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Art at JMA

Student

Handbook

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Why choose GCSE Art and Design?

If you enjoy being creative, want to increase your practical skills and improve your analytical,

communication and research abilities, art and design is a great choice. The skills you gain make

it a great complement to other subjects. Art and design is a way of seeing things and making

sense of the world around you. It can help you with further study and prepare you for the world

of work.

What will you study? You’ll study at least one of these. Art, craft and design. This is an excellent general introduction

to the study of art, craft and design. You’ll look at different approaches to art and use lots of

different media, techniques and materials.

You are required to study two or more of the titles below:

• Fine art Fine art explores ideas, conveys experiences or responds to a theme or issue of

personal significance. The areas of study are very broad and cover drawing, painting,

sculpture, installation and mixed media.

• Graphic communication Learn how to design visual materials to convey information,

ideas, meaning and emotions in response to a given or self-defined brief. Areas of study

include communication graphics, advertising, branding, package design, typography and

motion graphics.

• Textile design Your chance to design products for woven, knitted, stitched, printed or

decorative textiles. Areas of study include fashion design and illustration, costume

design, constructed textiles, printed and dyed textiles and digital textiles.

• Three-dimensional design The design, prototyping and modelling or making of

products, objects, and environments, using intellectual, creative and practical skills.

Areas of study could include sculpture, ceramics, product design, jewellery design and

3D digital design.

• Photography Produce images using light-sensitive materials such as photographic film,

or digital methods of development and production to create static or moving images.

Areas of study could include portraiture, installation, photo-journalism, moving image:

film, video and animation and fashion photography.

How will you be assessed?

There are two components:

• Component 1 Portfolio: produce a sustained project and a selection of further work that

represents the course of study. This is worth 60% of your overall marks.

• Component 2 Externally set assignment: there’s a separate externally set task paper for each

title. It features seven tasks and you have to complete one of them. You get preparation time,

plus ten hours of supervised time. This is worth 40% of your total marks.

Where will GCSE Art and Design take you? You can continue your art and design studies at

AS and A-level, where the same titles are available. You’ll also be able to choose areas of study

to specialise in within a particular title. If you don’t want to take your art and design studies any

further, the transferable skills you gain will still be valuable. You’ll develop problem solving,

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creative thinking, investigation, research, communication and teamwork skills, and gain the

ability to develop, refine and present ideas. Employers and universities regard all of these

highly. Did you know more people work in the creative industries than the finance industry! The

creative industries generate £84.1 billion to the United Kingdom (UK) economy each year and

employ over 2.8 million people. Unlike many industries, the creative industries have continued

to grow, despite the recent financial crisis. (Source: thecreativeindustries.co.uk)

What skills will you learn?

Alongside improving your practical expertise, you’ll learn how to:

• develop, refine and record your ideas

• present a personal response that realises your intentions

• improve your creative skills through the effective and safe use of media, materials,

techniques, processes and technologies

• successfully use visual language and the formal elements eg colour, line, form, shape, tone,

texture

• use drawing skills for different needs and purposes.

Assessment Objectives

Assessment Objectives

AO1 Develop ideas through investigations demonstrating critical understanding of sources.

AO2 Refine work by exploring ideas, selecting and experimenting with appropriate media, materials, techniques and processes.

AO3 Record ideas, observations and insights relevant to intentions as work progresses.

AO4 Present a personal and meaningful response that realises intentions and demonstrates understanding of visual language.

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What should a GCSE Art sketchbook contain?

A sketchbook is a creative document that contains both written and visual material. It is a place for researching, exploring, planning and developing ideas – for testing, practising, evaluating and discussing your project. It is the place where you learn from other artists and express and brainstorm ideas.

The sketchbook is an important part of your Coursework project. It shows the journey (or development) towards your final piece and usually contains:

• Drawings, diagrams, thumbnails, composition plans, paintings and/or designs (particularly those that are incomplete or experimental)

• Practise and trials of different techniques and processes • A range of mixed mediums and materials • Evidence of first-hand responses to subject matter and artworks, demonstrated

through observational drawings, photographs and annotated pamphlets and sketches from exhibitions or gallery visits. (Note: the sketchbook must NOT be used as a dumping ground for fliers and pamphlets. If you are going to glue something in, evaluate it, discuss its relevance and explain how it helps to inform your own work)

• Digital printouts of relevant artist work • Annotation

Note: The sketchbook should NOT be used as an all-purpose journal for doodling cartoon characters or scribbling notes to a friend. All work contained within your sketchbook must support your Coursework project as a whole.

How to annotate a GCSE Art sketchbook

• Reveal your own thinking and personal responses (rather than regurgitating facts or the views of others)

• Explain the starting points and ideas, emphasising personal relevance and your own connections to subjects

• Critically analyse and compare artwork of relevant artist models (both historical and contemporary artists, from a range of cultures). Discuss aesthetics, use of media, technique, meaning/emotion/ideas and the influence of an artist upon your own work. While it is important to conduct research into your artist models (and to convey an understanding of this information), avoid copying or summarising large passages of information from other sources. Instead, select the information that you think is useful for your project and link it with your own viewpoints and observations. Use research findings to make you sound clever and knowledgeable – to prove that you are aware of the artists and cultural influences around you – and to help you to critically evaluate artworks (by giving you background information and a peek into the mind of an artist): do not use it to fill your sketchbook with boring facts

• Demonstrate good subject knowledge, using correct vocabulary(phrases such as ‘strong contrast’, ‘draws the eye’ and ‘focal point’ etc)

• Reference of all images, artwork and text from other sources, ensuring that artists, websites and books are acknowledged (it should be obvious to an examiner which work is yours when viewing a page, so cite sources directly underneath the appropriate image.

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Photographs taken by yourself should be clearly labelled, so examiners know the work is yours and reward you for it)

• Communicate with clarity. It doesn’t matter whether you jot down notes or use full sentences, but never use ‘txt’ speak and try to avoid incorrect spelling, as this indicates sloppiness and can hint to the examiner that you are a lower calibre candidate

When annotating a GCSE Art sketchbook, it may benefit you to contemplate the following:

• What subjects / themes / moods / issues / messages are explored? Why are these relevant or important to the artist (or you)?

• What appeals to you visually about this artwork? • How does the composition of the artwork (i.e. the relationship between the visual

elements: line, shape, colour, tone, texture and space) help to communicate ideas and reinforce a message? Why might this composition have been chosen? (Discuss in terms of how the visual elements interact and create visual devices that ‘draw attention’, ‘emphasise’, ‘balance’, ‘link’ and/or ‘direct the viewer through the artwork’ etc.)

• What mediums, techniques (mark-making methods), styles and processes have been used? How do these communicate a message? How do they affect the mood of the artwork and the communication of ideas? Are these methods useful for your own project?

• How does all of the above help you with your own artwork? Remember that these questions are a guide only and are intended to make you start to think critically about the art you are studying and creating.

