full space.
Note: Any five subjects for painting composition are to be decided by the external and
internal examiners jointly as per instructions and are to be mentioned here strictly just
before the start of the examination for part II.

(A) Instructions for the selection of the objects for Object Study:
The examiners (Internal and External) are to select/decide three suitable objects in such
a way so that natural and geometrical forms may be covered in the group of objects:
 Natural-forms-large size foliage and flowers, fruits, and vegetables, etc.
 Geometrical forms made of wood/plastic/paper/metal/earthen/glass etc., such as
cube, cone, prism, cylinder and sphere.
 Objects should be selected generally of large (suitable) size.
 An object relating to nature, according to the season and location of the
examination center, must be included in the group of objects.
 The natural objects should be purchased/arranged only on the day of the
examination so that its freshness may be maintained.
 Two draperies in different colours (one in dark and other in light tone) are also to
be included for background and foreground, keeping in view the colours and tones
of the objects.

(B) Instructions to decide the subjects for Painting-Composition:

 The examiners (Internal and External) are to select/decide five subjects suitable
for painting – composition
 These should be according to the standard of Class XII and environment of the
school/candidates.
 The subjects should be so designed that the candidates may get clear-cut ideas
of the subjects, and they can exercise their imagination freely, because it is not
important what you do, but how you do it.
 Some identified areas of the subjects for painting-composition are given below, in
which some more areas may also be added:
(i) Affairs of family, friends and daily life activities and emotions.
(ii) Affairs related to human professionals
(iii) Games and sports activities.
(iv) Nature
(v) Fantasy
(vi) National, religious, cultural, historical and social events and celebrations.
17
3. General Instructions to the examiners:
 Candidates should be given one-hour break after first three hours.
 Work of the candidates, for Part I (Still- Life),
Part II (Painting Composition)
Part III (Portfolio Assessment) are to be evaluated on the spot jointly by the
external and internal examiners.
 Each work of Part I, II and III, after assessment is to be marked as "Examined" and
duly signed by the external and internal examiners jointly.

18
 B. GRAPHICS (Subject Code 050)

Introduction: The Course in Graphics at Second phase of Secondary stage as an elective

subject is aimed to develop aesthetic sense of the students through the understanding of
various important, well-known aspects and modes of Visual art expression in India’s rich
cultural heritage from the period of Indus Valley to the present time. It encompasses also
a wider range of practical exercises in making of graphic prints for developing their mental
faculties of observation, imagination, creation and physical & technical skills.

Objectives
a) Theory
Note: As the syllabus of Graphics (Theory) is the same as that of Painting (Theory), its
objectives are same.
b) Practical
The purpose of introducing practical exercises in graphics is to help and enable students
to make simple compositions in monochrome and in colours through the various print-
making techniques using methods and material specifically prescribed for adequate
results. The students should be introduced to the subject by giving a short history of the
print making techniques. They should be given exercises to inculcate respect for the tools
and apparatus- used in the various processes including their maintenance and proper
handling.
GRAPHICS THEORY
CLASS–XI

Theory Paper Maximum Marks:30

Time allowed: 2 hours
Unit Wise Weightage

Units History of Indian Art Marks

1 Pre-Historic rock paintings and art of Indus / Sindhu Saraswati 15
Civilization (Indus valley Civilization) Buddhist, Jain and Hindu
Art
2 Temple Sculptures, Bronzes and 15
Artistic aspects of Indo-Islamic architecture

Note: The Syllabus of Graphics (Theory) for Class XI is the same as that of Painting
(Theory) for class XI given earlier.

19
 GRAPHICS PRACTICAL
CLASS–XI

Practical Paper Maximum Marks:70

Time allowed: 6 Hours (3+3)
Unit wise Weightage

Part Content Marks

1 Relief Printing through Linocut/ Woodcut/ Paper-cardboard 50
2 Portfolio Assessment 20
Total 70

Part 1: To make Linocut/Woodcut/Paper-cardboard print on 1/4 Imperial sheet on

a given subject Syllabus for Relief Printing (Linocuts/Woodcuts/Paper-
cardboard Prints).
1. Printing methods and materials.
2. Characteristics of printing inks, solvents, and years.
3. Registration methods.
4. Simple, colour printing techniques.
Finishing and mounting of the print.

