GCSE TEACHERS GUIDE

New Specifications: for teaching from September 2009

Art & Design

Introduction The aim of this guide is to give practical, straightforward guidance to teachers who deliver WJEC GCSE Art & Design.
The guide does not seek to duplicate large passages of information that already exist within the specification and specimen assessment material documents. However, where applicable important points will be emphasised and can be referenced in detail through the highlighted page numbering and supporting comments. It is designed to be user-friendly and shows a variety of project and Portfolio examples ranging from Unendorsed Art & Design through to the Endorsed areas. The guide is a starting point and should be supported, whenever possible, by attending one of the annual GCSE INSET events that will highlight exemplar live work as well as future developments and trends within GCSE Art & Design.
Contact Points for GCSE Art & Design are as follows: John Collins, john.collins@wjec.co.uk, 029 2026 5138 (Subject Officer) Mike Saltmarsh, mike.saltmarsh@wjec.co.uk, 029 2026 5005 (Administrative Support Officer) Subject page INSET Section www.wjec.co.uk inset@wjec.co.uk www.wjec.co.uk/professionaldevelopment

The following table is designed as a quick reference tool for identifying the major characteristics of the new GCSE Art & Design award. Further detailed information can be located within the specification and specimen assessment materials booklets.

AT A GLANCE: Key characteristics of the new GCSE Art & Design specification

For further reading please refer to either the Specification (Spec) or Specimen Assessment Material (SAM). Page references are detailed below. Attendance at future WJEC INSETS will help clarify issues that may arise throughout the year.

How many units are there? TWO: Assessment 1: CANDIDATE PORTFOLIO (60%) Assessment 2: EXTERNALLY SET TASK (40%) Who sets what? The PORTFOLIO unit (formerly known as coursework) will be internally set by the centre and developed from personal and / or given starting points. The WJEC will set the Externally Set Task. How important is personal interest and motivation? The PORTFOLIO must motivate the personal interest of each candidate and at the same time appropriately relate to worthwhile educational experiences. What about starting points? If the given starting point is the same we would expect individual lines of enquiry and different personal responses. This would avoid a house style approach and score more highly within the assessment objectives. What are the assessment objective headings for the PORTFOLIO unit? AO1 AO2 AO3 AO4 Contextual Understanding Creative Making Reflective Recording Personal Presentation

p.19-32 Spec

p.37-41 Spec

p.37-41 Spec

p.37-41 Spec

p.20, 26 & 27 Spec

Are the assessment objectives the same for the EXTERNALLY SET TASK? YES, the same assessment objectives are used for both the Portfolio and the Externally Set Task.

p.20, 30 & 31 Spec

What happens if a student produces a strong outcome but little or nothing else? In this scenario the candidate will score poorly as only one assessment objective will have been tackled. It is vital that candidates devote equal time to the FOUR assessment objectives in order to have the best opportunity of success. What is the breakdown of marks for the PORTFOLIO? Marks are distributed equally: AO1 Contextual Understanding, 30 marks AO2 Creative making, 30 Marks AO3 Reflective recording 30 Marks AO4 Personal presentation 30 Marks

p.20, 26 & 27 Spec

120 marks

p.20 Spec

What is the breakdown of marks for the EXTERNALLY SET TASK? Again, marks are distributed equally: AO1 Contextual Understanding, 20 marks AO2 Creative making, 20 Marks AO3 Reflective recording 20 Marks AO4 Personal presentation 20 Marks

80 marks

p.20 Spec

What is the requirement for AO1 Contextual Understanding? Candidates are asked to . . . . . . Develop their ideas through investigations informed by contextual and other sources demonstrating analytical and cultural understanding. What is the requirement for AO2 Creative Making? Candidates are asked to . . . . . . Refine their ideas through experimenting and selecting appropriate resources, media, materials, techniques and processes What is the requirement for AO3 Reflective Recording? Candidates are asked to . . . . . . Record ideas, observations and insights relevant to their intentions in visual and / or other forms. What is the requirement for AO4 Personal Presentation? Candidates are asked to . . . . . . Present a personal, informed and meaningful response demonstrating analytical and critical understanding, realising intentions and where appropriate, making connections between visual, oral or other elements. Refer to examples in this handbook and future INSETS. Refer to examples in this handbook and future INSETS. Refer to examples in this handbook and future INSETS. Refer to examples in this handbook and future INSETS.