Sketchbook Presentation Ideas

Layout and presentation is an area that many students struggle with – often spending hours adding decorative features to their sketchbooks that make little difference to final grades. In appearance, a sketchbook should be reminiscent of what you might expect an artist or designer to create. It should not be a tacky ‘school project’, with colourful headings and sparkly backgrounds. It does not need to be – and indeed, should not be – heavily structured or ‘over worked’. It does not need to be rigidly ordered, excessively flowery or decorative. You do not need to spend time adding borders; typing out the annotation or working obsessively over pages again and again. The sketchbook is NOT meant to be a complete book of finished artworks and illustrations; it is meant to be creative document of exploration and investigation. A place where an art student thinks, works things out and learns. This does not mean, of course, that your sketchbook should be unattractive. Indeed, to get an A* it must look stunning. Guidelines for presenting a quality sketchbook are as follows:

• Let the artwork shine. Do not distract from your practical work by using large lettering, decorative borders, or unnecessary framing or mounting. Do not spend weeks researching, preparing and reworking beautiful backgrounds – wild drips of coffee, torn paper, layer upon layer of careful speckled mediums – if this compromises the amount of time you spend on the artwork itself. Producing quality art or design work is your number one goal.

• Vary page layouts to provide variety and visual interest. Some pages should have many illustrations; some should have single, full-page artworks; others should be somewhere in between. Position items carefully on the page as you work: making sure pages are well-composed.

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• Use a consistent style of presentation, so that a consistent visual language unites the sketchbook. Some students are drawn towards hard-edged, ordered presentation methods (often those studying graphic design, for example); others prefer messier, looser, gestural presentation styles. Neither is better than the other: both can be amazing. Inconsistency, however (pages jumping from one presentation style to the next), can result in a submission that is distracting, busy and hard on the eye.

• Be selective. More is not necessarily better. Although examiners look to reward candidates and have your best interests at heart, bulking up your sketchbook with poor work does you no favours. Weak work can set off alarm bells for an examiner, leading them to be on the lookout for potential weaknesses elsewhere. This does not mean that you should discard everything which is not perfect (work should rarely be thrown away, as most things can be worked over and saved for far less effort than would be required starting anew), but you must discriminate. Don’t automatically include everything. Select work which shows the journey your project has taken and presents your skill in the best light.

• Prioritise visual work above annotation. It doesn’t matter how intelligent, well informed or clever your annotation is – it cannot redeem rushed, poorly executed practical work. Only once images on a page are complete (or as complete as needed) should you fill some of the gaps with notes. Even the hurried addition of annotation can be done harmoniously – making a sketchbook page appear thorough and well-balanced. Use text as a compositional element. Write neat and small (this way spelling or grammatical errors are less obvious), in pencil (so that mistakes can be easily changed); otherwise, write in black or white pen: not ink that switches colour every sentence or is ‘enhanced’ by hearts on the ‘i’s.

• Give every page of your sketchbook some love. Use each page as an opportunity to remind the examiner that you are a hard-working, dedicated student who cares passionately about this subject. This does not mean that your sketchbook must be crammed to the brim with intense, laboured work (sometimes an expressive, ten minute charcoal drawing on a page is all that is needed) but that each part of your sketchbook is produced with care and dedication.

This sketchbook page by artist Leonardo da Vinci provides a

great example of what a quality sketchbook page should look

like: overlapping, incomplete sketches, surrounding by

evaluative handwritten notes.

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This sketchbook page shows an analysis of paintings by Janet

Fish. The bottom left image is a photocopy; the top right image

is an acrylic copy of part of the painting (there is rarely any

need for students to slavishly replicate an entire painting – a

small portion is enough for students to gain an understanding

of the techniques and processes used).

In this sketchbook page (exploring the work of graphic illustrator Russ Mills) every splash of paint, every pen line and every torn piece of background material is placed with care. Even in a page that contains multiple elements, the composition of the page as a whole is important. This demonstrates superb technical skill, with the ability to place, balance and integrate items in a harmonious layout. This sketchbook page is exactly as an Art sketchbook should be: an exciting investigation of media and ideas. Using ‘modrock’ (a plaster of paris bandage) and glue to create raised areas, with other mixed mediums such as wire, ink and Biro pen, the student adds careful and detailed drawings over a chaotic ground. The piece is not a finished, resolved image: rather, it is a beautiful and competently executed exploration of ideas.

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At its essence, a sketchbook page should provide insight into a student’s ideas and intentions, as well as revealing the influence of other artists. This sketchbook page is beautiful in its simplicity: devoid of all superfluous decoration, it shows a dedicated and committed student learning a technique from an artist and then carefully applying this to original artwork.

This AS Art sketchbook page shows visual research at its purest. Students often forget that research doesn’t just involve analysing artist work; it includes the visual investigation of forms: drawing items from a range of angles and in a range of different mediums. Here, Charlotte has worked over scraps of lined note paper (some with maths equations left on them) with meticulous, detailed pen drawings, developing familiarity with the human form.

This rich and vibrant sketchbook page is a reminder that the sketchbook is a prime opportunity to demonstrate your love of Art to the examiner. Here, the lavish, gestural, brush strokes contrast with careful annotation, resulting in a composition that oozes passion. Every speck of the page has been considered and worked over, using colours that integrate and link with the Chrissy Angliker artworks analysed. The whole page thus becomes an opportunity to absorb information from an artist; imbued with technique, emotion and style.

Above all, a sketchbook should be a place for developing and refining ideas. It should show thought processes and provide insights into a student’s thinking. This sketchbook page is a helpful reminder that a Fine Art / Painting and Related Media sketchbooks need not be overly gestural or expressive: those who prefer working in a tighter, ordered, structured style should not be afraid of doing so. Indeed, such presentations can be less distracting and allow emphasis to be placed exactly where it belongs: the artwork. Here the integration of artist work, student photographs and observational drawings clearly show the journey taken while exploring and developing ideas

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Although typed annotation is not necessary or recommended, as it is too time consuming and restrictive (this was part of a digital exemplar booklet created to inspire students: annotation was thus easier to add digitally), the two International GCSE Art sketchbook page examples above show how multiple images can be combined successfully within one page. Placement of background washes, torn paper and other mixed media grounds have been positioned so that they balance each other and create an aesthetically pleasing page layout.

This sketchbook page is another example of composition at its purist. Two drawings – trailing away and fading out around the edges – both commanding the attention of the assessor, without superfluous decoration, enlarged headings, or busy page layouts. This is part of a project based on a Coastal Environment theme. In this sketchbook page, the student has produced observational drawings of shells (drawn from life), in graphite and coloured pencil, surrounded by meticulous, thorough annotation. This sketchbook page shows the critical analysis of relevant artist work. It is important to note that it is rarely necessary to imitate an entire artist work:

copying small pieces is all that is needed to learn about an artist’s technique, style, use of media or approach to composition. In this example, the composition of the page as a whole has been carefully considered: the placement of the small images on the left balance the larger portrait on the right, creating a harmonious page layout. Note also that the annotation is neat, tidy, and small. It thus supports, rather than detracts from, the artwork and indicates to the examiners that the work was produced by a committed, dedicated student. The sketchbook is a place for essential experimentation and research: creative exploration of technique, surface and materials. These beautiful sketchbook pages have purpose and intention: exciting exploration and development.

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A sketchbook is the place where initial observations are recorded: there is no need for compositions to be complete or pieces finally resolved. Here we have some draw-droppingly beautiful first-hand drawings of shells using graphite and white paint on a ground of watered down acrylic.