Part 2: Portfolio Assessment

a) Record of the entire year's performance from sketch to finished 10 Marks
product

b) Three selected prints (either from Linocuts/ Woodcuts/Paper- 06 marks

cardboard prints) from the works prepared during the course.

c) Four selected prints based on Indian Folk Art 04 marks

These selected works, prepared by the candidate during the course and certified by the
school authorities as the work done in the school, will be presented to the examiners for
assessment.

Note:
1. The candidates should be given one hour-break after first three hours.
2. The timetable should be framed in such a way that it allows students to work
continuously for a minimum of two periods in a row.

20
 GRAPHICS THEORY
CLASS–XII

Theory Paper Maximum Marks:30

Time allowed:2 Hours
Unit Wise Weightage

Unit Content Marks

1  The Rajasthani School of Miniature Painting 15
 Pahari School of Miniature Painting
 The Mughal School of Miniature Painting
 Deccan Schools of Miniature Painting
2  Indian National Flag 15
 The Bengal School of Painting
 The Modern Trends in Indian Art Paintings, Graphic Prints,
Sculptures
30

Note: The Syllabus of Graphics (Theory) for Class XII is the same as that of Painting
(Theory) for class XII given earlier.

GRAPHICS PRACTICAL
CLASS–XII

Practical Paper Maximum Marks:70

Time allowed: 6 hours.
Unit wise Weightage

Part Content Marks

1 Making of graphic-print through 50
Serigraphy/Lithography/Etching and Engraving (Intaglio Process)
techniques
2 Portfolio Assessment 20
Total 70
Note: The students in the class are expected to opt for any one of the following media
depending upon the facilities available in their schools.
S. No. Units
a) Serigraphy
1. The history of stencils and silkscreen.
2. Methods and materials.
3. The use and maintenance of the squeeze.
4. Sealing, registration for colour, work and preparation for printing.
5. Solvents for cleaning, use and characteristics of printing inks.
6. Finishing and mounting of the print.
OR
21
 b) Lithography
1. Introduction: Short history and the methods and material used in producing
lithographic prints
2. The use and characteristics of the Litho stone/Zinc plates.
3. The use of lithographic chalks and ink (Tusche).
4. Preparing for printing and use of various chemicals inking and taking proofs.
5. Papers used in lithography and getting the final print.
6. Finishing and mounting of the print.
OR
C) Etching and Engraving (Intaglio Process)
1. Introduction to intaglio technique with a short history, methods and
materials, Etching process.
2. Preparing the plate and laying the ground (resist) and Inking.
3. Characteristics of different types of grounds.
4. Characteristics and use of various acids.
5. Colour etching, use of stencils and marks.

GUIDELINES FOR EVALUATION OF PRACTICAL

 Marking Scheme:
Part:1 Graphic-Composition (print making) Marks 50
(i) Emphasis on the subject 10
(ii) Handling on the material and technique of printmaking 10
(iii) Composition and quality of print 30
Part:2 Portfolio Assessment Marks 20
(a) Record of the entire year's performance from sketch to 10
finished product.
(b) Five selected Prints
(Four selected prints based on– Linocut/Woodcut/paper-card based prints
10
(8 marks)
ONE in their own style (2 marks)

 Format of the questions:

Part I: Graphic Composition (print making) 50 marks
 Choose one of the print-making medium available and taught in your school viz.
serigraphy, lithography, etching and engraving.
 Make a Graphic-Composition on any one of the five subjects given below according
to the possibility and suitability of the medium:
 (Note: Any five suitable subjects for “Graphic-Composition, Printmaking” are to be
decided by the internal and external examiners jointly in accordance with the
instructions are to be mentioned here).
 Make use of line, tone and texture, exploiting the medium fully to realize
composition. Print your composition in one or two colours.
 Pay special attention to print quality and cleanliness. Submit two identical prints
along with all the rough layouts as your final submission.

