ART Year 11 Work for HALF TERM Pick your area of study and use the guide below to assist you in developing your examination piece Theme: human Figure seated on patterned cloth. Make several sketches of figures copied from guide book to drawing. Make figure studies showing various positions. Next try out drawing using searching/ mapping lines in order to reinforce your drawing skills even further. Develop drawing skills further by studying proportion in the human figure. Take photographs and make 3 minute sketches of people at home Write out a statement of intent: theme, what is the work is about and in what direction do you intend to go next. Michael Angelo, Rembrandt Van Rijn, Chealsea Stebar, Ultima Thule Theme: Flowers in garden or public area Make sketches of plants and flowers. Make an outcome in colour although focus on detail. Study plants in detail and make some basic sketches of flowers. Next tackle drawing using mapping lines to improve observational studies. Draw more sketches of flowers by observing different views. Take in the details. Observe and draw flowers and include plants in the foreground. 1
Write out a statement of intent: theme, what is the work about and in what direction do you intends to go next. References: study the work of Friedenreich Hundertwasser to spark off creative ideas of painting flowers. Vincent Van Gogh (line drawings), Maurice Utrillo. Theme: Worn out Make studies of worn out items using the composition types studied Make line drawings of natural objects Colour outcome of the same using harmonious colours. You need to get specific literally sources e.g. photographs. Explore objects further but emphasize the link between them and the literally sources. Make studies of shape more keenly in order to improve forms. Study drawing using mapping lines in order to improve work. You need to extract tangible and familiar objects from the texts and draw them using direct observation. Write out a statement of intent: theme, what your work is about and in what direction you intend to go next. References: William Blake, John Johnston, Luis Melendez, Douglas Paul Morgan. Study the work of Friedenreich Hundertwasser to spark off creative ideas of painting buildings. Vincent Van Gogh (line drawings), Maurice Utrillo. Theme: DISMANTLED Still life using the composition types studied Make line drawings of still life objects (bottle, cups and tray). 2
Colour outcome of the same using harmonious colours. Explore still dismantled objects further but emphasize the link between them and the literally sources that inform your work. Study dismantled objects more keenly in order to improve your forms. Study drawing using mapping lines in order to improve your work. Extract tangible and familiar objects from the texts and draw them using direct observation. Still life Draw some domestic dismantles utensils using basic mapping lines. 3
ART Year 12 13 HALF TERM WORK Themes GRIEF EMBRACE WHAT THE EYES WANT TO SEE TEXTILES MEMORIES AFRICAN ART DO THE FOLLOWING: 1 1. Complete 4-10 drawings of your chosen topic in your A Level Art Sketchbook, using a range of black and white and coloured mediums such as graphite pencil, ink, acrylic, coloured pencil, watercolours, and oil. The level of realism achieved in these drawings will be dependent on your own drawing style and preferences. Mix and layer mediums as appropriate. Include photographs if desired. The drawings may be semiincomplete and can merge into each other. At this point, do not worry so much about what you are achieving in terms of composition. You are merely conducting visual research and exploring your topic. 2. Fill gaps around the drawings with notes discussing your theme / issue / message why this is personally relevant to you; what appeals to you visually about the subject; how the subject matter might be composed in order to support or convey your ideas. Look carefully at what you have drawn and make notes about how the visual elements (line, tone, texture, space, colour etc.) interact For example, are there strong contrasts between highly detailed areas and sparse areas? Are the negative spaces as interesting as the objects themselves? Are there repetitions of certain shapes and colours? Are you exploring frames within frames? In essence, establish what you are dealing with visually.
3. Select an artist model whose work relates to your subject matter and inspires you. Research this artist. Complete several pages in your A Level Art Sketchbook, including composition studies, imitations and pastiches of their artwork, using a range of mediums. Fill spaces around the illustrations with notes explaining/discussing their technique/s (mark-making methods); use of media / materials; style; composition (i.e. the relationship between the visual elements: line, shape, colour, tone, texture and space. Discuss how these elements form visual devices that draw attention, emphasise, balance, link or direct the viewer through the artwork and so on). Write notes about the ideas, moods and subjects explored within the drawings and how all of the above relates to your topic or theme. Your comments should show evidence that you have researched your artist (using proper terminology) and should also contain your own thoughts and responses. Under no circumstances should it appear as if you are just regurgitating information from a textbook. Learn from this artist and establish how this artist is relevant / useful for your own project; 4. Complete 5 7 drawings and paintings that show a smooth transition from your original artworks to images that are influenced by your first artist model. 5. Do not leap in and copy everything the artist does. It may be, for example, that you simply copy the way a particular artist uses foreground, mid-ground and background, or the way in which they apply paint onto a scratched, irregular surface. The purpose of this exercise is to learn particular techniques or compositional strategies not to copy their work in its entirety. The result should be a series of paintings which show gradual changes and exploration. 6. When you have learned all that you need to from the first artist, select another artist and repeat the process. Once you have learned from this artist, repeat again. The intention is that by the time you get to your final piece, your work is a beautiful combination of your own ideas and the influence of several others. Your work should look absolutely original a beautiful mixture of wisdom gained from a multitude of sources. It can be good practice to choose a range of artist models ie. National / international, contemporary / historical etc but this is not always necessary. The best outcomes occur when students choose artists whose work really moves them. 2
ART Year 12 13 HALF TERM WORK Themes GRIEF EMBRACE WHAT THE EYES WANT TO SEE TEXTILES MEMORIES AFRICAN ART DO THE FOLLOWING: 1 1. Complete 4-10 drawings of your chosen topic in your A Level Art Sketchbook, using a range of black and white and coloured mediums such as graphite pencil, ink, acrylic, coloured pencil, watercolours, and oil. The level of realism achieved in these drawings will be dependent on your own drawing style and preferences. Mix and layer mediums as appropriate. Include photographs if desired. The drawings may be semiincomplete and can merge into each other. At this point, do not worry so much about what you are achieving in terms of composition. You are merely conducting visual research and exploring your topic. 2. Fill gaps around the drawings with notes discussing your theme / issue / message why this is personally relevant to you; what appeals to you visually about the subject; how the subject matter might be composed in order to support or convey your ideas. Look carefully at what you have drawn and make notes about how the visual elements (line, tone, texture, space, colour etc.) interact For example, are there strong contrasts between highly detailed areas and sparse areas? Are the negative spaces as interesting as the objects themselves? Are there repetitions of certain shapes and colours? Are you exploring frames within frames? In essence, establish what you are dealing with visually.
