II. Read the passage and decide whether the sentences are true (T) or false (F).

The soothing process of painting is often interesting to young children. The pleasant feeling of painting over and over, possibly using two brushes or their fingers is important. We need to encourage the experience where it interests the child, not the adult. As children develop, they become more focused on creating representations and expressing ideas.  Young children need large pieces of paper as well as a variety of brush sizes to experiment with. Colour mixing provides endless discoveries. Painting areas should support the child’s physical abilities. Easels should be at correct height. Move chairs from tables to allow children to stand and paint if they wish. Very young children can be held in a lap or sit on the floor with an adult. The idea is to make the child feel most comfortable when painting. 

1. Children love painting because it is soothing.                                               
2.  Children can only paint with brushes. 

3.Adults should be encouraged to love painting as well.

4.Children love discovering the colours.

5.Very young children should be with adults when learning to paint.

2. Read the passage about Charlie Chaplin and choose the best answer

Ex3 : read the passage and decide whether the sentences are true or false

  The soothing process of painting is often interestign t young children . The pleasant feeling of painting over and over, possibly using two brushes or their fingers is important.We need to encourage the experience where it interests the child , not the adult. As children develop, they become mor focused on creating representations and expressing ideas.

    Young children need large pieces of paper as well as a veriety of brush sizes to experiment with. Colour mixing provides endledss discoveries.

     Painting areas should support the child's physical abilities. Easels should be at correct height. Move chairs from tables to allow children to stand and paint if they wish . Very young children can be held in a lap or sit on the floor with an adult. The idea is to make the child feel most comfortable when painting.

1 Children love painting because it is soothing                                    T or F

2 Children can only paint with brushes                                                 T or F

3 Adults should be encouraged tolove painting a well                         T or F

4 Children love discovering the colours                                              T or F

5 Very young children should be with adults when learning to paint  T or F

Ex5:Make questin for the underlined words in the following sentences

1 There is a banana in the basket

2 I need some tea

3 He has one TV and two computers

4 I have several friends in Hue

5 There's an orange on the table

6 I'd like two cups of apple juice

7 I would like three cakes, please

8 The dictionary is 200,000dong

9 They are planting some roses in the garden

10 I bought half a kilo of cheese

11 I bought two kilos  of oranges

12 Mary invited a lot of people to the party

Ex6; choose the part that needs correction in each of the following sentences

1 How many orange have we got left ? There ate three

2 We have no milk left. What do you want instead milk ?

3 What traditional Vietnamese food do you like best ?

5 I would like you tell me how make a pancake

Ex16 Make questions for the underlined words in the following sentences

1 There are 20 students in the library

2 I saved $2000 last year

3 I need three eggs to make a birthday cake

4 I drink three cups of coffee a day

5 You should add three spoons of sugar into the glass

6. She won 11 gold medals in her Olympic career

7. There is some milk in the bottle

8. I need three cans of apple in his bag

Ex17: Read the passage about different tastes in music. Match the person with his/her opinion. Write your answers in the space provided.

James: My favourite type of music ranges from Rap and R&B to Punk and Hard Rock.The only genre of music I don't really care for is Country. I think it's a good thing to have a wide ranging taste in music.

Joongih: I don't really have a favourite type of music. If a song comes out on the radio and it catches my attention, I find out the name and the artist or group who sings it and I then download it. Eventually these songs or different genres become what I listen to in my spare time .

Timmy : My favourite genre in music is country music because the singers express their feelings .Country music is different because the entire singers relate to their childhood. They also relate to their family members . They express their love through the music

____1 This person listens to every kind of music 

____2 This person thinks it is good to listen to a wide range of music                       A James

____3 This person likes an emotional kind of music                                                  B Joongih

____4 This person can't stand country music.                                                            C Timmy

____5 This person downloads a good song

Ex3: Đọc đoạn văn rồi tick T or F

    The soothing process of paintng is often interesting to young children.The pleasant feeling of painting over and over, possibly using two brushes or their fingers is important . We need to encourage the experience where it interests the child, not the adult. As children develop, they become more focused on creating representations and expressing ideas.