How much work should make up a candidate PORTFOLIO for assessment 1? Emphasis should be on QUALITY rather than QUANTITY. The key question will be. How well has the candidate addressed the four key assessment objectives? Refer to examples in this handbook and future INSETS.

Can I help the candidate to select work for the PORTFOLIO and EXTERNALLY SET TASK? NO Candidates are expected to develop, as a part of their studies, an ability to select, edit and present work for assessment. Refer to examples in this handbook and future INSETS.

How long do assignments, tasks, projects and themes need to be to make up the PORTFOLIO? Assignments, tasks, projects and themes can be of any duration; from brief practical exercises to extended investigations or analyses. What should the Portfolio take account of? It should show evidence of: assessment objectives; appropriate reference to the entered title (endorsed or unendorsed); evidence of both processes and outcomes; integration of critical, practical and theoretical studies; evidence of exciting, challenging, coherent and meaningful learning experiences. Is Critical and Contextual Studies important within this qualification? YES; it has two roles: as an important component throughout Unendorsed Art & Design and the Endorsed titles; as a free-standing Critical and Contextual Studies endorsed title in itself. Who designs the curriculum for the Portfolio? The Teacher. It should be designed as a coherent mix of experiences of varying difficulty and style. What are the GCSE titles for Art & Design? Art & Design (Unendorsed) Applied (Endorsed) Fine Art (Endorsed) Critical & Contextual Studies (Endorsed) Textile Design (Endorsed) Graphic Communication (Endorsed) Three-Dimensional Design (Endorsed) Photography Lens and Light Based Media (Endorsed) p.7-18 Spec & refer to examples in this handbook and future INSETS. p.13 Spec & refer to examples in this handbook and future INSETS. Refer to examples in this handbook and future INSETS.

p.20 Spec & refer to examples in this handbook and future INSETS.

p.2 Spec

What should the tasks set by the teacher enable the candidates to demonstrate? Their knowledge, understanding and skills in Art & Design measured by the assessment objectives. Refer to examples in this handbook and future INSETS.

How important is a sketchbook? VERY important. It can clearly show the candidates own observations, interests, skills and experiments i.e. personal development. Can the Portfolio be split into two assessable units? NO It should be taught, administered and assessed as ONE overall unit of work and show different artistic-creative processes to ensure a BROAD curriculum, with sufficient opportunities for learners to specialise, where appropriate, in an endorsed option. By when should candidates finish their PORTFOLIO unit? This should be completed by the end of December during year 11. From January onwards, candidates will be focusing on the Externally Set Task. Refer to examples in this handbook and future INSETS.

Refer to examples in this handbook and future INSETS.

p.18 SAM

When do candidates start their EXTERNALLY SET TASK (Assessment 2) and is there a period of preparation? Examination Papers will be available to open on, or after, the 1st January. The period of preparation will be decided by the centre. The C forms must be returned to WJEC by May 15th. How important is NEW MEDIA within GCSE Art & Design? VERY The specification makes clear that candidates can work with both TRADITIONAL and NEW MEDIA. p.17 Spec & refer to examples in this handbook and future INSETS. p.18 SAM

Is there any additional material I can access on the WJEC website (www.wjec.co.uk)? YES You will find the GCSE Specification and Specimen Assessment Material (SAM), visual material from recent INSETS etc. Choose Art & Design from the subject menu on the left-hand side of the landing page and from the next page you will find links for each level. On the right-hand side of each levels page you will find a green link show all documents which offers additional support. John Collins: 029 2026 5138; john.collins@wjec.co.uk Mike Saltmarsh: 029 2026 5005: mike.saltmarsh@wjec.co.uk

