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Key Facts: PAU Artistic Drawing II (Madrid) Exam

90 min

Exam duration for the PAU Dibujo Artístico II paper

PAU Organising Commission of Madrid

0–10 scale

Scoring system (minimum 4.0 in Access Phase to combine with Bachillerato GPA)

Community of Madrid PAU Regulations

5 Core Topics

Curriculum modules: Graphic Materials, Form & Proportion, Color Theory, Composition, History of Drawing

2º Bachillerato LOMLOE Art Curriculum Madrid

100

High-quality practice questions in this OpenExamPrep subject bank

OpenExamPrep

EUR 93.02

Base registration fee for compulsory Access Phase in Madrid

Madrid Public University Fees Directive

Master the 2026 Madrid PAU Artistic Drawing II exam with 100 practice questions covering graphic materials, anatomy & perspective, color theory, composition, and drawing history.

Sample PAU Artistic Drawing II (Madrid) Practice Questions

Try these sample questions to review concepts for the PAU Artistic Drawing II (Madrid) exam. Each question includes a detailed explanation. Start the interactive quiz above for the full 100+ question experience with AI tutoring.

1On the traditional European graphite hardness scale (from 9H to 9B), what distinguishes soft 'B' grade pencils from hard 'H' grade pencils in terms of material composition?
A.Soft 'B' pencils contain a higher proportion of graphite relative to clay binder, producing darker, softer marks.
B.Soft 'B' pencils contain a higher proportion of kaolin clay binder relative to graphite, producing lighter, scratchier lines.
C.Soft 'B' pencils are composed entirely of synthetic carbon black mixed with paraffin wax.
D.Soft 'B' pencils use pulverized charcoal powder bound with vegetable gum rather than graphite.
Explanation: Graphite pencil cores are manufactured by mixing pulverized graphite with kaolin clay binder and firing them. Pencils designated with 'B' (Blackness) contain more graphite and less clay, making the lead softer, darker, and smoother, whereas 'H' (Hardness) pencils contain more clay binder, making the lead harder and lighter.
2How does natural vine (or willow) charcoal differ fundamentally from compressed charcoal sticks in drawing performance and erasability?
A.Vine charcoal is made of charred wood without binder and is easily erased, while compressed charcoal contains a binder, producing darker, permanent marks.
B.Vine charcoal contains linseed oil, making it water-resistant, while compressed charcoal is water-soluble.
C.Vine charcoal is extremely dense and non-erasable, whereas compressed charcoal crumbles easily and wipes away with a dry cloth.
D.Vine charcoal is synthetic and produced in metal molds, whereas compressed charcoal is harvested directly from burnt grapevines.
Explanation: Vine or willow charcoal is produced by burning uncompressed twigs in a low-oxygen kiln without binders, resulting in lightweight, powdery sticks that erase and blend effortlessly. Compressed charcoal combines powdered charcoal with gum binders, creating dense, deep-black marks that adhere strongly to paper tooth and are difficult to remove completely.
3What natural mineral pigment provides classical sanguine chalk (tiza sanguina) with its characteristic warm reddish-brown hue?
A.Hematite (natural red iron oxide)
B.Raw umber (hydrated iron-manganese oxide)
C.Cinnabar (mercuric sulfide)
D.Lapis lazuli (natural ultramarine)
Explanation: Sanguine chalk takes its deep terracotta-red color from hematite, a natural anhydrous red iron oxide mineral. Renaissance and Baroque artists drew extensively with sanguine chalk combined with black and white chalks on toned paper.
4Why must paper or wooden panels be coated with a specially prepared ground (such as bone ash or gesso) before drawing with a silverpoint stylus?
A.Silver metal is too soft to mark raw paper; an abrasive ground is required to shave off minute particles of silver from the stylus.
B.Raw paper reacts chemically with silver, causing immediate bleaching of the drawn lines.
C.Silverpoint ink is liquid and requires a waterproof sealant to prevent paper fiber swelling.
D.The ground acts as a magnetic base that pulls silver atoms into alignment.
Explanation: Silverpoint is a metalpoint technique where a silver wire stylus is drawn across a surface. Because solid silver will not leave a mark on smooth raw paper, the support must be primed with an abrasive ground (historically containing ground bone ash, chalk, and hide glue), which physically shears off microscopic silver particles that adhere to the surface tooth.
5What binding agent is dissolved in alkaline water to make traditional waterproof Indian ink (tinta china) resistant to smudging after drying?
A.Shellac (secreted by the lac bug)
B.Gum arabic (acacia tree resin)
C.Egg yolk emulsion
D.Beeswax
Explanation: Waterproof Indian ink consists of fine carbon black pigment suspended in liquid with shellac binder dissolved in ammonia or borax. Upon drying, shellac forms a tough, water-insoluble resin film that allows artists to lay wet watercolor washes over dry ink lines without bleeding.
6What chemical mechanism causes historical iron gall ink drawings from the Renaissance and Baroque eras to corrode paper supports over time?
A.Excess ferrous sulfate combines with tannic acid, releasing free sulfuric acid that breaks down cellulose fibers.
B.The ink attracts atmospheric moisture, fostering heavy fungal growth that digests paper starch.
C.Copper impurities in the ink react with sunlight to catalyze photo-bleaching of paper sizing.
D.The oak gall extract turns alkaline upon oxidation, saponifying the paper's gelatin sizing.
Explanation: Iron gall ink was made by mixing iron(II) sulfate with tannic acids extracted from oak galls. Unbound ferrous ions and free sulfuric acid generated during ink synthesis degrade paper cellulose over centuries, causing line bleeding, brown haloing, and eventual physical burning through of paper fibers (ink corrosion).
7In paper manufacturing specifications, what does the unit 'gsm' ($g/m^2$) indicate regarding drawing paper quality?
A.The weight in grams of a single sheet measuring one square meter, reflecting paper thickness and density.
B.The grain density measured in total surface bumps per square millimeter.
C.The percentage of cotton rag fibers relative to wood cellulose.
D.The pH level scale measuring acid neutrality on a scale of 0 to 14.
Explanation: Grammage expressed in grams per square meter (gsm or $g/m^2$) measures the density and weight of paper. Heavy drawing paper (200-300 gsm) withstands heavy wet washes and aggressive erasing without buckling or tearing, compared to light sketching paper (70-90 gsm).
8What manufacturing process distinguishes hot-pressed (satine) drawing paper from cold-pressed (NOT) drawing paper?
A.Hot-pressed paper is passed through smooth, heated metal cylinders, producing an extremely slick, low-tooth surface.
B.Hot-pressed paper is baked in high-temperature ovens to caramelize wood lignin.
C.Hot-pressed paper is boiled in gelatine bath to seal surface pores permanently.
D.Hot-pressed paper is air-dried under heavy felt blankets to yield a deep, coarse texture.
Explanation: During production, hot-pressed paper is pressed between heated polished metal rollers (calenders) to compress fibers, creating a silky smooth, low-grain surface ideal for fine pen-and-ink detail. Cold-pressed paper is pressed between cold felt rollers, leaving a medium texture (tooth).
9What is the primary function of internal or tub sizing (such as gelatin or starch) applied to drawing papers?
A.It controls liquid absorbency, preventing wet ink and washes from bleeding uncontrollably into paper fibers.
B.It bleaches wood pulp to achieve pure optical white brightness.
C.It adds magnetic mineral particles that hold dry pastel powders.
D.It acts as a permanent flame retardant for archival museum storage.
Explanation: Sizing agents (like gelatin, starch, or synthetic alkyl ketene dimer) coat paper fibers to restrict capillary action. Proper sizing ensures ink lines remain crisp and liquid washes sit on the surface long enough for controlled blending without feathering into the paper.
10Why is a kneaded eraser (goma moldeable) preferred over a rigid vinyl eraser when working with delicate charcoal and graphite value transitions?
A.It can be shaped by hand to lift pigment softly without producing eraser crumbs or abrading paper surface.
B.It contains solvents that dissolve graphite chemically into a liquid state.
C.It leaves a sticky resin layer that seals the charcoal against smudge marks.
D.It automatically restores white paper brightness by depositing titanium white chalk.
Explanation: Kneaded erasers consist of pliable rubber that absorbs graphite and charcoal particles by adhesion when dapped or rolled over paper. Because they leave no abrasive crumbs and can be molded into fine points, artists manipulate delicate highlight values without scuffing paper tooth.

