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Year 10 – Maths - Volume, Surface Area, Similarity and Advanced Trig 1 Area of Base X Height 9 Volume of a 4 휋푟3 Rectangle Sphere 3

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Year 10 – Maths - Volume, Surface Area, Similarity and Advanced Trig 1 Area of Base X Height 9 Volume of a 4 휋푟3 Rectangle Sphere 3 Year 10 – Maths - Volume, Surface Area, Similarity and Advanced Trig 1 Area of Base x height 9 Volume of a 4 휋푟3 rectangle Sphere 3 2 Area of (퐵푎푠푒 푥 ℎ푒푔ℎ푡) 10 Surface area 4휋푟2 triangle 2 of a sphere 3 Area of a 1 11 2 2 2 푎 + 푏 푥 ℎ Cosine Rule a = b + c - 2bc cos A. Trapezium 2 “Half the sum of the parallel sides times the difference between them” 4 Area of a Base x Perpendicular Height 12 Area 1 Parallelogram Area = absinC formula 2 5 A Prism A 3D solid which has the same 2D 13 Sine Rule 푎 푏 푐 shape running all the way through = = it 푠푛퐴 푠푛퐵 푠푛퐶 6 Volume of a 퐴푟푒푎 표푓 푐푟표푠푠 − 푠푒푐푡표푛 푥 푙푒푛푔푡ℎ 14 Congruent Shapes that have exactly the prism same lengths and angles in any rotation 7 Surface The sum of all the 2D faces 15 Congruency SSS- Side, Side, Side Area of a 3D Tests for ASA-Side, Angle, Side solid Triangles SAS-Side, Angle, Side RASH-Right angles, side, hypotenuse 8 Volume of a 1 16 Similar Shapes that have the same 휋푟2ℎ cone 3 angles but are not the same size and whose lengths are in the same ratio. 9 Surface 17 Plan View The 2D outline of a shape from Area of a 휋푟푙 + 휋푟2 above Cone 10 Volume of a 1 18 푥 푎푟푒푎 표푓 푏푎푠푒 푥 ℎ푒푔ℎ푡 square based 3 pyramid The circle song: “Circumference is pi times diameter, pi times diameter, pi times diameter (repeat) and area is pi r squared” Year 10 – Art - Term 3 + 4– Culture 1 Different qualities of darkness and 16 A plastic mat that printing ink is Plate light. Tone spread onto. 2 The feel of a surface e.g. rough/ Texture 17 A process where a print is added Over printing smooth. over the top of an existing print. 3 A mark made by a point moving Line 18 Adding decorations to an existing Embellishment on a surface. object or artwork e.g. a print. 6 Different Hues caused by light Colour 21 A surface decoration process Batique refracting on a surface. where oil pastel is first put onto a page and then an ink wash is added over the top. 7 The space within a painting or Positive space 22 A surface decoration process Wash sculpture that contains the where a thin watery layer of ink or important objects/ information. paint is painted onto a page. 8 The space within a painting or Negative space 23 A surface decoration process Tint sculpture that does not contain where colured paint is gradually the important objects/ added to white to create a information. gradiated tone. 9 The arrangement of objects within Composition 24 A surface decoration technique Collage an artwork. where images/patterns are created using pieces of paper. 10 A design that has elements that Repeat Pattern 25 A surface decoration technique Splatter are repeated. where ink is flicked onto a page using a brush. 11 A soft plastic material used for Lino 26 A surface decoration technique Brusho lino cut relief printing. where very strong powdered pigment is added to a wet page. 12 A tool used to apply a thin, evenly Roller 27 A surface decoration technique Wet on Wet layer of ink onto a surface. where a wet material e.g. ink is added to an already wet surface. 1 2 3 4 5 6 The poet The poet Poem explores More precisely… deliberately For example… In other words… … uses… How all power is fleeting Oxymorons/ “Nothing beside remains. Round the Aside from the ruins, nothing else is left of the statue’s intimidating presence. (doesn’t last). juxtaposition decay of that colossal wreck” The cruelty, oppression The statue’s facial expression is a scowl of superiority and unfeeling control – as and corruption of those in Imagery “sneer of cold command” Power if Ozymandias is scornful and disdainful of his subjects. Ozymandia power. s by Percy The insignificance and A All that is left is desert as far as the eye can see; nature has reduced the ‘vast’, Bysshe impotence of humans in The resolution “Lone and level sands stretch far away” ‘colossal’ statue to nothing but dust; nature and time are ‘level[lers]’ –they Shelley the face of nature/ time’s eventually reduce all things/ people to equal status. power “My name is Ozymandias, King of Kings, The danger of pride and Ozymandias’s arrogant inscription upon his ‘pedestal’ taunts other rulers to give Pride. Symbolism Look on my works ye mighty and arrogance. up, because his kingdom is so impressive they can never compete. despair!” The cruelty, oppression “blackning church appals” Blake points the finger of blame at the Church and the monarchy for the and corruption by those Imagery “hapless soldiers sigh runs in blood oppression and corruption in London. in