PORTFOLIO: Examples and Guidance

The examples shown in this section are intended to be marked as part of the Portfolio submission. The Candidate Portfolio is based around themes and subject matter developed from personal and/or given starting points. The Candidate Portfolio must be set by the centre and assignments, tasks, projects and themes can be of any duration from brief practical exercises to extended investigations and analyses. Example 1 Art & Design (Unendorsed): Flora & Art Nouveau Context This example has many attributes and successfully integrates both traditional and new media approaches. The inspiration for this task came from the candidates personal interest in plants and foliage resulting in a creative journey that fully embraces the FOUR main assessment objectives of contextual understanding, creative making, reflective recording and personal presentation. Although there are two outcomes, the task remains fully integrated and is characterised by breadth, depth, creativity and diversity. Outcome 1 Traditional enquiry through Sketchbook/Workbook: This outcome embraces traditional responses in terms of observational and creative drawing. The sketchbook/workbook is characterised by a mixture of traditional and creative drawing. Underpinning this work is a strong, evaluative contextual link with Art Nouveau which is sustained throughout the second digital outcome.

Above: Sketchbook enquiry showing traditional and creative drawing inspired by the influence of Art Nouveau.

Outcome 2 New Media approach using Microsoft PowerPoint: This outcome has been driven through new media and is a time based illustrative presentation involving digital drawing, photography, animation and sound. It has been created entirely within PowerPoint using the animated tool Custom Animation under the Slide Show menu. The grabbed slides show the sequences within the presentation and clearly indicate how the task has moved to another dimension from initial analysis and development within the sketchbook/workbook.

Above: The tiled slides from the PowerPoint presentation have been drawn directly in PowerPoint by using the same drawing tools that appear in Microsoft Word. The last slide, bottom right, is a drawing that has been photographed as a jpeg image from the sketchbook and inserted into PowerPoint.

How has this task met all the assessment objectives? Contextual Understanding: Personal interest in plants and foliage has been further challenged and enhanced through analysis and evaluation of the Art Nouveau movement. Connections have been made, for example, with the work of Beardsley and Mucha and this has positively influenced both outcomes, yet at the same time, the individuality and creativity of the candidate still remains firmly intact. Creative Making: It is clear from this sample of work that extensive experimentation with resources, materials and processes has been undertaken together with an ability to make appropriate selection of these. Original outcomes, witnessed through the creative and evaluative use of the sketchbook and PowerPoint are relevant to the intentions of the candidate. The task is characterised by refinement of detail and sensitive control leading to an outcome of consistent quality. Reflective Recording: Through the platform of the sketchbook/workbook this candidate clearly demonstrates an ability to research, enquire, explore and experiment. The candidate has acquired a depth of understanding to transfer learning to a new context digital media (PowerPoint). Personal Presentation: The candidates personal passion for plants and foliage has resulted in a presentation that is rigorous and meaningful, embracing traditional and new media approaches. It clearly demonstrates analytical and critical understanding and strong connections have developed between personal lines of enquiry and the work of others.

Example 2 Applied: Landscape Context: This example came from a work placement in a local gallery. The candidate was not only able to gain vocational knowledge and experience of gallery management and operation but also came into contact with a number of artists, designers and craftspeople and their work. A brief was set to investigate the market for art, in the locality and to produce suitable outcomes for that market. With teacher guidance, it proved possible to meet the four assessment objectives of GCSE Art & Design and more specifically the vocational requirements of Applied through visual language, materials, techniques and technology and working to a project brief. Please refer to P10 in the Specification booklet for further guidance and note that Applied no longer exists as a double award. Outcome 1 Traditional enquiry through work related research, landscape drawing and painting, leading to photography. The outcome is a series of good quality landscape photographs, to be used in the production/publication of postcards and calendars. Other evidence provided but not seen here included knowledge of various commercial printing processes and costings, confirming that the candidate was aware of the varying costs and viability of production.

10

Outcome 2 Although a different theme than Outcome 1, the context is the same in that it came from a work placement this time in a Design Studio. The candidate carried out specific research relating to the production of business cards and letterheads, and then progressed to a specific brief based on the branding and packaging for luxury chocolates.