About the PAU Artistic Drawing II (Madrid) Exam

Comprehensive 100-question practice question bank for the Community of Madrid PAU (EvAU/EBAU) examination in Artistic Drawing II (Dibujo Artístico II). Local questions are an English-language MCQ study adaptation for 2nd Bachillerato curriculum covering graphic materials and drawing techniques, form, proportion, spatial perception, color theory, visual expression, composition, graphic design principles, and history and modes of artistic drawing.

Exam sponsor: PAU Organising Commission of the Community of Madrid / Universidad Complutense de Madrid (UCM). The requirements and fees below concern the certification or admission exam, separate from our free practice resources.

Assessment

Standardized 90-minute written and graphic examination assessing graphic materials & techniques, form, proportion & spatial perception, color theory & visual expression, composition & graphic design principles, and history & modes of artistic drawing across 2º Bachillerato LOMLOE standards in Madrid.

Time Limit

90 minutes (1.5 hours)

Passing Score

Marked on a 0–10 scale. Minimum 4.0 required in Access Phase to combine with Bachillerato GPA (60% Bachillerato + 40% PAU >= 5.0 to pass).

Exam / Certification Fees

EUR 93.02 base registration fee for compulsory Access Phase in Community of Madrid (or ~11.63 € per optional subject in voluntary phase).

Exam sponsor website

Fees, eligibility, and exam policies can change. Confirm them with the exam sponsor before applying or paying.