22
Size of the plate:
i. Serigraphy 30 cm x 20cm.
ii. Lithography 30 cm x 20cm.
iii. Etching & engraving 30 cm x 20cm.

 Instructions to decide the subjects for Graphic –Composition:

 The external and internal examiners jointly are to select/decide five subjects
suitable for Graphic Composition (printmaking).
 Each subject should be so designed that the candidate may get a clear-cut idea of
the subject however, any candidate can perceive a subject in his/her own way but
graphic quality must be maintained in the composition.
 The examiners are free to select/decide the subjects, but these should be according
to the standard of class XII and environment of the school/candidates.
 Some identified areas of the subjects for Graphic-Composition (Printmaking) are
given below in which some more areas may be added, if needed:

(i) Affairs of family, friends and daily life.

(ii) Affairs of family professionals.
(iii) Games & Sports Activities.
(iv) Nature.
(v) Fantasy.
(vi) National, religious and cultural, historical and social events and celebrations.
(vii) Historical monuments
(viii) Folk and classical dances/theatres
(ix) Traditional/ancient sculpture and painting
(x) Relevant social issues

 Instructions to the examiners:

1. Candidates should be given one-hour break after first three hours.
2. Work of the candidates for
Part I (Making of graphic-print through Serigraphy/ Lithography/ Etching and
Engraving)
Part II (Portfolio Assessment) is to be evaluated on the spot by the external and
internal examiners jointly
3. Each work of parts I & II, after assessment, is to be marked as examined and duly
signed by the external and internal examiners.

23
 C. SCULPTURE (Subject Code 051)
Introduction
The Course in sculpture at second phase of Secondary stage as an elective subject is
aimed at developing aesthetic sense of the students through the understanding of various
important, well- known aspects and modes of visual art expression in India’s rich cultural
heritage from the period of Indus Valley to the present time. It encompasses also a wide
range of practical exercises in making of various sculptures for developing their mental
faculties of observation, imagination and creation and the physical and technical skills.
Objectives:
A) THEORY
Note: As the syllabus of Sculpture (Theory) is the same as that of Painting (Theory), its
objectives are same.

B) PRACTICAL
The purpose of introducing practical exercises in sculpture is to help and enable students
to create sculptures. All assignments should be designed to address issues such as
volume, weight, the interplay of forms in space, etc., as opposed to rendering on a flat
two-dimensional surface. Adequate technical skills should be provided, depending on the
facilities available.
SCULPTURE THEORY
CLASS-XI

Theory Paper Maximum Marks:30

Time allowed: 2 Hours
Unit wise weightage

Units History of Indian Art Marks

1 Pre-Historic rock paintings and art of Indus / Sindhu Saraswati 15
Civilization (Indus valley Civilization)
Buddhist, Jain and Hindu Art
2 Temple Sculptures, Bronzes and 15
Artistic aspects of Indo-Islamic architecture

Note: The Syllabus of Sculpture (Theory) for Class XI is the same as that of Painting
(Theory) for class XI given earlier.

24
 SCULPTURE PRACTICAL
CLASS–XI

Practical Paper Maximum Marks:70

Time allowed:6 hours
Unit wise weightage

Part Content Marks

1 Modeling in Relief (in clay or plaster of Paris) 25
2 Modeling in Round (in clay or plaster of Paris) 25
3 Portfolio Assessment 20
Total 70

Part 1: Modeling in relief on given subjects from life and nature

Part 2: Modeling in round on given subjects from life and nature.

Handling of clay and its techniques, pinching, coiling, rolling, etc.

Part 3: Portfolio Assessment

a Record the entire year's performance from sketch to design study 8 marks
of textures to finished product. (baking or use of plaster of Paris)
b Four selected pieces of works prepared during the 6 marks
course by the candidate
c Three selected pieces based on Indian Folk Art (Sculpture – 6 marks
Round or Relief)

These selected works, prepared by the candidate during the course and certified by the
school authorities as the work done in the school, will be presented to the examiners for
assessment.
 Use of clay composition in hollow for baking.
 Modelling of simplified human figures, birds, animals and plants in relief and
round. Geometrical shapes like cube, cone, cylinder, etc., and their composition in
relief as an exercise.

Note:
1. The candidates should be given one hour-break after first three hours.
2. The timetable should be framed in such a way that it allows students to work
continuously for a minimum of two periods in a row.