11

How have the tasks met all the assessment objectives? Contextual Understanding: In both tasks the candidate has been able to refer to the work of other artists and designers, demonstrating analytical and critical understanding with evidence that this study had made an impact on his own approach. Work leading to both final outcomes shows clear connections to the work of other artists and professionals. Creative Making: The candidate has been able to refine ideas, experiment and use different media and processes, to produce good quality outcomes, appropriate to the briefs. The development work and quality of the final outcome for the luxury chocolate brand is particularly strong, demonstrating refinement and confident use of I.T. Reflective Recording: There is good evidence of recording through landscape drawing and the study of shells for some of the design work. Although the evidence is there visually, the quality of recording in this submission could have perhaps, been strengthened by communication related to the development and selection of ideas as work progressed. Personal Presentation: Although the candidate has worked to set briefs, these have been open enough to allow a strong personal response in all areas. The advantage of working through the design process for Applied Art & Design tasks is that it will automatically involve the presentation and selection of work in an easy to follow, logical order. It is also important to recognise, that the hidden requirements of an Applied course - Visual language and / or other forms of communication, Materials; techniques and technology; Working to a project-brief, are all met, with this approach to vocational tasks. Please refer to Page 11 in the Specification booklet, for further guidance.

12

Example 3 Fine Art: Creative Techniques (including new media) Context This example successfully integrates both traditional and new media approaches. The inspiration for the task came from the candidates personal interests in Architectural styles motivated by a visit to the Italianate village of Portmeirion.

Above: Evidence of a written contextual response to the work of Clough William Ellis.

Above: Mixed media work demonstrating new media, experimentation and observations

13

Above: Completed Lino Print outcome

Outcome This example places emphasis upon the development of creative techniques [including new media] culminating in a lino print outcome. It has been undertaken using a broad range of creative media including ink & bleach, Adobe Photoshop, pens, paints and coloured pencils. The visit enabled the candidate to record sketchbook images at first hand and make photographic records. Classroom and homework activity further developed these initial observations. How has this task met all the assessment objectives? Contextual Understanding: Encouraging the candidate to record their personal response to the creations of Clough William Ellis during and following the visit to Portmeirion has successfully enriched their Contextual Understanding. Creative Making: It is clear from this sample of work that extensive experimentation with resources, materials and processes has been undertaken allowing the candidate to refine their ideas. Reflective Recording: There is substantial evidence that the candidate has researched, enquired and explored in an independent and personal way Personal Presentation: is clearly demonstrated [albeit within the parameters of a set theme] by virtue of a lively body of preparatory studies and a print which strives to communicate the romantic mood of Portmeirion.

14

Example 4 Critical and Contextual Studies: Portraits

Context This example came from a coursework theme based on Portraits and followed a comprehensive study of many different styles of portrait painting. There was detailed analysis and a clear understanding of the work of appropriate artists. It also included a full day visit to a national gallery, allowing the candidate to study a large selection of portrait paintings and drawings. It is important to recognise that Critical and Contextual Studies is not History of Art, or another term for it and responses need not be mostly written. There has to be an opportunity for candidates to produce creative practical outcomes (in order to be assessed for Creative Making) based on the themes or areas of art they have chosen or been set to study. In this example, however, it can be seen from some of the enlarged text that the candidate shows a level of maturity and confidence in analysing and describing the work of other artists and their own. This has developed from a well taught course in Critical & Contextual Studies. Please refer to P. 17 in the Specification booklet, for further guidance. Outcome 1 Traditional enquiry through the study of various portrait artists and self portrait drawing leading to New Media: The outcome is a creative PhotoShop manipulation based on a photographic self-portrait with personal objects in the style of Frieda Kahlo. The original research provided the inspiration for the final idea but it is the detailed descriptive annotation of the candidates own work and that of other artists, which is the strong feature.(see below)

15

Outcome 2 Traditional approach through drawing and photomontage: This outcome has been reached through further development from the initial research and final piece for Outcome 1. Although not so strong in descriptive annotation, it has successfully extended the range of media, personal response and creative making.

How has the task met all the assessment objectives?

Contextual Understanding: From the initial research, gallery visit and study of portrait artists the candidate has been able to show a clear development of ideas, with analytical and critical understanding of his own work and that of other artists. Final outcomes show strong connections to the work of Picasso and Kahlo. Creative Making: Although this is not the strongest aspect for assessment, the candidate has been able to produce effective creative responses in a variety of media. He has been able to refine ideas through experimenting with selecting appropriate materials and resources, within the framework of Critical & Contextual Studies.