       Young children need large pieces of paper as well as a variety of brush sizes to experiment with. Colour mixing provides endless discoveries.

        Painting areas should support the child's physical abilities. Easels should be at correct height. Move chairs from tables to allow childrent to stand and paint if they wish. Very young children can be held in a lap or sit on the floor with an adult. The idea is to make the child feel most comfortable when painting

  1. Children love paiting because it is soothing                                     T.                    F

2.Children can play only paint brushes                                                   T                     F

3 Adults should be encouraged to love painting as well                          T                     F

4. Children love discovering the colours                                              T               F

5 Very young children should be with adults when learning to paint   T                    F

Ex6 Choose the part that needs correction in each of the following sentences

1 How many orange have we got left ? There are three

2 We have no milk left .What do you want instead milk ?

3 Can you take bottle of water from fridge for me ?

4  What tradition Vietnamese food do you like best ?

5 I would like you to tell me how make a pancke ?

Ex7

 The art of making two-or three- dimensional representative by carving stone or wood               S_ _ _ _ _ _ _ _

Ex14: fill in the blank with a suitable word

 Farming is a hard...............................................Farmers have to work...........................early morning until late in the.........................They do many...........................in the field.They.....................the animals: collect............................,clean the buffalo....................and chicken coop.They have fewer days..............................than other people

Ex5 : Make questions for the underlined words in the following sentences

1 There is 20 banana in the basket

2 I need some tea

3 He has one TV and two computers

4 I have several friends in Hue

5 There's an orange on the table

6 I'd like two cups of apple juice

7 . I would like three cakes, please

8 The dictionary is 200.000dong

9 The are plainting some roses in the garden

10 .I bought half a kilo of cheese

11 I bought two kilos of oranges

12 Mary invited a lot of people to  the party

Ex16:Make quostions for the underlined words in the following sentenxes

1 There are 20 students in the library

2 I saved $2000 last year

3 I need three eggs to make a birthday cake.

4 I drink three cups of coffee a day.

5 You should add three spoons of sugar into the glass

6 She won 11 gold medals in her Olympic career

7 There is some milk in the bottle

8 I need three cans of apples in his bag

Ex17 Read the passage and macth the person 

 James: My favourit type of music ranges from rRap and R&B to Punk and Hard Rock. The only genre of music I don't like really care for is Country. I think it's a good thing to have a wide ranging taste in music. 

  Joongih: I don't really have a favourite type of music. If a song comes out on the radio and it catches me my attetion, I find out the name and the artist or group who sings it and I then download it. Eventually these songs of different genres become what I listen to in my spare time.

Timmy: My favourite genre in music is country music because the singers express their feelings. Country music is different because the entire singers relate to their childhood. They also relate to their family members. They express their love through the music

 __1 : This person listens to every kind of music

___2 This person thinks it is good to listen to a wide range of music                     A. James

___3 This person likes an emotional kind of music                                                B. Joongih

___4 This person can't stand country music                                                           C. Timmy

___5 This person downloads a good song.

Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions.

Panel painting, common in thirteenth- and fourteenth-century Europe, involved a painstaking, laborious process. Wooden planks were joined, covered with gesso to prepare the surface for painting, and then polished smooth with special tools. On this perfect surface, the artist would sketch a composition with chalk, refine it with inks, and then begin the deliberate process of applying thin layers of egg tempera paint (egg yolk in which pigments are suspended) with small brushes. The successive layering of these meticulously applied paints produced the final translucent colors.

Backgrounds or gold were made by carefully applying sheets of gold leaf, and then embellishing of decorating the gold leaf by punching it with a metal rod on which a pattern had been embossed . Every step in the process was slow and deliberate. The quick-drying tempera demanded that the artist know exactly where each stroke be placed before the brush met the panel, and it required the use of fine brushes. It was, therefore, an ideal technique for emphasizing the hard linear edges and pure, fine areas of color that were so much a part of the overall aesthetic of the time. The notion that an artist could or would dash off an idea in a fit of spontaneous inspiration was completely alien to these deliberately produced works.