Exploring a natural forms theme, this sketchbook page shows visual research: drawings and paintings of a sculptural flax weaving created by the highly able student. Note the absence of decorative elements: the emphasis is solely upon

the creation of quality artwork. This sequence of sketchbook pages shows clearly how a sketchbook should be used to aid the development of ideas. It is the place where a candidate thinks laterally, resolves issues and moves forward with their work This exceptional page illustrates the true purpose of a sketchbook: to aid the development of ideas and to solve pictorial issues. This page clearly expresses the thought processes of the student, showing ideas being visually worked out through the manipulation of contrasting, linear abstract forms. It is evident that this page is being used to help the student; to assist with decision making and clarify theoretical and practical issues within their work. There are so many student sketchbook pages that are filled with extravagant, over-sized headings, decorative fonts, borders and other unnecessary ornamentation: it is refreshing to see this accurate, first-hand drawings in a range of mediums are surrounded by brief annotation. This page is a reminder of what really matters in the initial stages of a

project: competent observational drawing and visual exploration of subject-matter.

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These two meticulously executed and skilful

pages show beautiful observational drawings completed in a range of mediums. Drawings are arranged alongside original photographs (composed and taken by the student), providing evidence of first-hand interaction with the subject matter.It is always obvious, when viewing sketchbooks, whether a candidate has been left to their own devices, or has been lucky enough to take part in a programme that teaches students to confidently analyse artist work and then use this learning to inform their own pieces.

This rich and vibrant workbook has passion embedded in every page. With gestural, expressive mixed media drawings spiralling across mixed media backgrounds (such as paper soaked in inks and PVA glue), learning from an artist model becomes more than an activity which is required by the curriculum: it is an experience that is embraced and relished from a student’s core. Enthusiasm like this is appreciated immensely by the examiners. This sketchbook presentation again reminds us of what the essence of a quality sketchbook should be: quality drawings, surrounded by unobtrusive, comprehensive annotation. A simple yet striking black and white sketchbook page.

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Creative presenting Examples

Exploring topics such as abstract sculpture, figurative sculpture, installation,

architectural design and product design, these sketchbook pages illustrate the range

of excellent presentation techniques and styles that are possible. It is hoped that

these examples will motivate and inspire those who are working on their own

Sculpture or 3D Design sketchbook.

These sketchbook pages show the

development of curving, organic sculptural

forms, inspired by Henry Moore. The simple

technique of wax resist (crayon drawings with

washes of dye), results in an eye-catching

page: quick and confident recording of ideas

on paper.

At its essence, a student sketchbook should emulate that of a practising artist. With photographs providing evidence of first-hand research, quick confident gestural drawings showing a response to this environment, and scrawled annotation, this beautiful sketchbook page – showing the development of ideas for a sculpture entitled ‘Stone Egg’ does exactly that.

This shows the development of ideas for a sculpture inspired by deconstructed brass instruments. Of particular interest are the drawings directly onto photographs – an often underutilised technique that can be a great way of generating exciting and interesting ideas.

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This outstanding sketchbook page, completed by a fifteen year old, is part of an architectural project. This page shows linear conceptual drawings upon a ground of torn Kraft paper, black cartridge paper and grey acrylic. With sources of inspiration clearly shown, every part of this sketchbook page has been produced with care. Of particular interest are the photographic works of abstract architectural sculptures she has made (bottom right) which feed ideas back into the drawings beside them.

This is another comprehensive sketchbook page, with black and white photographs of paper sculptures drawn over and then digitally added to the site landscape, this architectural exploration is beautiful.

Here, drawings have been torn and spray-glued on to one sheet of paper, before being covered with an acrylic wash.

These sketchbook pages show clever and highly original investigations of the organic forms, colours, patterns and textures of a peeled mandarin. This sculpture project is a beautiful mix of first-hand sources, artist influence, inventive media exploration, textural discovery and annotation.

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This vibrant sketchbook page shows the development of ideas for a ceramics piece, with intricate pen drawings rendered using a range of mediums. This page is a reminder that a Design sketchbook can (and often should) embrace the same range of mixed media techniques, vibrant colours and textures that might be expected in a Painting / Fine Art sketchbook.

These rich and gutsy sketchbook pages show confident exploration of colour, texture, surface and sculptural form, drawing inspiration from artist models in preparation for a Sculpture / 3D Project. Note that, as with the example above, competent visual exploration becomes the dominant part of the sketchbook, with annotation minimal. In these cases the development of ideas is communicated through the arrangement of the exemplary visual work itself.

Here we have a beautiful integration of photographs, drawings and annotation. With an earthy colour scheme used throughout (blacks, browns and hints of blue), this high school Sculpture project explores beauty in the ordinary and mundane, focusing upon progressive changes in nature: growth, development, decay and decomposition.

Part of a flawless Coursework submission, this tree-house project provides great inspiration for Sculpture students. As with the sketchbook pages above, we see photographic evidence of inspiration from first-hand sources (a cabbage tree) accompanied by the conceptual models of a paper sculpture (top right), followed by beautiful drawings – showing enlarged details, views from alternate angles and the form as a whole – in a range of different mediums.

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This page shows the ideal relationship between drawings and sculptural form. Three-dimensional investigations feed two-dimensional drawings, which in turn inspire further investigations in 3D form. The bottom right image also shows a sculptural form digitally superimposed into a real-world environment; an exciting strategy for architectural and 3D Design students to explore.

Many students make the mistake of using photographs of their work-in-progress to fill endless sketchbook pages. This example is a

reminder that, done properly, documentation of work-in-progress can provide a great opportunity for extensive analysis and understanding of the visual and practical issues involved in a project, as well as for further development and refinement of ideas. A sketchbook page like this also provides the examiner with insight into processes and sculptural discoveries that might not have otherwise been evident. Exploring the forms cast inside the mould of a squashed tin can, this sculpture project is highly original, intriguing and innovative.

This sketchbook page shows images of clay figurines accompanied by expressive sketches, experimentations with clay, and references to artist model Auguste Rodin. Note the care taken to cut around the photographs on the left and the crisp clear photographs shown on the right. As with all of the sketchbook pages in this article, photographs have been composed with as much care and consideration as would be expected of a photography student.

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This submission explores ideas related to typewriters and old and new technologies. As with some of the pages above, pen has been used to draw over photographs, adding detail and trialing further ideas.

This sketchbook page shows a conceptual idea for a community block of toilets. The design has been inspired by the sculptural investigations on the left (these have been photographed, cropped and arranged to mimic a folded piece of toilet paper) created from cardboard, paper and sewing pins. The large architectural work on the right is a mix of digital and hand drawn work: acrylic paint and black pen over a photographic print. Merging digital with hand drawn techniques like this is an excellent strategy to use within a sculpture or 3D Design project.

This innovative toilet design was inspired by a crunched up piece of paper (the result of a photocopying accident).

This outstanding sketchbook page shows a public toilet design based on photographs of graffiti. Competent freehand sketches fill the page, with a mix of 3D and planar drawings depicting possible details of the interior spaces and architectural form.