25
 SCULPTURE THEORY
Class XII

Theory Paper Maximum Marks:30

Time allowed: 2 Hours
Unit wise weightage

Unit Content Marks

1  The Rajasthani School of Miniature Painting 15
 Pahari School of Miniature Painting
 The Mughal School of Miniature Painting
 Deccan Schools of Miniature Painting
2  Indian National Flag 15
 The Bengal School of Painting
 The Modern Trends in Indian Art Paintings, Graphic
Prints, Sculptures
30

Note: The Syllabus of Sculpture (Theory) for Class XII is the same as that of Painting
(Theory) for class XII given earlier.
SCULPTURE PRACTICAL
Class XII

Practical Paper Maximum Marks:70 Marks

Time allowed: 6 hours. (3+3)
Unit wise Weightage

Unit Content Marks

1 Modeling in Relief (Clay and plaster of Paris) 25
2 Modeling in Round (clay and plaster of Paris 25
3 Portfolio Assessment
a) Record of the entire year's performance from sketch to 8
finish product.
b) Six pieces of work prepared during the course 12
Total 70

Note:
a) One sculpture in relief (High Relief)
b) One sculpture in relief (Low Relief)
c) One Sculpture in (Round)
d) One selected works of sculpture based on any Indian Folk Art
e) One in their own style
f) One clay composition in hollow for baking. Modelling of simplified human figures, birds,
26
 animal’s plants in relief and round. Geometrical shapes like cube, cone, cylinder, etc.,
and their composition in relief as an exercise in design study of textures.
g) Use of plaster of Paris.
h) These selected works, prepared by the candidate during the course and certified by
the school authorities as the work done in the school, will be presented to the
examiners for assessment.
i) The candidates should be given one hour-break after first three hours.
j) The time table should be framed in such a way that it allows students to work
continuously for a minimum of two periods in a row.

GUIDELINES FOR EVALUATION OF PRACTICAL

Marking Scheme:
Part I: Modeling in Relief
(i) Composition including emphasis on the subject 10
(ii) Handling of media 05 25 Marks
(iii) Creative approach and overall impression 10
Part II: Modeling in Round
(i) Composition including emphasis on the subject 10
(ii) Handling of media 05 25 Marks
iii) Creative approach and overall impression 10
Part III: Portfolio Assessment 20 Marks
(a) Record of the entire year's performance from sketch to 08
finished product.
(b) Six works of sculpture not less than 25 to 30 cm consisting of: 12
(i) One sculpture in relief (High Relief)
(ii) One sculpture in relief (Low Relief)
(iii) One Sculpture in (Round)
(iv) One selected works of sculpture based on any Indian Folk Art
(v) One in their own style
(vi) One clay composition in hollow for baking

These selected works, prepared by the candidate during the course and certified by the
school authorities as the work done in the school, will be presented to the examiners for
assessment.

1. Format of the questions:

Part I: Modeling in Relief:
Make a sculpture in Relief (low/high) on any one of the following five subjects. The size
should be within 25 to 30 cm. (horizontally or vertically) and about 4 cm. in thickness from
the board.
(Note: Any five suitable subjects for “Modeling in Relief’ are to be decided by the external
and internal examiners jointly in accordance with the instructions and are to be mentioned
here).
27
Part II: Modeling in Round:
Prepare a sculpture in round, in clay medium, on any one of the following five subjects.
The height should be within 25 to 30 cm, horizontally or vertically.
Note: Any five suitable subjects for “Modeling in Round” are to be decided in accordance
with the instructions and are to be mentioned here strictly just before the start of the
examination for Part II.

2. Instructions to decide the subjects for Modeling in Relief and Round:

The examiners (Internal and External) are to select/decide five subjects suitable for
modeling in relief and five subjects for modeling in round. The subjects for “Modeling in
Round” are to be conveyed to the candidates strictly just before the start of the examination
for Part II.
i. Each subject should be so designed that the candidate may get a clear-cut idea of
the subject, however, a candidate can perceive a subject in his/her own way.
Distortion of human/animal forms may be allowed.
ii. Choice of high or low relief should remain open to the candidates.
iii. The examiners (Internal and External) are free to decide the subjects, but they should
be according to the standard of class XII and environment of the school/candidates.
Some identified areas of the subjects for Modeling in Relief and Round are given
below in which some more areas may also be included:
a) Nature Study.
b) Design, natural, decorative, stylized and geometrical:
c) Family, friends and daily life.
d) Birds and animals.
e) Games and sports activities.
f) Religious, social and personal activities.
g) Cultural activities.
h) Ideas - Personal, social, local, provincial, national and international.
3. General instructions to the examiners:
i. Candidates should be given one-hour break after first three hours.
ii. Work of the candidates of Parts I (Modeling in Relief) Part II (Modeling in Round)
and Part III (Portfolio Assessment) is to be evaluated on the spot by the external and
internal examiners jointly.
iii. Each work of Parts I, II and III, after assessment, is to be marked as examined and duly
signed/marked by the external and internal examiners.

