F I N E A R T T A S T E R S E S S I O N

Assessment Objectives• AO1 Contextual understanding

• AO2 Creative Making

• AO3 Reflective recording

• AO4 Personal presentation

Assessment Components

60% Component 1• Major project

(coursework)

40% Component 2• Externally Set Assignment• 15 hours

Structure 2018-2020

Year 12 • Foundation course until Easter• Major Project commence EasterYear 13• Major Project deadline Jan 31st• Feb-Apr Exam (15 hours)

Any similarities or differences to

GCSE?

Most students find developing AO3 at A Level

their biggest initial challenge

AO3 Reflective Recording • Gathering, selecting, organising and communicating relevant information in undertaking research into visual and other sources of reference, showing personal interests and judgements. Due attention given to selecting appropriate sources of enquiry and rigorously analysing these to extract informative detail. • Recording, by drawing and other suitable means, such as colour, tonal and textural notes, photographs and annotation in sketchbooks and on study sheets, ideas, observations and insights that are in line with personal intentions. • Critical reflection on progression of work in order to effectively review what has been learned, acquire deeper understanding and clarify purposes and meanings.

Eduqasdefinition

So..what isReflective

Recording?

In a nutshell…• Recording with purpose• Critically evaluating

outcomes against purpose• Responding to evaluation

“

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Recording with

purpose

Group A Task • What is the purpose?• How is purpose

evident?• How have materials and

techniques been used effectively for purpose?

• In what ways are the drawings successful?

• How do the drawings compare and contrast with each other?

• What should happen next?

A B

CD

E

Recording with

purpose

Group B Task • What is the purpose?• How is purpose

evident?• How have materials and

techniques been used effectively for purpose?

• In what ways are the drawings successful?

• How do the drawings compare and contrast with each other?

• What should happen next?

A B

C

CD

E

Recording with

purpose

Group C Task • What is the purpose?• How is purpose

evident?• How have materials and

techniques been used effectively for purpose?

• In what ways are the drawings successful?

• How do the drawings compare and contrast with each other?

• What should happen next?

A B

CD

E

F I N E A R TB R I D G I N G W O R K

A Level Fine Art Bridging WorkTASK ONERead the Fine Art Taster Session slides available online on the school website.

TASK TWOChoose one of the following themes where you can easily access resources to draw from first hand

• Bags• Shoes• Packets of food• Plants• Doorways• Jars• Toys• Clothes

Complete FOUR different observation recordings using materials of your choice.

TASK THREE For each piece of work write at least 100 words that reflect on the purpose of each using the prompts below.

REFLECTION PROMPTS – see following examples• What was interesting about the subject that you chose to

draw/paint?• How is it different from the other three recordings you have

done?• What effects did you get with the materials/techniques that

you chose to use?• How were the effects of these techniques useful to express

something about the subject?• What did you learn whilst creating this work?• What are the strengths of this work?• What could be a next step ?

N.B. These tasks must be completed to an appropriate standard to secure entry onto the A Level Fine Art Course in September.

A Level Fine Art Bridging Work 2018

This tree is large and mature, the bark is particularly interesting in the way the texture creates contour lines that dip in and out of the holes and dents.I used pencil as I was keen to recreate the detailed, bumpy nature of the bark and highlight the pattern created on the surface.I focused on drawing a small aspect of the tree, filling the paper to emphasise the size of the tree. On completion I noticed that the drawing is reminiscent of the contours of a map and also has a feeling of being alive in the way that it resembles elephant skin. The drawing successfully captures the texture of the bark and the way that the light and detail draw attention to particular important features like the knots and the scale.This drawing has opened my eyes to the possibility to explore pattern and contourswhich I intend to examine in my next study

REFLECTION 1

RECORDING 1

This tree is situated in an uncultivated wood and there are clear signs of decay, distress and neglect in the area. The bark was peeling and flaking in patches and it was the exposed parts where contours could be seen. Completing this in ink meant that I had to accept the marks which could not be rubbed out. Dabbing and dotting with pen created contrasting marks which described the difference between the rough bark and the smooth grain underneath.The energy of the lines in this drawing are a strength. I could also explore how adding water creates da different effect in this type of work.

RECORDING 2

REFLECTION 2EXAMPLE

A Level Fine Art Bridging Work 2018

This bark rubbing with wax crayon was completed during my visit to the neglected woodland. This particular tree was large and had a very complex tesselating pattern covering the entire trunk. This technique enabled me to record the accurate size and shape of the pattern as well as highlighting the areas of texture which appear darker in the image. Whilst this is quite a vague image, the way that it creates focus on the edges of the textured parts is effective in simplifying the form. This will be very useful as I plan to experiment with some pattern work in response to this, maybe using collage or relief. I would also like to try adding more precise pattern into the between spaces, like in recording 2.

REFLECTION 3RECORDING 3This collage is an extension of the ideas I considered in reflection 3. Rather than draw the negative space I cut out the abstract, in-between shapes. Contour lines drawn onto the layer below can be seen through the spaces and the sense of separation between the layers is effective. The top layer partially conceals the bottom in the same way that the bark protects and exposes the delicate wood underneath. I will capitalise on this by working with layers further –adding texture and colour, perhaps adding contours from Ordnance Survey maps of the area where the wood is.

RECORDING 4REFLECTION 4EXAMPLE