Furthermore, making these paintings was so time-consuming that it demanded assistance. All such work was done by collective enterprise in the workshops. The painter or master who is credited with

having created the painting may have designed the work and overseen its production, but it is highly unlikely that the artist’s hand applied every stroke of the brush. More likely, numerous assistants, who had been trained to imitate the artist’s style, applied the paint. The carpenter’s shop probably provided the frame and perhaps supplied the panel, and yet another shop supplied the gold. Thus, not only many hands, but also many shops were involved in the final product.

      In spite of problems with their condition, restoration, and preservation, many  panel paintings have survived, and today many of them are housed in museum collections.

Which of the following processes produced the translucent colors found on panel paintings?

A. Applying many layers of paint.     

B. Joining wooden planks to form large sheets.

C. Polishing the gesso.            

D. Covering the background with gold leaf.

Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions.

Panel painting, common in thirteenth- and fourteenth-century Europe, involved a painstaking, laborious process. Wooden planks were joined, covered with gesso to prepare the surface for painting, and then polished smooth with special tools. On this perfect surface, the artist would sketch a composition with chalk, refine it with inks, and then begin the deliberate process of applying thin layers of egg tempera paint (egg yolk in which pigments are suspended) with small brushes. The successive layering of these meticulously applied paints produced the final translucent colors.

Backgrounds or gold were made by carefully applying sheets of gold leaf, and then embellishing of decorating the gold leaf by punching it with a metal rod on which a pattern had been embossed . Every step in the process was slow and deliberate. The quick-drying tempera demanded that the artist know exactly where each stroke be placed before the brush met the panel, and it required the use of fine brushes. It was, therefore, an ideal technique for emphasizing the hard linear edges and pure, fine areas of color that were so much a part of the overall aesthetic of the time. The notion that an artist could or would dash off an idea in a fit of spontaneous inspiration was completely alien to these deliberately produced works.

Furthermore, making these paintings was so time-consuming that it demanded assistance. All such work was done by collective enterprise in the workshops. The painter or master who is credited with

having created the painting may have designed the work and overseen its production, but it is highly unlikely that the artist’s hand applied every stroke of the brush. More likely, numerous assistants, who had been trained to imitate the artist’s style, applied the paint. The carpenter’s shop probably provided the frame and perhaps supplied the panel, and yet another shop supplied the gold. Thus, not only many hands, but also many shops were involved in the final product.

      In spite of problems with their condition, restoration, and preservation, many  panel paintings have survived, and today many of them are housed in museum collections.

What aspect of panel paintings does the passage mainly discuss?

A. Different styles.         

B. Famous examples.     

C. Production.      

D. Restoration.

Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions.

Panel painting, common in thirteenth- and fourteenth-century Europe, involved a painstaking, laborious process. Wooden planks were joined, covered with gesso to prepare the surface for painting, and then polished smooth with special tools. On this perfect surface, the artist would sketch a composition with chalk, refine it with inks, and then begin the deliberate process of applying thin layers of egg tempera paint (egg yolk in which pigments are suspended) with small brushes. The successive layering of these meticulously applied paints produced the final translucent colors.

Backgrounds or gold were made by carefully applying sheets of gold leaf, and then embellishing of decorating the gold leaf by punching it with a metal rod on which a pattern had been embossed . Every step in the process was slow and deliberate. The quick-drying tempera demanded that the artist know exactly where each stroke be placed before the brush met the panel, and it required the use of fine brushes. It was, therefore, an ideal technique for emphasizing the hard linear edges and pure, fine areas of color that were so much a part of the overall aesthetic of the time. The notion that an artist could or would dash off an idea in a fit of spontaneous inspiration was completely alien to these deliberately produced works.

Furthermore, making these paintings was so time-consuming that it demanded assistance. All such work was done by collective enterprise in the workshops. The painter or master who is credited with

having created the painting may have designed the work and overseen its production, but it is highly unlikely that the artist’s hand applied every stroke of the brush. More likely, numerous assistants, who had been trained to imitate the artist’s style, applied the paint. The carpenter’s shop probably provided the frame and perhaps supplied the panel, and yet another shop supplied the gold. Thus, not only many hands, but also many shops were involved in the final product.