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Don’t wait for motivation. Get your homework done Once you have established a regular routine for working on your art, and learned how to paint and draw quickly, you will find that it is possible to steadily complete homework tasks and never get behind.

Make art about something that matters to you Interpreting a topic in a way that has relevance and meaning for you – and allows you to tell your own story – can be the difference between muddling along with boredom and disinterest and racing through a project with excitement and joy. Use first-hand resources. Aim for powerful, emotive artwork, even if the subject matter itself is set by your teacher and describes the most mundane objects you can imagine. Focus on the message and the ideas: express a tiny (or huge) part of your world. Start where you are. Use what you have. Do what you can. – Arthur Ashe

Understand every word of the marking criteria If you don’t understand how your work is assessed, you are fighting blind. Don’t be so naïve as to assume that great work deserves great marks. You might write the most amazing essay in an English Language class, but if this doesn’t answer the question, you will fail. To achieve full marks in Art, you must meet the marking criteria completely. In most cases, this involves a combination of technical skill; competent handling of media; a range of artistic processes and techniques; development of ideas towards well-balanced, resolved compositions; and the expression of personal ideas. If you don’t understand the terminology that is used within your assessment criteria, ask your teacher to explain and keep asking until the meaning is clear.

Ask for help With open ears and willing effort, you become the kind of student that an Art teacher will do anything for. No matter how much of a prickly thorn you have been in the past, your teacher will transform and begin to work with you, when you offer kindness, appreciation and respect. Ask your teacher to explain what you have been doing wrong in past assessments. Tell them to focus on the one thing that you can do that will lead to the most gains. When you have mastered this thing, seek further advice and move onto the next thing.

Be creative For goodness sake, do something different. Experiment a little. Use something other than plain white paper. Trial drawing or painting on grounds. Use new techniques: mix, combine and apply mediums in fun and crazy ways. We have written a whole series on use of media for Painting students. Photography students may like to read 100+ creative photography ideas. You can’t use up creativity. The more you use, the more you have. – Maya Angelou

Play to your strengths Most Art students have areas where they excel and others where they are less confident. If you are messy and struggle to control paint, choose an artist model that allows you to apply gestural, expressive brush strokes, so it appears that your lack of control is intentional (this will allow you to continue practising with wet mediums, rather than avoiding them completely). If you struggle to draw realistically, consider embracing gestural drawing, distortion, manipulation or semi-abstraction. Showcase your strengths and use these as a distractive mechanism, while confronting your weaknesses head-on.

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Present your work well Presentation is the way you ‘sell’ your work to the examiner; it has a direct impact upon the way the work is perceived. The way artwork is mounted, arranged and put together speaks volumes to the examiner about your attitude as a candidate: your enthusiasm, your commitment and work ethic. Scrunched, dog-eared, smudged works communicate the idea that you are a disorganised, slovenly student who couldn’t care less about the subject. When someone has a few minutes to assess or moderate your entire year’s work, first impressions count.

What stops you achieving high grades

You find your Art topic boring Even the most dull and uninspiring subject-matter can be turned into something wondrous. Boredom is a mindset. If your teacher has slammed something unappealing onto the table (engine parts, glass bottles etc), your challenge is to find a way to make these matter. Take a deep breath and look for parallels between what you see and the stuff of your life. Corroded steel joints can echo a faded and broken relationship; light dancing on glass can represent layered memories or dreams. Tell yourself a story. Look for ways to introduce exciting mark-making, techniques and mediums. Take the shapes, lines and colours of your subject and use these as a vehicle to explore something personal and meaningful. Note: Producing great work is just as difficult given a narrow topic as a wide one. Whether you succeed depends upon how well you respond to the task you have been given. You forget to bring your things to class Those who regularly leave work or equipment at home, set themselves up for failure. Every second of your class time is needed. Get organised, and use it well.

You can’t keep up with the pace Managing the workload in an Art-related subject is hard. Even highly able students find the quantity of work challenging. If you procrastinate, promising to adopt a better work ethic closer to exams (perhaps telling yourself you thrive under pressure), it is worth remembered that rushed work is never as good as that produced using the full allotment of time. If you want to excel in a high school Art class, find a way of coping with the workload requirements now. Learn to paint and draw faster and how to avoid procrastination and get your homework done.

You avoid asking questions Many students see others ask outrageous or obvious questions and trigger an eruption of laughter from classmates. If you have a fear of asking questions and worry that you will appear dim-witted or stupid, remember this: poor results indicate stupidity far more than silly questions. To achieve outstanding success, questions are vital. The next time you are in a classroom, look around. Who asks the most questions? Who seeks out feedback and help with their work? In almost all cases it is the top students and those who are progressing in leaps and bounds. It is critical that you ask for assistance whenever it is needed, especially from your teacher (they know your work the best).

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You resist modifying or changing your work Every year, students respond to some teacher suggestions with: “I like it like that” or “It’s fine the way it is”. While you should never blindly follow a teacher suggestion, it is worth remembering that your teacher has your best interests at heart and knows the assessment criteria inside out. They can see your work with fresh eyes and an objectivity that you cannot. Students who achieve outstanding grades continually refine their work, adding layers, testing materials and techniques and exploring new compositional devices. They don’t avoid critique; they hunt it out – seeking to better their work. Thank your teachers for all of their suggestions; implement some of them and trial alternatives whenever you are unsure. You suffer from the ‘first idea is best’ syndrome Art and Design students are often required to generate solutions to a design brief or ideas for a final work. Some students shut their brain down after the first concept – convinced that their first solution is the only good one they can come up with. They fall in love with their first solution, the instant they see it, sure that any time spent generating others will be wasted. Good designers and artists have ideas flowing out their ears. Demonstrate that you have this capacity to the examiners. Maybe your first solution is your best one, but, more often than not, you’ll surprise yourself and discover that some of your other great ideas are worth falling in love with too.

Taking too long to begin Some students are struck with a fear that they don’t have an original starting point or that they haven’t interpreted their exam topic in quite the right way. They spend weeks fretting over their topic selection and worrying whether it is good enough. Here’s the truth: it’s not the idea that matters – it’s what you do with it. Even the lamest beginnings can become draw-droppingly amazing if they are developed in the right way, with reference to the right artist models. Delaying your project in the hope of stumbling upon a ‘perfect’ topic rarely works: instead it results in panicked, last-minute submissions that are a pale shadow of what they could have been, had the full allotment of time been used. Great Art portfolios need time. Do yourself a favour and begin.

Producing weak or uninspiring compositions Compositional errors can be broken into the following four categories:

• Cheesy: Surprisingly, there are still students who attempt to create artworks containing hearts; glitter; prancing horses; leaping dolphins or bunches of roses. Overly ‘pretty’, cliché and/or unimaginative subjects are rarely successful.

• Boring: Those who select appropriate but common subject-matter (i.e. portraits) but make no effort to compose these in an innovative way, do themselves no favours. Even highly able students sometimes submit projects that make an examiner want to yawn. (A less able student, on the other hand, with exciting ideas and clever compositions, can make an examiner sit up and take notice).

• Simple: Another common compositional error – usually evident in weaker students – is to avoid complex / challenging arrangements and/or choose a scene that is completely ‘flat’ or formless (i.e. an enlarged detail of a brick wall or a cloudy sky). This is unlikely to give you sufficient opportunity to render complex three-dimensional form and runs the risk of limiting or stifling your project.