16

Reflective Recording: There is good evidence of recording, through self portrait drawings, photographs and descriptive annotation. The development of ideas is also enhanced by a clear ability to reflect on work and progress throughout. Personal Presentation: The candidate has successfully combined two outcomes which show a strong and meaningful personal response to the artists selected from the initial task based on Portraits. He has also been able to show his own personality through the outcomes, which can only strengthen his own interest and the presentation of his work to others.

17

Example 5 Textiles: Torn and Ravelled

Context This example demonstrates how the candidate has integrated ethical issues with textiles. The inspiration for the task came from the candidates personal interest in re-cycling. It is particularly interesting to note how the candidate has recorded visual examples of decay from the environment and used these to inspire colour studies and original drawings for the design response. Throughout this example it is possible to trace a clear design pathway from initial drawings to the final outcome.

18

Outcome The outcome was constructed from recycled denim and the quality of the finished article shows that the candidate has focussed on detail and achieved a highly individual personal fashion statement.

19

20

How has this task met all the assessment objectives? Contextual Understanding: Personal interest in recycling has been the main focus of the study and the candidate has researched and analysed sources thoroughly. Creative Making: In the example below the candidate has experimented extensively with techniques and processes showing an ability to make appropriate selection of these in a creative use of materials. Reflective Recording: The preparatory studies and the sketchbook have provided sufficient evidence of the candidates ability to research, enquire, explore and experiment. Personal Presentation: This candidate has followed a coherent design pathway and has made clear connections with the work of other artists and designers throughout the task. This has resulted in rigorous and meaningful presentation that is individual and personal to the candidate.

21

Example 6 Graphic Communication: Personalised Logo based on Candidates Initials

Context This example demonstrates many approaches that can comprehensively engage a candidate with the design process. The initial task was to design a personalised logo based on the candidates initials, focusing on two different types of logo, i.e., text only, image and text. Further outcomes are also explored using new and traditional media applied to typical graphic design opportunities such as packaging, poster design, illustration and letterheads. Outcome 1 The initial enquiry and research, leading to the development of ideas and design processes, are explored in a sketchbook/workbook. A wide range of text sources have been investigated, including newspapers, magazines, computer- generated and decorative letterforms. The contextual study of Pop Art; together with the firsthand recording of contemporary use of letterforms; has directly influenced the integration of text and image in the candidates logo design development. Completed drawn images and text designs are manipulated in Adobe Photoshop to produce a letterhead.

22

23

Outcome(s) 2 Examples of illustration, poster and packaging design: These outcomes demonstrate the use of new and traditional media, working alongside each other. The candidates creative planning and designing producing a successful outcome. Individual A3 design sheets are used to produce a bound sketchbook / workbook.

24

How has this task met all the assessment objectives? Contextual Understanding: Throughout the portfolio, the candidate has demonstrated how to develop ideas through investigation using various connections to the work of artists and designers and personal interests. The outcomes demonstrate analytical and cultural understanding and a knowledge of logo and packaging design. Creative Making: It is clear from this sample of work that there has been extensive experimentation with appropriate resources, materials and processes. The outcomes have been carefully created using traditional and new media to produce strong graphical outcomes. Reflective Recording: Through the platform of the sketchbook / workbook there is both written and visual evidence that demonstrates the candidates ability to record ideas by means of research, enquiry, exploration and experimentation. Personal Presentation: The tasks undertaken by the candidate have made clear connections with the work of others and demonstrate critical and analytical understanding. The outcomes present a strong personal response.

25

Example 7 Three-Dimensional Design: Form, surface, texture

(The sample has been taken from the work of several candidates) Context The themes of natural form, surface and texture have enabled the candidates to explore and respond to different avenues of investigations and development. Outcomes The examples have been constructed with a variety of appropriate materials including clay, card and papier-mch. Candidates have focused on the form of their designs as well as the requirement that outcomes should function as containers.

26

Error!

Portfolio evidence of enquiry, recording and exploration in two and three dimensions using a range of techniques, processes and media.

27

Experimentation with surface pattern using visual sources found in the natural and made environment

28

Contextual Understanding: Inspiration has been gained from acknowledging the work of other practitioners. The candidates have been able to demonstrate the impact that this form of investigation has had on their own work. Creative Making: The range of studies and works demonstrate engagement with the use of resources and methods. Candidates have made meaningful choices and decisions on route to producing imaginative outcomes that reinforce their knowledge of relevant practices. Reflective Recording: Effective evaluation is not that apparent within the sample even though intentions are conveyed by other means. Personal Presentation: The overall responses of the candidates do embrace those qualities which are personal, informed and have value to them and others. The results of their endeavours demonstrate progression and suggest that intentions have been realised even though the formal commentaries on ideas and developments are lacking.