3. Select an artist model whose work relates to your subject matter and inspires you. Research this artist. Complete several pages in your A Level Art Sketchbook, including composition studies, imitations and pastiches of their artwork, using a range of mediums. Fill spaces around the illustrations with notes explaining/discussing their technique/s (mark-making methods); use of media / materials; style; composition (i.e. the relationship between the visual elements: line, shape, colour, tone, texture and space. Discuss how these elements form visual devices that draw attention, emphasise, balance, link or direct the viewer through the artwork and so on). Write notes about the ideas, moods and subjects explored within the drawings and how all of the above relates to your topic or theme. Your comments should show evidence that you have researched your artist (using proper terminology) and should also contain your own thoughts and responses. Under no circumstances should it appear as if you are just regurgitating information from a textbook. Learn from this artist and establish how this artist is relevant / useful for your own project; 4. Complete 5 7 drawings and paintings that show a smooth transition from your original artworks to images that are influenced by your first artist model. 5. Do not leap in and copy everything the artist does. It may be, for example, that you simply copy the way a particular artist uses foreground, mid-ground and background, or the way in which they apply paint onto a scratched, irregular surface. The purpose of this exercise is to learn particular techniques or compositional strategies not to copy their work in its entirety. The result should be a series of paintings which show gradual changes and exploration. 6. When you have learned all that you need to from the first artist, select another artist and repeat the process. Once you have learned from this artist, repeat again. The intention is that by the time you get to your final piece, your work is a beautiful combination of your own ideas and the influence of several others. Your work should look absolutely original a beautiful mixture of wisdom gained from a multitude of sources. It can be good practice to choose a range of artist models ie. National / international, contemporary / historical etc but this is not always necessary. The best outcomes occur when students choose artists whose work really moves them. 2
ART Year 12 13 HALF TERM WORK Themes GRIEF EMBRACE WHAT THE EYES WANT TO SEE TEXTILES MEMORIES AFRICAN ART DO THE FOLLOWING: 1 1. Complete 4-10 drawings of your chosen topic in your A Level Art Sketchbook, using a range of black and white and coloured mediums such as graphite pencil, ink, acrylic, coloured pencil, watercolours, and oil. The level of realism achieved in these drawings will be dependent on your own drawing style and preferences. Mix and layer mediums as appropriate. Include photographs if desired. The drawings may be semiincomplete and can merge into each other. At this point, do not worry so much about what you are achieving in terms of composition. You are merely conducting visual research and exploring your topic. 2. Fill gaps around the drawings with notes discussing your theme / issue / message why this is personally relevant to you; what appeals to you visually about the subject; how the subject matter might be composed in order to support or convey your ideas. Look carefully at what you have drawn and make notes about how the visual elements (line, tone, texture, space, colour etc.) interact For example, are there strong contrasts between highly detailed areas and sparse areas? Are the negative spaces as interesting as the objects themselves? Are there repetitions of certain shapes and colours? Are you exploring frames within frames? In essence, establish what you are dealing with visually.