• Unbalanced: Every image, page and preparatory component of your high school Art project should be arranged in a well-balanced, aesthetically pleasing way. This can be a challenge for some, but certain principles – and directing conscious attention to composition – make this easier.

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Flaunting poor skills

Struggling with a practical aspect of Art is not a mistake (no one is perfect; everyone is in the process of improving their skills and becoming better) but flaunting your weaknesses to the examiner is. Remove weak pieces and ensure that you present your skills in the best light. If you are messy and struggle to control paint, choose an artist model that allows you to apply gestural, expressive brush strokes, so it appears that your lack of control is intentional (this will allow you to continue practising with wet mediums, rather than avoiding them completely). If you struggle to draw realistically, consider embracing gestural drawing, distortion, manipulation or semi-abstraction. Showcase your strengths and use these as a distractive mechanism, while confronting your weaknesses head-on.

Failing to show development AO’s ask students to develop ideas from initial concept/s to final piece. Difficulties with development usually present themselves in two forms: submitting a body of unrelated work OR submitting work that doesn’t develop at all.

Continually restarting work Those who take Art are often the perfectionist type, wanting every aspect of their portfolio to be perfect. This ambition is great – in fact, most teachers wish this was a more widely-held attitude – however the mechanisms for achieving this are often flawed. Continually restarting pieces of work is not a good idea. It is rare that a drawing, painting or mixed-media piece cannot be worked upon and improved. In almost all cases, initial ‘bad’ layers give an artwork substance, resulting in a richer final piece (see this article about working over grounds for more). Those who habitually restart work have less time to complete the second piece and often end up with a folder of semi-complete pieces, none of which truly represent their skill in the best light.

Drawing from second-hand sources Drawing or painting from images taken by others is one of the most risky strategies a high school Art student can use. It sets off alarm bells for the examiner, as it can indicate a lack of personal connection to a topic, a lack of originality, plagiarism issues and result in superficial / surface-deep work. Using images sourced from magazines, books and the internet screams of one thing: a student who cannot get off their backside long enough to find something of their own to draw. NOTE: This is a guideline only. There are certain art projects – some of which are featured on this website – in which drawing from second-hand resources is acceptable. In general, however, this is something that should be approached with extreme care.

Spending too long on annotation For some students, writing comes naturally – they enjoy pouring words onto a page. Others use annotation as a form of procrastination, to avoid working on the visual material. There is nothing wrong with annotation. It is an excellent mechanism for refining ideas, evaluating work and communicating concepts and ideas. But students should remember this: it is usually possible to score perfect marks with little or zero annotation (except, of course, in artist studies where written analysis is required); it is never possible to score perfect marks with annotation only. The practical work is what matters. Spend your effort creating outstanding drawings and paintings. Use annotation as and when is necessary, but put your fullest energy into creating artwork. Put the art first and the annotation second.

Presenting work poorly Whether you admit or not, presentation is important. Art and Design is a visual subject. Those who assess it are highly sensitive to visual cues. The way artwork is mounted, arranged and put

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together speaks volumes to the examiner about your attitude as a candidate: your enthusiasm, your commitment and work ethic. Scrunched, dog-eared, smudged works can (if you are lucky) communicate the idea that you are an insane, artistic genius, but they are more likely to communicate the idea that you are a disorganised, slovenly student who couldn’t care less about the subject. When someone has a few minutes to assess or moderate your entire year’s work, first impressions count. Let your work shine. (We will have detailed presentation tips in an upcoming article – stay tuned)!

Procrastination The ultimate downfall of an Art student is procrastination. This is the number one barrier to success. Leaving things until the last minute can work in some subjects (especially the kind where knowledge is absorbed and regurgitated on cue) if you have an excellent memory, excellent grasp of the subject and a have a refined cramming technique – but it almost never works in Art. Even skilful, highly able students need time to produce a great Art project. Why do Art students procrastinate? How do you stop?

What makes an Art student excel The thing that seems most certain, and yet, least obvious, is that the attribute defined as ‘raw talent’ or ‘genetic ability’ is a minute part of the equation. It is not insignificant, and is helpful, but it is not anywhere near as important as we are led to believe. It is quite possible, for example, to have a highly able student who fails miserably at a subject. Sometimes, these students can even be sceptical that they even have any skill – or, perhaps worse, fear that any skill they have is not quite enough. Coupled with a few years of lack of effort, this belief soon becomes self-fulfilled. What matters more than the measure of your skill at any given moment – which is a better way of describing ‘talent’ – is the deep, true, unfaltering belief that, one day, you will succeed; the knowledge that effort is worth it; that this sacrifice will be rewarded. Success is partly due to a love of competition – a fearlessness or joy in demonstrating that one’s skill is momentarily better than others. Success is a breed of self-confidence. It is tied to the faith that, even when failing, will get up and try again. Ultimately, success manifests itself as a doing – an active practising and seeking of knowledge; a demonstration that we don’t know everything and want to learn. The attribute I wrote-off with scorn as a teenager – “effort” – rules roost when it comes to achieving term success. Certificates for Effort given out at assembly that were seen by my childhood self as a “nice try, better luck next time” proclamation, should have been seen instead as recognition that this child knows the best secret there is to know. We are not born being able to play the piano or command a multi-million dollar business. We cannot lift a brush at three years old and paint a realistic picture. It is a fallacy that people are born knowing how to do magnificent things. The truth is, at zero, we cannot even speak. We lie there, and breathe and wriggle and cry. But importantly, we also begin to learn. Which students are successful? Those who know the value of effort. Those who keep on trying – and, in doing so, become better than they were before.

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How to develop your ideas in an Art project

Art students must present a Coursework or Exam portfolio that shows development. Students are sometimes confused about what the term ‘development’ means in this context, and are uncertain about how they should go about achieving this. If you are told that your work must show development, your teacher is telling you that your work must change a little (both in use of media and composition) from one piece to the next. In other words, a Coursework portfolio must tell a visual story: with a starting point, a conclusion, and a journey in between. It is not acceptable, for example, to show the same things drawn or painted from different angles over and over again, or to execute the same composition first in pastel, then in paint, then in charcoal and so on…or to submit paintings of many different items that have no visual or thematic connection to each other. ‘Development’ means systematically working towards better artwork: trialing, refining and exploring compositional devices and technique, demonstrating to the examiners that you have gone through a learning process and arrived at a successful final piece.

1. Select an original, personally relevant, visually complex, readily-available subject or theme (from the exam questions) that can sustain your interest for the exam

2. Complete 4-10 drawings of your chosen topic in your Sketchbook, using a range of black and white and coloured mediums such as graphite pencil, Indian ink, acrylic, coloured pencil, watercolours, 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 semi-incomplete 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.

3. 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.

4. Select an artist model whose work relates to your subject matter and inspires you. Research this artist. Complete several pages in your 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.

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5. Complete 10 – 15 drawings and paintings that show a smooth transition from your original artworks to images that are influenced by your first artist model.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. After each one you should have a discussion with your teacher about what you can do next to help convey your ideas more successfully.

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.