29

Example 8 Photography, Lens and Light Based Media: Horror/Gothic

Context This example successfully integrates both traditional and new media approaches associated with this area of expertise. The inspiration for this task came from the candidates interest in the genre of Horror films and Gothic Novels. This has resulted in a highly individual and inventive portfolio of work. Whilst there are two outcomes the portfolio remains fully integrated and is characterised by breadth, depth and creativity. Outcome 1 Enquiry and Investigation through a Workbook: In this outcome we can see the candidates original starting points and contextual connections. The workbook illustrates a personal journey exploring the theme and documents how the initial ideas were developed using a variety of processes, techniques and methods. Photo-shoots provided appropriate photographic images for manipulation and design processes. Annotation was relevant and made useful connections to the work of others.

30

Outcome 2

This is the final presentation of digitally manipulated images which have been selected by the candidate. This work combines a number of different techniques that demonstrate a sound level of subject knowledge and understanding of the task requirements. The final choice illustrates how the candidate has manipulated the original work seen in outcome 1 to generate a visually strong, well-constructed, successful set of prints that realise the initial intentions of the task.

How has this task met all the assessment objectives? Contextual Understanding: Personal interest in Gothic Horror films and novels have inspired, motivated and informed this candidates responses. The final outcomes demonstrate that the candidate has an intuitive and innate understanding of the chosen theme. This is evident through symbolic colour, carefully selected locations, various angles and lighting. The submission also provides clear evidence of sustained, rigorous investigation and research. Creative Making: The submission provides a wealth of evidence that the candidate has thoughtfully and maturely experimented with a range of appropriate techniques and processes. The overall character of the submission is one of a highly personal and innovative nature. The work selected demonstrates competence and is thoughtfully considered in how it relates to the chosen theme and the original intention of the candidate.

31

Reflective Recording: The workbook demonstrates a variety of methods and the candidates ability to research, enquire and explore in a personal, independent manner. The candidate invested time and effort during the development stages, exploring locations and devising appropriately staged photo-shoots. Personal Presentation: It is evident from this submission that the candidates personality and personal interests have richly informed the work and her portfolio, original intentions have been successfully realised. The overall presentation combines a critical and analytical awareness and an understanding of the requirements for this endorsed area.

32

COMPLETE PORTFOLIO EXAMPLES

The examples shown in this section are intended to be seen as complete portfolios after the candidate has selected and presented from work undertaken within the course. Candidates must ensure that they have provided evidence of each of the four assessment objectives when carrying out this process. Example 1 Art & Design (Unendorsed): Portraits/Pop Art This candidates portfolio is based around themes and subject matter developed from given starting points and personal interests. The two processes explored in this typical mid-grade range of work, are Art & Design and Graphical Communication. There could be a number of starting points possibly portraits, observation drawing, investigation of Graphic forms or even Pop Art. In fact, one of the qualities of this portfolio is that all the pieces connect well with each other; showing continual overall development with an awareness of content and evidence to cover the assessment objectives equally; whilst being unable to identify the original theme or starting point. The outcomes are varied in style and approach but mostly painted. Some show evidence of extended development and an obviously longer time to produce; whereas others are brief practical exercises completed in perhaps a week of lessons or even as homework tasks. The candidate has shown strong personal interest, expression and development throughout the work and the portfolio does not indicate a guided thematic approach. The second display of this portfolio shows selection, by taking out some of the weaker pieces. The overall effect is that it appears stronger and still shows a reasonable quantity of work to represent a two year course with evidence that the candidate has worked to the best of his or her ability.

Above: Portfolio before the editing process. Crosses show the pieces that have been rejected in order to make the portfolio stronger.

33

Above: The final Portfolio. Although only four pieces of work have been omitted, the final portfolio is far stronger.

