Andalusia PAU Artistic Drawing II

You receive two options, A and B, and answer only one. Each option typically pairs a theory or image-analysis question with a practical drawing task carried out by hand on the paper the centre provides. Read both options fully before committing: one often suits a tonal approach and the other a linear or colour-based one.

Those details are fixed in the official documentation published by the Andalusian public universities for each call, so this page does not quote them. Check the current PevAU subject description and the instructions printed on your exam paper, which state the duration and the marks per block.

The technical level expected is within reach of a diligent second-year student; the difficulty lies in the time pressure. Most candidates lose marks not through lack of skill but through unfinished work, weak composition planning, or a rushed, vague written commentary. Practise full timed runs and you will find the paper manageable.

Yes, entrance-phase subjects can be taken again in later calls, and the best valid result is the one used. Resitting means repeating the whole paper, not one block. Confirm the number of calls and the validity of your marks with the university or the official PevAU information service for your year.

The pass threshold and the weighting applied to each degree are published officially and change between calls and between degrees. Rather than rely on a remembered number, consult the official PevAU documentation and the weighting tables for the universities you are applying to.

Start with form, proportion and spatial construction, since everything else rests on it. Add value and chiaroscuro next, then colour theory and mixing. Layer in technique work across graphite, charcoal, ink and pastel, and finish with figure drawing and critical commentary, which draw on all the earlier blocks.

Practise the media you can control quickly: graphite grades, charcoal, ink, coloured pencil and pastel. Familiarity matters more than variety, because you must produce a resolved drawing in one sitting. Check the official instructions for what the centre supplies and what you may bring, as rules on materials vary.

Overcrowded compositions with no focal point, tonal ranges that stay in the mid-greys, colour mixtures that turn muddy, and written answers that describe the image instead of analysing it. Another frequent error is ignoring the wording of the task and producing a beautiful drawing that answers a different question.

More than most candidates expect. It is quick to prepare and easy to lose marks on through vagueness. Learn a compact vocabulary for composition, value structure, colour relationships and spatial cues, and rehearse short commentaries that name specific decisions in the work rather than offering general impressions.