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Drawing tips

Use a ground There are many benefits to working on a ground. One of these is increased painting or drawing speed. A ground covers a painting or drawing surface from the outset. It can act as mid-tone, with only black and white used to apply dark and light areas (as in the examples below) or be left partially visible in the final work. This results in an artwork that is much faster to complete

The beautiful A Level portrait on

the left has been completed upon

a pale brown ground (this provides

a mid-tone skin colour and is also

left visible in the background). On

the right, a wash of ochre, blue

and brown provides a background

to the drawing black and white

pencil drawing.

Incorporate mixed media /patterned surfaces / textural elements As with using a ground, patterned, decorative or textural items can cover areas of an artwork quickly. Although this strategy should be used with care, selecting only materials which support or enhance your project (usually with reference to a relevant artist model) this can be a great way to speed up your project and introduce creative use of mixed media.

Exploring fairy tales (the ‘Princess and the

Pea’ and ‘Rumpelstiltskin’, these well-

composed works allow the student to

demonstrate observational drawing skills in

certain areas of the artwork, while saving time

by covering other areas with mixed-media

patterned surfaces.

This student produces gripping paintings on a range of found surfaces, including wallpaper,

postcards and romantic paperback book covers. Note that the chosen surfaces are integral to

the message in the work; the shattering of domestic bliss.

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Paint things in the right order – background areas first Painting things in an illogical order is surprisingly common amongst students. In almost all cases, the background should be completed first, followed by the middle-ground, ending with the foreground. This is easily understood when considering a tree in front of a cloudy sky. If you make the mistake of painting the tree first, the sky has to be meticulously painted around every leaf and branch: an irritating task that takes hours (and ends up looking a little shabby). Painting the sky first, however, means that a large brush can quickly be used to paint the sky, with the tree then easily added over the top. Painting in the correct order also results in a painting that has layers (which gives it a richness and lustre, as with using a ground). If you find that subsequent layers of paint do not adequately cover earlier ones, you have an inferior brand of paint. Note: Once you understand how to build up a painting in layers, you will realise that often this involves drawing items in stages also.

These vibrant, architecturally-

inspired abstract works are a

prime example of an artwork

that must be painted in a

logical order. These paintings

would have been exceptionally

tedious had the rays of light

had been painted first.

Use masking tape to create straight edges Some students are concerned that it might be necessary to ‘prove’ that a straight line can be painted by hand. This is not the case. Your control of a paint brush can be ascertained immediately by looking at the remainder of your painting. Masking tape creates straight edges in seconds. Once mastered, this trick can save you hours – and make your paintings sharper, cleaner and more professional in the process. If you haven’t used masking tape before, buy some now!

Enlarged details of this seascape painting can

be seen to the right. All of the straight lines were

created using masking tape.

Leave artwork purposefully incomplete Artist work is sometimes purposefully ‘unfinished’. Art students shouldn’t feel obliged to ‘complete’ every item. There are many occasions when a fully rendered drawing is not necessary. Drawings, especially those in sketchbooks, can be left with edges trailing away and tone only applied to some areas. Leaving work unfinished is particularly useful when conducting visual research, exploring ideas and experimenting with media. Depending on your artist

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influences, this may even be appropriate in final works – as a way to draw attention to focal points and direct attention within an artwork. Note: This should not be used as justification for avoiding homework tasks set by your teacher!

Jim Dine is an outstanding artist to use with

middle and high school Art students. His charcoal

tool drawings combine precise, analytical outlines

(which fade away and are incomplete in places)

with perfectly rendered areas and gestural, and

expressive mark-making in some of the negative

spaces left around the tools.

These drawings are purposefully rendered in

small areas only, creating emphasis and

directing vision.

Omit parts of a scene Deliberately picking out certain parts of a scene to draw has a strong impact on the final work and must be used with care to ensure that the resulting image supports the ideas explored in your project. As with the previous option, this allows you to demonstrate strong observational drawing skills, while saving time by omitting part of the scene. This contemporary drawing by artist Langdon Graves involves carefully selected regions of a

face: well-balanced curving forms of an ear, eye and glasses.

Eliminating certain areas of a scene is a dramatic

measure that brings immediate focus to an artwork.

This drawing depicts only men walking down a street –

with all aspects of the surrounding obscured. This

immediately suggests monotony; the daily grind; living

on autopilot; and carrying out the daily routine without

ever stopping to notice the world passing by.

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Selectively flatten tone Another option that students have is to flatten tone – to remove the smooth blending gradations from dark to light. This strategy should be used with caution – and usually only in certain areas – as unintentionally flattening tone can be the hallmark of a weak student. As indicated by the artist examples below, however, there are times when all or parts of the tonal variation within an artwork can be omitted with great success.

In this contemporary oil painting depicting

Harrison Ford, the artist carefully positions three

realistically rendered figures and a SEGA games

system upon a wide flat area of tone. This

eliminates unnecessary clutter and swiftly focuses

the attention of the viewer.

The faces in these self-portraits are stunningly

rendered, with extreme attention given to fine

details and irregularities of skin. The hair and body

are pale; the hair almost completely devoid of

tone. This pushes all attention to the face; the turn

of the lips; the emotion in the eyes.

Focus on Line There are many occasions where it may be appropriate for a student to draw using only line (it is often the application of tone that is time-consuming for students, so working exclusively with line can provide a welcome relief). Blind drawings, contour drawings, cross contour drawings and other hatched drawings can form an important part of your project.

Note: It is usually necessary to demonstrate an ability to apply tone at some point to examiner, so it is not wise to exclude tone from your project altogether.

These works contain a focus on line (in this case used

to create residual after-image effects) with tone applied

in certain areas only. This helps to draw the viewer in to

the world of the central figure, so we share the emotion

of this captured moment in time.

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Include photographs While there is a certain quantity of painting and drawing that must take place within a Painting or Fine Art portfolio, photography can provide an excellent mechanism for moving a project forward at a faster pace. Photography can be used as a tool to develop composition, as in this

Sketchbook. Rather than ordinary snapshots of source material, the photographs here are complex digital manipulations, which help refine ideas and compositions. In addition to helping with composition planning, photography can be collaged into artworks or used as painting ground (but not as a mechanism for avoiding observational drawing – this is perceived by examiners as cheating). If the photograph remains visible in the final work, less paint needs to be applied, thus speeding up the art-making process.

These artworks by Charlotte Caron

show animal faces painted on top of

photographic portraits. Note the clever

unity of the colours in each image.

Progress to abstract (or semi-abstract) Producing abstract work is often the first solution that comes to mind for those who work slowly; students can be fearful that this will not allow them the opportunity to demonstrate strong observational skills. The solution is to produce abstract work that is derived from earlier realistic works

This project begins with precise, meticulous realistic drawing, moves towards impressionism

and finally abstraction. This allows a student to benefit from speed in the later stages of the

work, while still having the opportunity to flaunt superb observational drawing skill.

Another equally successful strategy is to incorporate realistic elements with abstract works, creating a work that is part realistic, part abstract.

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Excerpts from this show

realistically depicted rotting

fruit (partially complete, with

edges trailing away) painted

upon a rich, torn, abstract

background.