34

Example 2 Applied: Architecture The work completed for the two outcomes (refer to p. 9-11of this guide) is part of the portfolio. This has been extended by another task, this time in the school, based on architecture and a proposed design for a local learning centre. The candidate has produced evidence of thorough research into architectural styles and applied this to his design work. This task has allowed the candidate to show a highly personal response, experiment with a different range of materials and processes and a further opportunity to use his ability in I.T. Overall, the range and variety of work for the three tasks comes together well as a Portfolio for Applied Art & Design. Although the outcomes are distinctly different, this has only served to extend the range of opportunities, media and processes that are evident in the presentation of work. The link between the different outcomes is that they are all generated from initial real-life briefs and all follow the same process. All assessment objectives are clearly and equally met and the complete Portfolio reflects a broad vocational understanding which has come from meeting the requirements of an Applied course.

35

Example 3 Fine Art: Rural Home Environment

The inspiration for this portfolio came from the candidates personal home environment in rural Wales embracing landscape, farm outbuildings / machinery and family members. The four main assessment objectives are well embraced throughout the submission. The task includes printmaking, painting and mixed media drawing as outcomes; however, the task remains fully integrated and reflects the rural nature of the candidates farming community. The illustrated work falls within the upper grade boundary. Most of the candidates work has been developed from life and/or imagination as opposed to the over reliance of photography as a recording tool. Consequently the candidate has managed to achieve a high level of personal presentation, which successfully communicates his passion for the unique character of the landscape, architecture and people of his home locality. The candidate has developed a silkscreen and lino print from initial sketchbook observations of his farmhouse, emphasis being placed on the making aspect of both techniques. Creative making and presentation are particularly evident in this feature of the portfolio. Personal interest in the rural environment has been further enriched by a visit to the workshop of celebrated artist Ogwyn Davies. The candidate offers copious evidence of personal response to Ogwyns work and highlights how he has been inspired and further motivated to include new techniques and approaches within his own creative work. By presenting the mounted sheets the candidate has further demonstrated his ability to research, enquire, explore and experiment. The candidate has enjoyed using oil paint and mixed media drawing to record a farm worker at the kitchen table. Bonnard has proven to be a particular inspiration in relation to the use of colour and the candidate has clearly attempted to engage with impressionist technique thus ensuring that contextual understanding is reinforced. A series of first-hand sketchbook observations has enabled the candidate to prepare well for both outcomes, thus ensuring that a highly personal level of response has been evident.

Above: Sketchbook enquiry showing traditional and creative drawing inspired by the rural environment.
36

37

Oil painting influenced by the technique of Bonnard

Mixed media drawing

38

Example 4 Critical and Contextual Studies: Abstract Expressionism The work completed for the two outcomes (refer to p. 15+16 of this guide) is part of the portfolio. This has been extended by the inclusion of the work seen below. It is based on an initial study of natural forms and eventually leads to a Photoshop poster linked to Abstract Expressionism. It successfully shows how Creative Making can be met through Critical and Contextual Studies. . There is a clear development of ideas and work, from the first drawings of fossils, insects and leaves to the final outcome embracing an Expressionist approach. A range of processes and materials have been explored, all assessment objectives have been equally met, as with Outcome 1, the best quality evidence is provided through the analytical annotation. The annotations of Georgia OKeeffes work particularly showing a clear level of understanding which has developed through a course of Critical and Contextual Studies. Although the outcomes are all quite different, there is a clear link between all pieces of work through the written and visual connections made to other artists.

39

40

Example 5 Textile Design: Shape and Pattern This portfolio example shows extensive experimentation with resources, materials and processes and evidences that the candidate has the ability to make appropriate selections of these. Original and varied outcomes, exciting presentation techniques and evaluative use of the workbook are relevant to the intentions of the candidate. The candidate demonstrates clearly a creative use of materials and media in this work and shows how it is possible to develop a sustained investigation on one shape. Personal interests in the basic elements of design and its abstract qualities have been enhanced through analysis and evaluation of the work of the chosen artists. Clear connections have been made that have positively influenced all the outcomes, yet at the same time, the individuality and creativity of the candidate remains firmly intact. Through the workbook / sketchbook the candidate shows an ability to research, enquire and develop ideas through textiles and art in an industrious and sequential manner. The portfolio evidence clearly shows how the candidate has been totally involved in the presentation of the work. It demonstrates analytical and visual understanding and strong connections have developed between personal lines of enquiry and the work of others.