Note: The time table should be framed in such a way that it allows students to work
continuously for a minimum of two periods in a row.

28
 D. APPLIED ART (COMMERCIAL ART)
(Subject Code 052)
Introduction
The course in Applied Art (Commercial Art) at second phase of Secondary stage as an
elective subject is aimed to develop aesthetic sense of the students through the
understanding to various important, well-known aspects and modes of visual art
expression in India’s rich cultural heritage from the period of Indus Valley to the present
time. It encompasses also a wide range of practical exercises in commercial art for
developing their mental faculties of observation, imagination, creation and physical and
technical skills.

Objectives
A) THEORY
Notes: As the syllabus of Applied Art-Commercial Art (Theory) is the same as that of
Painting (Theory), its objectives are same.

B) PRACTICAL: The purpose of introducing practical exercises in Applied Art (Commercial

Art) is to help and enable the students to develop professional competence in making Model
Drawing Lettering, layout preparation and poster so that they can link their lives with
productivity.

APPLIED ART (COMMERCIAL ART) THEORY

CLASS–XI

Theory paper MaximumMarks:30

Time allowed: 2 Hours
Unit wise Weightage

Unit History of Indian Art Marks

1 Pre-Historic rock paintings and art of Indus / Sindhu
Saraswati Civilization (Indus valley Civilization) Buddhist, Jain and 15
Hindu Art
2 Temple Sculptures, Bronzes and
Artistic aspects of Indo-Islamic architecture 15

Note: The Syllabus of Applied Art-Commercial Art (Theory) for Class XI is the same
as that of Painting (Theory) for Class XI given earlier.

29
 APPLIED ART (COMMERCIAL ART) PRACTICALS
CLASS–XI

Practical Paper Maximum Marks:70

Time allowed: 6 hours. (3+3)
Unit wise Weightage
Part Marks
1 Drawing 25
2 Lettering and layout 25
3 Portfolio Assessment 20
Total 70

Part 1 Drawing 25 Marks

Drawing from Still-Life and Nature, medium- pencil
monochrome/colour.
Part 2 (a) Lettering 25 Marks
Study of lettering of Roman and Devanagari Scripts identification
of some typefaces and
their sizes
(b) Layout
Making a simple layout with lettering as the main component.
Part 3 Portfolio Assessment 08 Marks
(a) Record of entire year's performance from sketch to finished
product
(b) Four selected drawings in any media done during the year 06 Marks
(c) Two selected works in chosen subject done during the year. 03 Marks
(d) Two selected works based on Indian Folk Art 03 Marks

These selected works, prepared by the candidate during the course and certified by the
school authorities as the work done in the school, will be presented to the examiners for
assessment.

Note:
1. The candidates should be given one hour-break after first three hours.
2. The timetable should be framed in such a way that it allows students to work
continuously for a minimum of two periods in a row.

30
 APPLIED ART (COMMERCIAL ART) THEORY
CLASS– XII
Theory Paper Maximum Marks: 30
Time: 2 Hours
Unit Wise Weightage
Unit Content Marks
1  The Rajasthani School of Miniature Painting 15
 Pahari School of Miniature Painting
 The Mughal School of Miniature Painting
 Deccan Schools of Miniature Painting
2  Indian National Flag 15
 The Bengal School of Painting
 The Modern Trends in Indian Art Paintings, Graphic Prints,
Sculptures
30
Note: The Syllabus of Applied Art-Commercial Art (Theory) for Class XII is the same
as that of Painting (Theory) for Class XII given earlier.