      In spite of problems with their condition, restoration, and preservation, many  panel paintings have survived, and today many of them are housed in museum collections.

According to the passage, what was the first step in making a panel painting?

A. Mixing the paint. 

B. Making ink drawings.

C. Preparing the panel. 

D. Buying the gold leaf.

Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 44 to 55.

         Panel painting, common in thirteenth- and fourteenth-century Europe, involved a painstaking, laborious process. Wooden planks were joined, covered with gesso to prepare the surface for painting, and then polished smooth with special tools. On this perfect surface, the artist would sketch a composition with chalk, refine it with inks, and then begin the deliberate process of applying thin layers of egg tempera paint (egg yolk in which pigments are suspended) with small brushes. The successive layering of these meticulously applied paints produced the final translucent colors.

         Backgrounds of gold were made by carefully applying sheets of gold leaf, and then embellishing of decorating the gold leaf by punching it with a metal rod on which a pattern had been embossed. Every step in the process was slow and deliberate. The quick-drying tempera demanded that the artist know exactly where each stroke be placed before the brush met the panel, and it required the use of fine brushes. It was, therefore, an ideal technique for emphasizing the hard linear edges and pure, fine areas of color that were so much a part of the overall aesthetic of the time. The notion that an artist could or would dash off an idea in a fit of spontaneous inspiration was completely alien to these deliberately produced works.

         Furthermore, making these paintings was so time-consuming that it demanded assistance. All such work was done by collective enterprise in the workshops. The painter or master who is credited with having created the painting may have designed the work and overseen its production, but it is highly unlikely that the artist’s hand applied every stroke of the brush. More likely, numerous assistants, who had been trained to imitate the artist’s style, applied the paint. The carpenter’s shop probably provided the frame and perhaps supplied the panel, and yet another shop supplied the gold. Thus, not only many hands, but also many shops were involved in the final product.

         In spite of problems with their condition, restoration, and preservation, many panel paintings have survived, and today many of them are housed in museum collections. 

The author mentions all of the following as problems with the survival of panel paintings EXCEPT ______.

A. condition

B. restoration 

C. preservation

D. theft

Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 44 to 55.

         Panel painting, common in thirteenth- and fourteenth-century Europe, involved a painstaking, laborious process. Wooden planks were joined, covered with gesso to prepare the surface for painting, and then polished smooth with special tools. On this perfect surface, the artist would sketch a composition with chalk, refine it with inks, and then begin the deliberate process of applying thin layers of egg tempera paint (egg yolk in which pigments are suspended) with small brushes. The successive layering of these meticulously applied paints produced the final translucent colors.

         Backgrounds of gold were made by carefully applying sheets of gold leaf, and then embellishing of decorating the gold leaf by punching it with a metal rod on which a pattern had been embossed. Every step in the process was slow and deliberate. The quick-drying tempera demanded that the artist know exactly where each stroke be placed before the brush met the panel, and it required the use of fine brushes. It was, therefore, an ideal technique for emphasizing the hard linear edges and pure, fine areas of color that were so much a part of the overall aesthetic of the time. The notion that an artist could or would dash off an idea in a fit of spontaneous inspiration was completely alien to these deliberately produced works.

         Furthermore, making these paintings was so time-consuming that it demanded assistance. All such work was done by collective enterprise in the workshops. The painter or master who is credited with having created the painting may have designed the work and overseen its production, but it is highly unlikely that the artist’s hand applied every stroke of the brush. More likely, numerous assistants, who had been trained to imitate the artist’s style, applied the paint. The carpenter’s shop probably provided the frame and perhaps supplied the panel, and yet another shop supplied the gold. Thus, not only many hands, but also many shops were involved in the final product.

         In spite of problems with their condition, restoration, and preservation, many panel paintings have survived, and today many of them are housed in museum collections. 

Which of the following processes produced the translucent colors found on panel paintings?

A. Applying many layers of paint

B. Joining wooden planks to form large sheets

C. Polishing the gesso

D. Covering the background with gold leaf