Use a bigger brush There is something surprisingly liberating about painting with a bigger brush – especially if you have previously worked at a microscopic scale, picking out detail the size of a pin prick. You will soon discover that it is just as easy to achieve clean edges with a larger brush and that an unexpected level of detail can be achieved. Most enjoy picking up a larger brush – even if this just becomes a way for creating grounds and applying background layers.

Evidence that a larger brush does not

impinge upon your ability to record

tone, capture lighting conditions or

render form: rather, it creates

refreshingly raw and soulful images:

painterly snapshots in time.

Be more gestural Instead of artwork being a laborious process that grinds away for days, images can be created quickly, using rich, expressive mark-making. Those who have only produced realist, tightly controlled drawings usually take some time to adapt to this approach and not all students find it easy; selection of the right drawing tools and mediums can help. Charcoal, chunky 5mm wide graphite leads, Indian ink, big brushes and paint applied with pieces of card all lend themselves to gestural mark-making. Even if this style of working is not your preference and not something you wish to pursue, it can be useful to practise, particularly when planning compositions and drawing from life.

These stunning paintings have tighter, more

realist faces, with surrounding areas becoming

gradually more gestural and abstract. This is a

superb strategy for creating focal points and

creating rich, gutsy images that command

attention.

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Even if a final work is

realistic and tightly

controlled, compositional

sketches can be much

rougher. This is an

excellent method of

working, when quickly

testing and trialling ideas.

Trace or photocopy your own drawings Tracing is frowned upon in most circumstances, however there are occasions when tracing is a valuable strategy. For example, a compositional plan could be quickly enlarged on a photocopier and traced/modified as required, instead of being redrawn at a larger scale; an existing drawing could be traced or photocopied in order to trial application of a different medium or technique (this should be kept to a minimum, however, to ensure that your work doesn’t become too repetitive); repeat patterns could be traced; or different drawings could be overlaid and arranged together, tracing the composite work.

You will note that the figure at the

far right in the first work has been

repeated in both works. A number

of other time-saving strategies

have also been used in the

second work, such as painting on

a ground, fading images away,

using line only in places and

incorporating abstract elements.

Use digital manipulation Scanning existing artworks and editing and combining these with other artworks holds exciting promise for Painting / Fine Art students. Once a student has practised using image manipulation software (such as Adobe Fireworks or Photoshop) creating images and then printing them can be a very fast way to create amazing artworks.

These images were created in

Photoshop, using scanned images of

paintings that were digitally overlaid

using different transparencies, with

text added. Professionally printed

onto high quality paper, these works

integrate seamlessly with other hand-

generated works.

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Creative use of media Sometimes even highly able Painting students feel stuck in a rut. If your coursework project feels stagnant, repetitive, or downright boring, you may benefit from increased experimentation with media, techniques. While it is important to remember that art-making mediums should be used in a way that supports your ideas, there are times when a dash of unpredictability and thinking-outside-the-box can help .

Paint on something interesting Time and time again I see students who paint or draw on white cartridge paper and nothing else. There is nothing wrong with cartridge paper. Some cartridge papers – especially thick, gutsy, wet strength ones – are beautiful. Sometimes, a thin, flimsy sheet (the kind that warps at the mere hint of moisture) is all you need. But, often, experimentation and creativity with media brings considerable advantage. There is a joy –a wonderful aesthetic discovery – that takes place when you paint on something unexpected: a surface with history that brings with it colours, textures, marks and irregularities of its own.

Juan Gris teacups: a mixed media painting

upon a collage of coloured papers. The

shapes of the pieces of paper are very

deliberate, mimicking the angular table

edges and table cloth forms.

Draw on coloured paper The first thing you can do is embrace papers of other colours. Select those that integrate seamlessly with your coursework project (creams, browns, greys and blacks are likely to be more appropriate than psychedelic pink, for example).

Dark colours can be great for drawing on with light mediums; mid-tone papers (those that are a ‘medium’ tone – not too dark and not too light) are also excellent. As in the Juan Gris example above and the Indian ink work below, the colour of the paper acts as the mid-tone for the drawing; dark and light areas are added as required (this results in a piece that appears three-dimensional very quickly).

Black and white painting on

textured paper. The grey of

the paper acts as the mid-

tone.

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Embrace textured paper There are lots of textured papers available. Some are machine made, pressed with a uniform mesh of bumps or grooves; others are handmade, with flecks of fibre, thread, tissue and other items intertwined within the paper pulp. If you don’t have access to textured papers, you can easily find or make your own. Tear apart packaging or disassemble things you find in the trash. Source whatever scraps you can and draw on them, or cut, tear and glue them into a painting.

Handmade papers can be glued into a painting and

painted over. When a dry-brush painting technique is

used, the texture of the handmade paper is

exaggerated. The image on the right was created by

folding and gluing several textured papers together.

The papers were physically scrunched and folded and

then painted to exaggerate these folds.

Discover the beauty of drawing on tracing paper Many people don’t realise that tracing paper is not just useful for tracing – it is an exciting drawing surface in its own. Tracing paper can be used to make translucent overlays or glued onto white backing paper (be careful when gluing, as some tracing papers warp hugely when in contact with moisture). The shiny surface creates rich, glossy images that love to smudge and blacken your hands. Permatrace – a thick, waterproof drafting film – is particularly exhilarating: it produces some amazing outcomes with ink.

Drawing on tracing paper: The

beautiful bird drawing on the left has

been refined using several layers of

tracing paper, with the previous

drawings visible and translucent

under the final work.

Use ripped, scrunched, folded, ripped, or stained paper or tissue Tissue paper can be scrunched and glued onto a painting (shaping as required) to create a textural surface that can be painted over. As with other textures, dry-brushing will exaggerate them and make the fine web of creases more visible.

Tissue paper has

been used in this

painting to help

create creases and

grooves within a

landscape.

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Paint or draw on patterned or textured wallpapers or other decorative surfaces Care needs to be taken when integrating patterned items; it can be easy for the pattern to dominate and overpower a work. When appropriate imagery is selected, however, patterned

items can provide excellent drawing surfaces or collaged material.

Indian ink drawing on finely textured wallpaper with a

fine grid pattern.

Integrate newspaper cuttings If you experiment with drawing on newspaper, remember that the text becomes a part of your work; this needs to be an intentional and considered decision. If the words are legible, the message contained within the writing should be relevant or, at the very least, not distracting.

Jonathan Darby’s art commonly explores humanitarian

themes, depicting vulnerable children. In this work

(enlarged details shown on the right), painting on

newspaper is highly appropriate, as it suggests the child is

lost in a landscape filled with litter: discarded. The beauty

and innocence of the child are in stark contrast to the gritty,

sorrow that surrounds him.

Draw on book pages, pieces of rubbish or other text-based items Many artists are achieving great popularity for their drawings upon found, text-based materials. Artist Mark Powell has produced a series of stunning

ballpoint pen drawings on envelopes and other found

materials.

In this example certain parts of the background have

been highlighted in blue to link with the bird and balance

the work. Note also how the circle in the background

links with the curving form of the bird which is positioned

directly beneath it. In other words, the book page

becomes a carefully considered aspect of the

composition – it is not just mere pattern that is used and

then forgotten about.

