PTE Describe Image pie chart: template and sample answers

Use the template for the order of your sentences and fill every [slot] with facts from the pie chart in front of you. Two pies? Compare the same slice across them instead of describing each pie separately.

This pie chart breaks [the whole] down into [number] parts.
The largest share, [figure] per cent, goes to [category], which is [about a third / almost half] of the total.
[Second category] follows with [figure] per cent, while [smallest category] makes up just [figure] per cent.
Together, [two categories] account for [sum] per cent.
Overall, [what dominates and what that suggests].

Two pies? Compare the same slice across them instead of describing each pie separately.

What it shows: This [type of image] shows [what is measured] for [who or where], [unit or time period].
Main feature: The most noticeable point is that [the highest, largest or clearest change], at [figure].
Compare: By contrast, [the lowest or opposite item] is [figure], while [the middle items] are around [figure].
Relationship: [how two features connect: twice as many, both rise until, higher in every case].
Conclusion: Overall, the [image] suggests that [implication or likely reason].

About 70–90 words fills the 40 seconds at a natural pace. Drop the labels when you speak.

Keep it flexible: if the image is a photo or an unusual diagram that no frame fits, drop the wording and keep only the order (what it is, the main features, how they relate, what it suggests).

Do not memorise sentences. Generic filler that would fit any image, such as "The image gives a lot of useful information." Pearson treats memorised material as irrelevant, and a Content score of 0 means Pronunciation and Oral Fluency are not scored at all.

Speak your answer first, then open the sample. Sample answers are shown here only where the practice set already shows them; for the others, record on the set page to see the sample answer and key points.

1. Question 1 · Animation Production and Technology, question 1

   Anime Studio Resource Allocation

   Average Budget Allocation in Commercial Animation (%). Keyframe Drawing 35, In-betweening 25, Background Art 15, Digital Compositing 15, Sound Design 10.

   • Keyframe Drawing: 35%
   • In-betweening: 25%
   • Background Art: 15%
   • Digital Compositing: 15%
   • Sound Design: 10%

   View the data

   Category	Value (%)
   Keyframe Drawing	35
   In-betweening	25
   Background Art	15
   Digital Compositing	15
   Sound Design	10

   Show sample answer

   The pie chart illustrates the distribution of production expenditure across different departments in a commercial animation project. Overall, drawing tasks represent the largest proportion of financial resources, with keyframe drawing accounting for 35% and in-betweening taking 25%. In contrast, background art and digital compositing each consume an equal share of 15%. Sound design requires the smallest financial allocation at just 10%. In this chart, keyframe drawing and in-betweening together account for 60% of the budget, compared with 40% for the other three departments.

   • Keyframe drawing receives the largest single share at 35%
   • Background art and digital compositing receive equal allocations of 15% each
   • Keyframe drawing and in-betweening together account for 60%, compared with 10% for sound design
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2. Question 2 · Art Conservation and Heritage Science, question 1

   Causes of Fresco Deterioration

   Primary Factors in Wall Painting Decay (%). Moisture Intrusion 42, Microbial Growth 24, Thermal Fluctuation 18, Atmospheric Pollutants 11, Structural Shifting 5.

   • Moisture Intrusion: 42%
   • Microbial Growth: 24%
   • Thermal Fluctuation: 18%
   • Atmospheric Pollutants: 11%
   • Structural Shifting: 5%

   View the data

   Category	Value (%)
   Moisture Intrusion	42
   Microbial Growth	24
   Thermal Fluctuation	18
   Atmospheric Pollutants	11
   Structural Shifting	5

   Show sample answer

   This pie chart illustrates the primary factors responsible for the deterioration of historic wall paintings. The dominant cause is moisture intrusion, which accounts for 42% of all recorded damage. Microbial growth represents the second largest share at 24%, followed by thermal fluctuation at 18%. Atmospheric pollutants and structural shifting contribute much smaller proportions, at 11% and 5% respectively. Overall, the data demonstrates that water-related issues and biological activity cause almost two-thirds of all decay, highlighting the vital importance of environmental moisture control in heritage conservation.

   • Moisture intrusion is the primary factor at 42 percent
   • Moisture and biological growth together account for nearly two-thirds of decay
   • Environmental moisture control is the most critical intervention for preserving frescoes
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3. Question 3 · Fairy Tale Studies and Lore, question 1

   Recurring Fairy Tale Motifs

   Prevalence of Core Motifs in European Folklore (%). Magical Transformations 35, Quests and Trials 25, Deceptive Villains 20, Royal Marriages 12, Supernatural Helpers 8.