Our practice resources: topics covered

We aim to reflect publicly available exam outlines and topic information in our study resources. Coverage, format, and difficulty may differ from the actual exam, and we cannot guarantee that every detail is accurate or current. Confirm exam requirements, fees, and policies with the official exam sponsor.

25%

Graphic Materials & Drawing Techniques

Graphite hardness scale (9H-9B), vine and compressed charcoal, dry chalks (sanguine, sepia, conté), silverpoint, Indian ink, dip pens, washes, paper grammage, tooth, sizing, and erasing/blending tools.

25%

Form, Proportion & Spatial Perception

Classical anatomical canons (Polykleitos, Lysippos, Vitruvian Man), skeletal and muscular structures, contrapposto, gesture, foreshortening, linear perspective (1, 2, 3 points), vanishing points, horizon line, and atmospheric perspective.

20%

Color Theory & Visual Expression

Additive and subtractive color systems (RYB, CMYK), Munsell attributes (hue, value, chroma), complementary/triadic schemes, simultaneous contrast, color temperature, optical blending, and chiaroscuro lighting models.

15%

Composition & Graphic Design Principles

Rule of thirds, Golden Ratio (Phi 1.618), dynamic balance, visual weight, framing, negative space, Gestalt principles (figure-ground, closure, proximity), visual hierarchy, and rhythm.

15%

History & Modes of Artistic Drawing

Functions of drawing (sketch, cartoon, academy, finished work), prehistoric to medieval line art, Renaissance sketchbooks (da Vinci, Dürer, Michelangelo), Baroque to 19th-century masters (Rembrandt, Ingres, Degas), and 20th-century/contemporary modes.

Preparing for the PAU Artistic Drawing II (Madrid) Exam

What You Need to Know

  • Passing score: Marked on a 0–10 scale. Minimum 4.0 required in Access Phase to combine with Bachillerato GPA (60% Bachillerato + 40% PAU >= 5.0 to pass).
  • Assessment: Standardized 90-minute written and graphic examination assessing graphic materials & techniques, form, proportion & spatial perception, color theory & visual expression, composition & graphic design principles, and history & modes of artistic drawing across 2º Bachillerato LOMLOE standards in Madrid.
  • Time limit: 90 minutes (1.5 hours)
  • Exam / certification fees: EUR 93.02 base registration fee for compulsory Access Phase in Community of Madrid (or ~11.63 € per optional subject in voluntary phase). Official sources

Using Our Practice Resources

  • Work through all 100 available questions
  • Review every answer and explanation
  • Track weak areas and revisit them
  • Use our AI tutor for tough concepts

PAU Artistic Drawing II (Madrid): Suggested Study Strategy

1Master the graphite hardness scale: H grades (harder, higher clay content, lighter lines for initial layouts) versus B grades (softer, higher graphite content, darker tones for chiaroscuro depth).
2Learn classical anatomical canons thoroughly: Polykleitos (1:7 head-to-body ratio), Lysippos (1:8 ratio with smaller head for elongated posture), and Leonardo's Vitruvian Man proportions.
3Understand linear and atmospheric perspective mechanics: horizon line (eye level), vanishing points, distance points, cone of vision (60°), and reduction of contrast/detail with distance.
4Memorize chiaroscuro light zones: specular highlight, highlight, halftone, core shadow (terminator line), cast shadow, penumbra, and reflected ambient light.
5Analyze master drawings across historical periods: Leonardo da Vinci's anatomical studies, Albrecht Dürer's silverpoints, Rembrandt's ink washes, Edgar Degas' motion pastels, and Antonio López's contemporary Madrid urban drawings.

Frequently Asked Questions

What is the official subject title for this PAU exam in Madrid?

The official subject title is Dibujo Artístico II in the 2º Bachillerato Art modality syllabus administered under the Community of Madrid PAU regulations (UCM, UAM, UPM, UC3M, URJC, UAH).

How is the final PAU mark calculated for university admission in Madrid?

The overall admission mark combines Bachillerato GPA (60%) and the PAU Access Phase mark (40%). Specific subject papers like Dibujo Artístico II can add up to 2.0 extra weight points each in the Admission Phase.

What graphic materials and technical concepts are tested in Dibujo Artístico II?

The syllabus assesses graphite hardness scales (9H to 9B), vine vs. compressed charcoal, dry chalk mediums (sanguine, sepia, conté), ink wash methods, metalpoint preparation, paper tooth/grammage (gsm), and linear/tonal shading techniques.

What proportion systems and perspective rules are covered?

Questions test Polykleitos' 1:7 canon, Lysippos' 1:8 canon, Vitruvian Man proportions, human skeletal and muscle anatomy, contrapposto, foreshortening, single- and multi-point linear perspective, vanishing points, horizon level, and atmospheric perspective.

What color theory and composition principles must candidates know?

Candidates must understand RYB and CMYK subtractive models, hue/value/chroma, Chevreul's simultaneous contrast, optical color mixing, chiaroscuro lighting components, the Rule of Thirds, Golden Ratio (Phi 1.618), and Gestalt figure-ground principles.