Give the prompt first and show the worked exemplar only after a response. These are short alternate contexts, not prescriptions for a single “right” feeling. Each exemplar names visible evidence, a purposeful decision and a limit where relevant. Day 5/10 swaps are after-check only. Materials remain plain paper, ordinary pencil and clean paper strips.
| Day | Worked swap 1 · prompt → exemplar | Worked swap 2 · prompt → exemplar |
|---|---|---|
| 1 | Blank envelope: one observation and one reading? → “A straight flap line crosses the top” is locatable; “it seems sealed” is my reading, not a guaranteed fact. | Smooth stone: separate sight from meaning? → “Irregular dark edge” is observed; “it feels heavy” needs handling or remains an inference. |
| 2 | Draw a blank cup front and top. What changes? → Front shows side height; top shows a circular opening; both depict the same cup. | Folded menu card from front then side. What remains? → Paper fold remains; side view reveals thickness hidden front-on. |
| 3 | Same corner with thin continuous line and dense short marks. Difference? → Density near corner increases contrast/emphasis; it does not force every viewer's mood. | Draw a plain tube with wide spaced versus tight repeated marks. Why? → Tight marks can suggest darker tone; source tube remains the same. |
| 4 | Crop a blank box to one corner. Gain/loss? → Corner diagonal gains emphasis; full box scale and opposite edge disappear. | Frame an unmarked leaf from far and near. Gain/loss? → Near view shows veins; whole outline/size relation is lost. Use a generic leaf, no species claim. |
| 5 | After G: stacked blank squares, two readings? → Full view locates two squares; tight crop enlarges their shared edge; “they compete” is optional inference. | After G: move a plain arch-shaped strip from front to low view. What changes? → Opening may narrow visually; actual strip is unchanged. |
| 6 | Flat pencil edge versus lifted paper edge. Cause/effect? → Lift adds physical height and possible shadow; pencil adds no relief. | Smooth tear versus rough tear. Why choose? → Rough edge has irregular texture; use it if the intent is to make the boundary conspicuous. |
| 7 | QAGOMA lists an artwork medium. Fact or judgement? → Catalogue medium is a sourced fact; “best use of material” would be an unsupported value judgement. | Credit a source but copy its artwork? → Citation records research, not image rights; return to A and make a new composition from your observation. |
| 8 | Reduce a blank cup to rim ellipse and stem line. What survives? → Rim direction and vertical support survive; recognisability drops, and that is a chosen effect. | Simplify A to diagonal plus blank field. What remains? → Fold direction; rectangle/flap are removed. Label the result as a purposeful reduction. |
| 9 | Three frames full/near/far versus near/full/far. Effect? → Starting near withholds the object identity for longer; a viewer may search for context. | Select one trial for a folio note. Worked trace? → “Saw diagonal → enlarged blank field → viewer may notice fold → next test a wider frame.” |
| 10 | After H: sequence a blank stepped block from full to edge to silhouette. Why? → The order progressively removes context; note what the viewer can still locate. | After H: choose a next medium test. Worked note? → “Raised strip around the step may emphasise its edge; I will compare it with a flat line.” |
No swap copies, traces or imitates a named artist's image. A teacher changing a domain should keep the observation/decision/justification target and source rights boundary intact.