   • Magical Transformations: 35%
   • Quests and Trials: 25%
   • Deceptive Villains: 20%
   • Royal Marriages: 12%
   • Supernatural Helpers: 8%

   View the data

   Category	Value (%)
   Magical Transformations	35
   Quests and Trials	25
   Deceptive Villains	20
   Royal Marriages	12
   Supernatural Helpers	8

   Show sample answer

   The pie chart illustrates the prevalence of core narrative motifs in European folklore. Overall, magical transformations represent the largest category, accounting for 35% of all recorded motifs. Quests and trials form the second most frequent element at 25%, followed by deceptive villains at 20%. In contrast, supernatural helpers constitute the smallest share at only 8%, while royal marriages make up 12%. In conclusion, the data demonstrates that supernatural change and heroic journeys dominate traditional European tales compared to minor assistance tropes.

   • Magical transformations are the most prevalent motif at 35%
   • Quests and trials (25%) exceed deceptive villains (20%) and royal marriages (12%)
   • Supernatural helpers are the least frequent motif at 8%
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4. Question 4 · Felt Production and Applications, question 1

   Industrial Felt Fibre Composition

   Global Industrial Felt Raw Material Shares (%). Merino Wool 42, Recycled Polyester 28, Coarse Wool 16, Viscose 9, Aramid Fibres 5.

   • Merino Wool: 42%
   • Recycled Polyester: 28%
   • Coarse Wool: 16%
   • Viscose: 9%
   • Aramid Fibres: 5%

   View the data

   Category	Value (%)
   Merino Wool	42
   Recycled Polyester	28
   Coarse Wool	16
   Viscose	9
   Aramid Fibres	5

   Show sample answer

   The pie chart illustrates the proportions of various raw materials utilised in global industrial felt manufacturing. Merino wool constitutes the largest share at 42%, followed by recycled polyester, which accounts for 28%. Coarse wool represents 16% of total consumption, whereas viscose and specialised aramid fibres contribute smaller proportions at 9% and 5% respectively. Natural animal fibres collectively dominate over synthetic alternatives, demonstrating that natural wool remains the primary foundation for technical felt production worldwide despite the growing adoption of recycled polymers.

   • Merino wool is the dominant raw material at 42%
   • Recycled polyester is the second largest component at 28%
   • Natural wool varieties form the majority of total fibre consumption
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5. Question 5 · Global Basketry Traditions, question 1

   Natural Fibres in Basketry

   Global Raw Material Usage in Traditional Basketry (%). Willow and Hazel 35, Rattan and Cane 28, Bamboo Splints 18, Grasses and Reeds 12, Palm Leaves 7.

   • Willow and Hazel: 35%
   • Rattan and Cane: 28%
   • Bamboo Splints: 18%
   • Grasses and Reeds: 12%
   • Palm Leaves: 7%

   View the data

   Category	Value (%)
   Willow and Hazel	35
   Rattan and Cane	28
   Bamboo Splints	18
   Grasses and Reeds	12
   Palm Leaves	7

   Show sample answer

   The pie chart illustrates the proportion of raw materials used in traditional basketry worldwide. Willow and hazel constitute the largest share at 35%, followed closely by rattan and cane at 28%. Together, these two categories account for over half of all materials recorded. Bamboo splints represent 18%, while grasses and reeds make up 12%. Palm leaves form the smallest segment at just 7%. Overall, woody and flexible shoots dominate traditional weaving practices over softer fibrous plants.

   • Willow and hazel represent the largest material category at 35%
   • Palm leaves comprise the smallest share at 7%, while rattan is second largest at 28%
   • Woody shoots dominate over softer grasses and leaves in global basketmaking
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6. Question 6 · Global Production and Consumption of Noodles, question 1

   Cereal Grain Usage in Noodle Doughs

   Global Grain Share in Noodle Manufacturing (%). Wheat Flour 55, Rice Flour 20, Buckwheat 12, Mung Bean Starch 8, Other Grains 5.

   • Wheat Flour: 55%
   • Rice Flour: 20%
   • Buckwheat: 12%
   • Mung Bean Starch: 8%
   • Other Grains: 5%

   View the data

   Category	Value (%)
   Wheat Flour	55
   Rice Flour	20
   Buckwheat	12
   Mung Bean Starch	8
   Other Grains	5

   Show sample answer

   This pie chart illustrates the proportions of various cereal grains used in global noodle manufacturing. Wheat flour represents the largest share by far, accounting for 55% of total production, followed by rice flour at 20%. Buckwheat comprises 12%, while mung bean starch and other minor grains make up 8% and 5% respectively. In comparison, wheat flour exceeds all alternative ingredients combined. Overall, the data indicates that traditional wheat remains the primary base for industrial noodle production worldwide.

   • Wheat flour forms the majority of raw material at 55%
   • Rice flour is the second largest category at 20%
   • Wheat dominates over all alternative cereal grains combined
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7. Question 7 · Historical and Contemporary Calligraphy, question 1

   Illumination Pigment Composition

   Pigment Composition in Medieval Scriptoria (%). Carbon black 40, Iron gall 30, Vermilion red 15, Verdigris green 10, Lapis lazuli 5.