41

42

Example 6 Graphic Communication: Culture This candidates portfolio is based around themes and subject matter developed from given starting points and personal interests. The candidate managed to develop and refine their ideas by experimenting with a range of different techniques and processes, effectively combining traditional and new media to produce appropriate outcomes. The portfolio is supported by sketchbook work that provides evidence of analytical and critical understanding as well as the candidates ability to research, enquire and develop ideas. All four assessment objectives are clearly integrated throughout the portfolio.

43

44

Example 7 Three-Dimensional Design: We have experienced difficulty in this area gathering work that would fully represent the new portfolio. We will up-date this area as appropriate live work becomes available.

45

Example 8 Photography Lens and Light-based Media: Portraiture This candidates portfolio is based around the theme of Portraiture; focusing particularly on family and friends. Whilst the work seen here is nearly all lens-based (SLR and Digital), the candidate has been inventive, shows technical ability and has taken on board a level of personal challenge. A wide range of processes and techniques have been used such as Tiling, Montage, Multiple Exposure and Photoshop in the production of the final outcomes. The portfolio demonstrates a sound level of commitment and engagement with the theme through posed and documentary style work. There is also personal research and connections made to the work of others. This portfolio of work would fall into the higher grade boundary, as it is a rigorous submission with equal coverage of the four assessment criteria. The sketchbook work provides clarification of ideas and intentions as well as validating the authenticity and overall subject knowledge and understanding of this candidate.

46

Guidance on Sketchbooks / Workbooks

Sketchbooks and / or workbooks should form an important part of the candidate Portfolio and the externally set task. Good practice shows that a sketchbook and / or workbook can underpin and offer a strong foundation for projects, tasks, themes and assignments. A sketchbook or workbook provides opportunities for enquiry, exploration and experimentation of visual and other sources and ideas. They may be presented in any appropriate format such as a visual diary, contextual notebook or design sourcebook. A sketchbook / workbook should be regarded as a day-to-day companion that is personal to the candidate, providing ideas and potential starting points that may initiate and inform other portfolio activities. It should be essentially concerned with discovering and developing processes as the clearest independent indicator of connecting and personalising and providing evidence of a mature personal response. Submitting the sketchbook / workbook as part of the portfolio If a sketchbook / workbook relates directly to the final edited candidate portfolio, then the whole sketchbook / workbook can be submitted as an integral part of the submission. However, there could well be pages within a sketchbook / workbook that do not relate to the portfolio submission. In this case, a candidate may want to guide the moderator to the work that relates specifically to the edited portfolio. This could by done by: using colour coded labels, book marks, paper clips or rubber bands to highlight work that is specifically applicable to the submission; photocopying specific pages from the sketchbook / workbook; extracting specific pages from the sketchbook / workbook; making a digital record of specific pages of the sketchbook and submitting as an e-sketchbook/workbook (see example below).

The above approaches may be adopted, if applicable, for the externally set task as well.

47

Traditional sketchbook / workbook housed within the digital platform e-sketchbook Candidates may wish to scan or digitally photograph relevant pages of their sketchbook or workbook in order to create a digital e-sketchbook. An example of a traditional sketchbook / workbook operating within a digital platform (Microsoft PowerPoint) is shown below. As the candidate portfolio is an edited body of work (selected and edited by the candidate), relevant pages of sketchbooks / workbooks and visual diaries could be digitally extracted to support and enhance the overall portfolio. During the external WJEC Centre visit, candidate e-sketchbooks / workbooks could be loaded and viewed as part of the moderation process. (In some instances, moderators could request to see the hard copy sketchbook / workbook / visual diary etc so its important that these books are available to view on the day of WJEC Centre visit).

Above: This sketchbook/workbook has been photographed using a digital camera. The images have been inserted into PowerPoint by selecting Insert on the horizontal menu bar. On the drop down menu, Picture has then been selected followed by From File. Images can then be placed into PowerPoint in order to create a digital e-sketchbook / workbook. PowerPoint offers the user a variety of ways to view work i.e. sequential, slide by slide basis, tiled thumbnails of slides or as a full screen presentation.

48