3. Select an artist model whose work relates to your subject matter and inspires you. Research this artist. Complete several pages in your A Level Art Sketchbook, including composition studies, imitations and pastiches of their artwork, using a range of mediums. Fill spaces around the illustrations with notes explaining/discussing their technique/s (mark-making methods); use of media / materials; style; composition (i.e. the relationship between the visual elements: line, shape, colour, tone, texture and space. Discuss how these elements form visual devices that draw attention, emphasise, balance, link or direct the viewer through the artwork and so on). Write notes about the ideas, moods and subjects explored within the drawings and how all of the above relates to your topic or theme. Your comments should show evidence that you have researched your artist (using proper terminology) and should also contain your own thoughts and responses. Under no circumstances should it appear as if you are just regurgitating information from a textbook. Learn from this artist and establish how this artist is relevant / useful for your own project; 4. Complete 5 7 drawings and paintings that show a smooth transition from your original artworks to images that are influenced by your first artist model. 5. Do not leap in and copy everything the artist does. It may be, for example, that you simply copy the way a particular artist uses foreground, mid-ground and background, or the way in which they apply paint onto a scratched, irregular surface. The purpose of this exercise is to learn particular techniques or compositional strategies not to copy their work in its entirety. The result should be a series of paintings which show gradual changes and exploration. 6. When you have learned all that you need to from the first artist, select another artist and repeat the process. Once you have learned from this artist, repeat again. The intention is that by the time you get to your final piece, your work is a beautiful combination of your own ideas and the influence of several others. Your work should look absolutely original a beautiful mixture of wisdom gained from a multitude of sources. It can be good practice to choose a range of artist models ie. National / international, contemporary / historical etc but this is not always necessary. The best outcomes occur when students choose artists whose work really moves them. 2
Year 13 A Level Art: The Personal Study A2 Art students are required to produce a detailed Personal Study (previously known as the Related Study for CIE students). The Personal Study is a critical and visual appraisal or theoretical study of any aspect of the visual arts. It is usually an analysis of art or design that focuses on one or both of the following: Process and materials (the way an artist or group of artists use/s media); Subject or theme (the way an artist approaches a similar topic, generally with reference to composition, technique and the visual elements line, texture, space, colour etc). It may or may not relate to your AS or A2 Coursework, although a link between the two can be helpful. (This is a new requirement it used to be that the Personal Study had to relate to Coursework). Whatever topic is chosen, students must have first-hand access to at least some of the art or design work analysed in their study. It is also beneficial to have access to sketches, planning, incomplete and finished works, so that students are able to understand and illustrate the art-making process. Please read how to select a great A2 Art Personal Study topic for more guidance with this. Students are required to submit: 1 x Personal Study (max 3,500 words, maximum size A1). It may be presented in any appropriate written and/or practical format, including an illustrated formal essay; a structured sequence of annotated art or design work; a presentation of slides; VHS video footage; digital or multimedia presentation (these must be backed up by hardcopy). The Personal Study must include an: o Introduction o Conclusion o Bibliography
Prior to beginning the Personal Study, students should submit a Outline Proposal Form, which details: intentions (the focus of the Study); sources for first-hand study; sources of other information; bibliography; and your teacher s comments. A2 Personal Study assessment The A2 Personal Study is worth 40% of your A2 Art course and 20% of your final A Level Art grade. It is externally assessed (i.e. marked by CIE examiners). Most countries send the Personal Study to Cambridge University to be moderated; other counties, like New Zealand, are lucky enough to have the examiners travel to them. The Personal Study is given a single mark out of 100, using the following criteria: Personal Study presentation ideas CIE gives the following recommendations: If a balance of visual and written analysis is presented it should not exceed 3500 words. Alternatively, a carefully structured sequence of annotated drawings, paintings, photographs, prints or three-dimensional objects may be presented in any appropriate format. A carefully-ordered slide, tape or video presentation or any combination of written or recorded analysis with any possibility of graphic presentation is also permissible. An introduction, a conclusion and a bibliography are expected to be included in each type of presentation. In other words, virtually any format is acceptable. Formats that have not been specifically mentioned above include a mounted display or an onscreen presentation, such as a PowerPoint, blog page or vlog (as long as examiners travel to your school for assessment and there are facilities for setting up computers in the moderation and assessment area when the examiners arrive). If you are contemplating a digitally displayed presentation, it is best to seek advice from the examiners prior to beginning your study. The best personal studies are those that are visually appealing; show artistic and literary skill; communicate a message clearly; and visually complement the artist/s or designer/s studied.
The Personal Study is a substantial project, which cannot be completed at the last minute. Every aspect of the study should be carefully researched and organised. Students must plan and consider the content, order and structure of their study, as well as the presentation methods, including, for example, how they will integrate text and image, as well as selection of font style and colour (the examiners must be able to read the text clearly if there is any doubt about this, send a typed copy of the text with your submission), text alignment, page format, paper colour and weight, column widths and so on. Illustrations should be exceptionally high quality, relevant to the topic and selected carefully. It is advisable that many of these are hand-crafted or photographed by the student themselves, rather than the majority being second hand images sourced from the internet. Tactile, textured paintings are likely to be better displayed in the flesh, whereas photographic or graphic work may suit a digitally created presentation. Those who are able to create beautiful video footage of an artist working might consider making a DVD. It is worth noting here that while the presentation should be exciting, beautiful and visually interesting, a wildly unusual presentation style is not always necessary a beautifully composed book presentation is more than capable of achieving 100% A Level Art Personal Study examples Below are some examples of some ordinarily presented (yet beautiful) sketchbook layouts, as well as some more creative Personal Studies. I am actively looking to illustrate a wider range here. If you have or know anyone who would be willing to share their work on this website then please read our Featured Art Project submission guidelines.