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Draw on cardboard MDF or hardboard is a great surface to paint on. Cardboard is a suitable, lightweight replacement. Card can provide a sturdy base for a painting and, when cut-outs are glued into a work, can create elevated surfaces that segment a composition, adding depth and shadows.

Textured painting ideas: student glued MacDonald’s

hamburger boxes to the artworks and painted over

them (example on the left). The dramatic cityscape

on the right was created on corrugated cardboard.

The vertical lines of the corrugation are integral to

the work.

Amazing spray paintings on. The texture of the

cardboard becomes an integral component of the

painting: a decaying, crumbling wall surface.

Paint on linen, hessian, canvas or fabric Pieces of fabric can be cut and glued onto paper and painted upon. The fine mesh of woven thread can be left as is or hacked at and unravelled, fine threads spiralling into the artwork. It is also possible to ‘stretch’ canvas yourself over a sturdy piece of cardboard, with the canvas

edges folded behind the back of the card and stapled. Painting on hessian: a gritty, absorbent

texture.

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Go wild with modelling compound Modelling compound – used for creating thick, sculptural elements in an artwork – often becomes a Painting student’s best friend. Whether used with masking tape to create straight edged areas, or slapped on and scratched erratically with a stick, modelling compound is the stuff of magic. Items can be pressed into it and carefully lifted out when dry, revealing an indented pattern and form; it can be sanded and cut with a craft knife when dry.

Texture created on the surface of a painting using

modelling compound scratched with the end of a paint

brush. When the surface is dry, a watery acrylic wash

has been brushed over it; pigment settling in the

grooves as it dries. The pumpkin seeds have been

raised up using thick modelling compound.

Throw in everything else If all of the above fails to inspire, create an assemblage of objects not normally associated with making art (example by Robert Rauschenberg).

Robert Rauschenberg artworks are

sculptural, mixed media collage pieces

that merge cuttings, photographs,

clothing, rubbish and other found

objects. This piece contains pieces of

cloth, newspaper and a squashed

umbrella.

When you shape or create a painting surface, there is something of you invested in the work, before you even begin.

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Art Project Ideas: A Guide to Subject Matter/Exam

question Selection Looking for art project ideas? Whether specialising in Painting, Graphic Design, Photography, textiles or Sculpture, most Art students begin by selecting a topic for their portfolio, coursework or examination project. It is a decision that many find difficult, whether due to a lack of inspiration, an inability to discern between two or more possible ideas or a general misunderstanding about the type of topic that is appropriate.

Step 1: Brainstorm Ideas

• Write down all subjects, themes, places, things, activities or issues that are personally relevant and that matter to you (even random, unexpected things, such as a the art room sink, or heirloom knives and forks in your kitchen drawer). The purpose of any artwork is to communicate a message: to comment or scream or sing about the world in which we find ourselves in. If there is no emotion behind the work, there is no driving force – nothing to direct and shape your decision making. Write down the things that you care about; that move you.

• Include topics that are unusual, challenging, controversial, gritty or inspiring: those that fill you with passion. Students who select substantial, heartfelt issues that they really believe in are more likely to achieve great results than those who choose aesthetically pleasing but superficial subjects. A tried and true subject can still be approached in an individual and innovative way, but choosing a topic that is novel and fresh has certain advantages. Strong, contentious issues are those which the assessors themselves have a reaction to; they provoke an emotive response. Such topics make the markers and moderators sit up and take notice: it gives them ample opportunity to see the merit within your work

This student has cleverly merged photographs of x-rays, surgical instruments, stark hospital corridors and emergency signs to medical theme.

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This student has used provocative imagery to explore the contentious issues surrounding

human consumption of animal flesh.

This emotive final piece, exploring a topic of self-

harm, is rich and raw with emotion. Based upon a

student’s dream, there is a gutsy honesty to the

work.

Step 2: Evaluate your ideas

• Eliminate those which are ‘cheesy’ (i.e involving pink hearts and Brad Pitt), insincere (i.e. a theme of ‘World Peace’, when really this is something you couldn’t care less about) and overly “pretty” or lacking in substance (i.e. bunches of roses). This doesn’t mean that a traditionally ‘beautiful’ subject cannot be successful, (see the cupcake example), but think carefully before proceeding with such a topic. Sometimes even ‘pretty’ objects can be explored in contemporary and innovative way, as in this mixed media cupcake work.

• Eliminate those subjects which you are unable to explore first-hand. In order to create artworks, you will need access to high quality imagery. For example, if you are

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exploring the way in which humans kill animals in order to consume their meat, access to the inside of a butchery or abattoir/freezing works is likely to be essential. Reliance on photographs taken by others is rarely a good idea. No matter how awesome a theme appears, if you are unable to explore any aspect of it firsthand, it is very unlikely that you will be able to do the topic justice. Remember that you will likely need to return to your source imagery several times during your high school course, so a submission based upon a particular plant that only blooms for a couple of weeks out of the year or a view of your village during a rare winter snow storm is very risky. The ideal GCSE, IGCSE or Art A-Level subject is one that you can physically return to, whenever you need – to draw, photograph or experience first-hand.

• Remove the topics for which the source material is excessively simple, i.e. containing only a few forms, textures and patterns. A small pile of cardboard boxes, for example, might inspire a great drawing, but if this is the starting point for an entire year’s AS or A2 work, the straight lines, rectangular forms and flat box surfaces are unlikely to provide enough visual variety to explore for months on end. Overly busy source material, on the other hand, is not an issue – it is much easier to simplify form and detail than it is to add back in.

• Eliminate those topics for which the source material lacks aesthetic appeal. Do not mistake ‘aesthetic appeal’ for pretty. In fact, some of the ‘ugliest’ things can be stunningly rendered in an artwork or design. Art teachers (and artists in general) often speak of finding the beauty in the ordinary or mundane: seeing the magic in that which others have discarded or forgotten (see the electrical plug painting below by Amy Thellusson from Notting Hill and Ealing High School). This does not mean, however, that anything is suitable for your A Level topic. Some scenes are genuinely unattractive and unsuitable visually. Certain object combinations (due to their particular shapes, colours or textures) are extremely difficult to compose in a pleasing way. Similarly, some items – particularly disproportionate drawings or designs by others – are very challenging for a high school student to replicate. A drawing, for example, of a doll that is proportioned unusually, may appear to be an inaccurate, badly proportioned drawing of an ordinary doll. In other words, the examiner may not realise that the doll is proportioned badly – they may think you simply cannot draw. (If you find ascertaining the aesthetic potential of your ideas difficult, discuss this further with your art teacher.

Sometimes the most mundane of objects can provide the greatest beauty

• Eliminate topics which are common or over-done (unless you have an original way of approaching this topic). It doesn’t matter if some others have explored the same topic as you… With the millions of people in the world, it is highly unlikely that you will be the only one to explore a particular theme (in fact, this is beneficial, as you can learn from others…and no one will make art exactly like you), but, if

EVERYONE is doing it – if it is a topic that the examiners have seen a hundred times before, you should think carefully about whether you have something sufficiently new and original to say about it.

• Ensure that the topic you choose is something that you really care about and which can sustain your interest. If you have more than one topic left on your list, pick the thing that you care about the most.