APPLIED ART (COMMERCIAL ART) PRACTICAL

CLASS–XII
Practical Paper Maximum Marks:70
Time allowed: 6 hours. (3+3)
Unit Wise Weightage
Part Marks
1 Illustration 25
2 Poster 25
3 Portfolio Assessment 20
Total 70

Part 1 Illustration 25
Study of techniques of illustration on given subjects and
simple situations supported by drawing from life and
outdoor sketching in different media suitable for
printing.
Part 2 Poster 25
Making a poster in1/2 imp size with specified data and slogan on
a given subject in two or three colours.

31
 Part 3 Portfolio Assessment
a) a. Record of the years’ performance from sketch to finished 08
product.
b) b. Eight selected drawings in any media done during the year 06
including minimum of four illustrations
c) c. Two selected posters in chosen subject. 04
d) d. One selected work based on Indian Folk Art 01
e) e. One selected work in your own style 01

These selected works, prepared by the candidate during the course and certified by the
school authorities as the work done in the school, will be presented to the examiners for
assessment.

Note:
1. The candidates should be given one hour-break after first three hours.
2. The timetable should be framed in such a way that it allows students to work
continuously for a minimum of two periods in a row.

Guidelines for Evaluation of Practical Marking Scheme:

Part I: Illustrations 25 Marks

(i) Composition including quality of drawing 10

(ii) Emphasis on the subject with a specific situation 05
(iii) Reproducing quality and overall impression 10

Part II: Poster 25 Marks

(i) Layout and Lettering 10
(ii) Emphasis on the subject 05
(iii) Proper colour scheme, overall impression and reproducing quality 10

Part III Portfolio Assessment 20 Marks

a) Record of the entire year's performance from sketch to finished product. 08
b) Six selected drawings in any media done during the year including
minimum of four illustrations
c) Two selected posters in chosen subject. 06
d) One selected work based on Indian Folk Art 04
e) One selected work in your own style 01
01

32
A. Format of the questions:

Part I : Illustration
Make an illustration in black and white in any colour media on any one of the following five
subjects with a specific situation. Size of the illustration: 30 cm x 22 cm.
Note: Any five suitable subjects or illustration, decided by the external and internal
examiners jointly in accordance with the instructions are to be mentioned here.

Part II: Poster

Prepare a poster-design with specified data and slogan in English/Hindi/Regional
language, in three flat colours, on any one of the following five subjects. The designing of
the poster should have balanced use of typography and illustration. Size of the Poster-
design: 1/2 imp size.
B. Instructions to decide the subjects for illustration:
i. The examiners (Internal and External) are to select/decide five suitable subjects.
ii. Each subject should be given a specific situation, which is a main characteristic of
an illustration.
iii. Each subject should be so designed that the candidate may get a clear-cut idea of
the subject and they can illustrate a specific situation based on given subject
areas.
iv. The examiners (Internal and External) are free to decide the subjects, but these
should be according to the standard of the class XII and environment of the
school/candidates.
v. Some identified areas of the subjects for illustration are given below, in which
some more area as may be added if needed.
Subject with a specific situation:
a) Family and friends in daily life.
b) Professionals/professions.
c) Games and sports.
d) Nature.
e) National events and celebrations.
f) Religious events and festivals.
g) Culture-Dance, Drama, Music and Art.

C. Instructions to decide the subjects for Poster-design:

i. The examiners (Internal and External) are to select/decide five subjects suitable for
poster design.
ii. Each subject should be given a specified data and slogan.
iii. The data and slogan should be so framed/designed that the candidates may get a
clear-cut idea of the subject.
iv. The examiners (Internal and External) must give the subjects data and slogan
according to the standard of Class XII and environment of the school/candidates.
33
 Some identified areas for poster-design are given below, in which more areas/
subjects maybe added.
For Advertisement Mention:
i. Excursion/Tourism
ii. Cultural activities
iii. Community and nature development
iv. Ideas-Social, national and international
v. Commercial products

Instructions to the examiners:

 Candidates should be given one-hour break after first three hours.
 Work of the candidates for Parts I (Illustrations)Part II (Poster) and Part III
(Portfolio Assessment) is to be evaluated on the spot by the external and internal
examiners jointly.
 Each work of parts I, II and III, after assessment, is to be marked as examined
and signed by the external and internal examiners.

34