power. down Palace walls” Power The potential power of Blake portrays Londoners as carrying responsibility for limiting themselves; they individuals to overcome metaphors “the mind-forged manacles” have created restrictions in their own minds. He wanted Londoners to rise up London by oppressive regimes. against their oppressors. B William Between an individual “I wander through each chartered street As Blake walks, without purpose, through London’s streets he can’t help but Blake and ‘the system’; the Repetition/ Conflict Near where the chartered Thames does notice how every part of the landscape is owned and controlled. Even the river poem is a protest against juxtaposition flow, itself is ‘chartered’ injustice Loss of The corruption of the ambiguous “youthful Harlots curse Blasts the new- On one level, a young prostitute swears at her crying baby. On another level, the Innocenc innocent by those in words/ born Infants tear” prostitute passes on her STIs to her innocent child. e power. The conflict between man oxymoron “exploding comfortably” Although the sea is sometimes a ‘comfortable’ and friendly neighbour, at others Conflict and the natural world it can suddenly and unexpectedly turn into a violent and aggressive force. simile “spits like a tame cat turned savage” The insignificance and The speaker reveals the Islanders’ powerlessness – they can only sit and endure Storm on impotence of humans in “We just sit tight while wind dives and Power metaphor the relentless attack of the intangible weather – which seems to bombard them the Island the face of nature’s strafes invisibly” C like artillery fire. by Seamus power Heaney Appeara At first the Islanders “We are prepared: we build our houses The poem opens with the stubborn and proud statement of the Islander’s nce appear in control, only to squat” resilience to the weather – they are ready and they have adapted their versus reveal their inner fear and environment to survive the hostile conditions. However, by the resolution, the reality turmoil. “Strange, it is a huge nothing we fear.” speaker reveals their unsettled fear of the intangible force of nature. 1 2 3 4 5 6 The poet The poet Poem More precisely… deliberately For example… In other words… explores… uses… The insignificance and impotence of humans in Personificati “a huge peak, black and huge… upreared The speaker personifies the enormous mountaintop as looking like a monster, Power the face of nature’s on its head” lifting up its head and beginning to chase him. power Extract “As I rose upon the stroke my boat went As the speaker rows out across the lake his movements are confident and graceful; from The loss of the naïve Loss of heaving through the water like a swan” like an elegant swan, he feels at one with nature. ‘The confidence of youth in Contrast Prelude’ Innocence “With trembling oars I turned, and As the speaker returns, his movements are nervous, scared and embarrassed, he D the face of experience. by through the silent water stole my way” has been humbled by nature; his confidence is lost. William The conflict between After seeing the ‘spectacle’ the speaker’s relationship with nature has changed; Wordsw “no familiar shapes remained, no Conflict man and the natural imagery the pleasant imagery has gone from his mind and has been replaced by a orth pleasant images of trees, Of sea or sky” world realisation of nature’s immense power over man. The memory of a “huge and mighty forms that do not live The memory of his experience and the immensity of the natural world is causes Memory traumatic experience …were a trouble to my dreams” the speaker to have nightmares and troubled sleep. haunts the speaker The power of individual Resolution / “Now I checking out me own history I Agard triumphantly claims that he is etching out/ crafting his own personal identity. metaphor carving out me identity” identity by researching his own Black History. The power of positive “A healing star / Among the wounded/ A Using imagery of light and hope, Agard describes Mary Seacole’s role in helping Power Imagery Checking role models yellow sunrise to the dying” the wounded in the Crimean war. He too is shining a ‘light’ on black history. Out Me By using the Caribbean dialect and non-standard English, Agard reclaims power E History The power of language dialect “Dem tell me” by John over history but also over language. Agard Between an individual The unspecified ‘dem’ (perhaps teachers or government) have only taught Agard and ‘the system’; the “Dem tell me wha dem want to tell me/ Conflict metaphor white history – they have figuratively blinded him to his own personal identity by poem is a protest Bandage up me eye with me own history” keeping him ignorant of inspirational black role models.
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