   • Carbon black: 40%
   • Iron gall: 30%
   • Vermilion red: 15%
   • Verdigris green: 10%
   • Lapis lazuli: 5%

   View the data

   Category	Value (%)
   Carbon black	40
   Iron gall	30
   Vermilion red	15
   Verdigris green	10
   Lapis lazuli	5

   Show sample answer

   The pie chart illustrates the proportional breakdown of pigments used in medieval scriptoria. Overall, dark inks formed the vast majority of the materials, with carbon black representing the largest share at 40%, followed by iron gall at 30%. In contrast, decorative mineral pigments accounted for smaller portions, with vermilion red at 15%, verdigris green at 10%, and lapis lazuli making up only 5%. In conclusion, medieval scribes relied primarily on basic carbon and iron mixtures, while precious mineral colours were used sparingly for illumination.

   • Carbon black and iron gall constitute seventy per cent combined.
   • Lapis lazuli represents the smallest fraction at five per cent.
   • Scribes prioritised utility inks over expensive decorative pigments.
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8. Question 8 · History of Silent Cinema, question 1

   Silent Film Nitrate Stock Survival

   Survival Status of Silent Feature Films (%). Completely Lost 75, Incomplete Fragments 15, Fully Preserved 10.

   • Completely Lost: 75%
   • Incomplete Fragments: 15%
   • Fully Preserved: 10%

   View the data

   Category	Value (%)
   Completely Lost	75
   Incomplete Fragments	15
   Fully Preserved	10

   Show sample answer

   The pie chart illustrates the survival status of silent feature films produced during the early cinematic era. It is immediately clear that the vast majority of silent features are completely lost, accounting for 75% of the total output. In contrast, incomplete fragments make up 15%, while fully preserved titles represent the smallest proportion at just 10%. Overall, this striking imbalance demonstrates the severe vulnerability of early nitrate stock, indicating that only a minor fraction of early cinematic heritage has survived intact.

   • Completely lost films form the largest share at 75%
   • Fully preserved features represent only 10% of the total
   • Nitrate degradation caused the loss of most early cinematic heritage
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9. Question 9 · Masks in History and Industry, question 1

   Surgical Mask Material Composition

   Material Composition of Standard Surgical Masks (%). Spunbond Polypropylene 60, Meltblown Filter Layer 25, Nose Wire and Clips 10, Elastic Ear Loops 5.

   • Spunbond Polypropylene: 60%
   • Meltblown Filter Layer: 25%
   • Nose Wire and Clips: 10%
   • Elastic Ear Loops: 5%

   View the data

   Category	Value (%)
   Spunbond Polypropylene	60
   Meltblown Filter Layer	25
   Nose Wire and Clips	10
   Elastic Ear Loops	5

   Show sample answer

   The pie chart illustrates the material breakdown of standard surgical masks by percentage. Spunbond polypropylene forms the largest share at 60%, followed by the meltblown filter layer, which constitutes 25% of the total structure. Structural components make up the remainder, with nose wires accounting for 10% and elastic ear loops representing the smallest portion at just 5%. Overall, synthetic filtration and structural fabrics dominate production, comprising 85% of all materials, which highlights the critical importance of polymer layers in medical barrier manufacturing.

   • Spunbond polypropylene accounts for the largest proportion at 60%
   • Elastic ear loops represent the smallest share at 5%
   • Polymer fabrics together comprise the vast majority of the mask structure
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10. Question 10 · Museum Repatriation Practices, question 1

    Repatriation Claims by Material Type

    Proportion of Restitution Claims by Material (%). Ceramics and Pottery 35, Metalwork and Coins 25, Carved Stone 20, Textiles and Fibre 12, Organic Remains 8.

    • Ceramics and Pottery: 35%
    • Metalwork and Coins: 25%
    • Carved Stone: 20%
    • Textiles and Fibre: 12%
    • Organic Remains: 8%

    View the data

    Category	Value (%)
    Ceramics and Pottery	35
    Metalwork and Coins	25
    Carved Stone	20
    Textiles and Fibre	12
    Organic Remains	8

    Show sample answer

    The pie chart illustrates the breakdown of restitution claims submitted to museums by material type. Ceramics and pottery account for the largest proportion at 35%, followed by metalwork and coins at 25%. Carved stone represents 20% of the total claims, while textiles and organic remains form smaller shares at 12% and 8% respectively. In comparison, ceramic and metallic objects together constitute over half of all claims. This suggests that durable inorganic artefacts are far more frequently subject to formal return requests than organic cultural heritage.

    • Ceramics and pottery form the largest share at 35%
    • Organic remains represent the smallest category at only 8%
    • Durable inorganic materials constitute the vast majority of restitution claims
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