GCSE ART and DESIGN

Information for students

These notes are to help you think, structure your thoughts, and plan how you will produce your work.

Students should;

Work in sketchbooks (Homework & School) Post blog twice a week to Wordpress Work from life (record using own photos) Research and think (Homework) Express and construct ideas Experiment with materials and methods Refer to the work of other artists/photographers Be interpretive rather than narrative or descriptive Start straight away

When you have got an idea

Try to explore your idea in words as well as drawings, photographs, etc. All this will help you to think. Even if you change your mind, keep all your notes. They will show how your idea has originated and developed and will get you more marks.

Write down: Your idea. Your viewpoint, opinion, interests about the idea. Thoughts on artists and their work

Care should be taken to ensure that any relevant preparatory, exploratory or supporting work is included in the assessment.

Important Information The work you produce in your sketchbook and final piece/pieces are all assessed and marked by your teachers as well as the AQA Examiner. These marks go towards your final grade. Coursework is worth 60% of the final grade. Your coursework - Portfolio will include two themes one in the Fourth year - Portfolio Unit 1 and one in the Fifth year Portfolio Unit 2 this paper. Preparatory studies are vital in the assessment of the project as they will show how YOU have explored, developed, refined, recorded and presented your work. Good preparatory work will often be reflected in the final work. This preparatory work is a journey of exploration that will meet all assessment objectives. All work must be handed in for assessment on the dates included in this document.

Unit 2 (Photography)

Deadline date:

Start Date :

Assessment date:

July 2019

December 2019

January 2020

Externall Set Assignment (ESA) (Mock Examination)

You are to compile all you studies in your sketchbook using various media with a strong sense of design and post twice a week to Wordpress your progress. Your sketchbook is to be handed in for assessment on 3 December 2018 along with your final composition.

Students will be expected to demonstrate a response to all of the 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.

Assessment Objectives

Investigation Period (A01) 4 weeks (Artists ref. & Resources) Experimentation (A02) 3 weeksDevelopment Period (A0 3) 3 weeksFinal pieces Period (A0 4) 7 weeks

Timings (17 school weeks -Total 27 weeks including holidays)

This paper is to be issued to candidates on 4 June or as soon as possible after that date.

All teacher-assessed marks to be completed by 14 December 2018

Time allowedA preparatory period working in your sketchbook followed by 10 hours of time on your final composition. Pupils to keep a log of time spent.

Materials

For this paper you must have:• appropriate fine art materials and/or equipment Instructions.• Read the paper carefully. Before you start work, make sure you understand all the information.• Choose one starting point and produce a personal response.• You have a preparatory period to research, develop, refine and record your ideas.• Your work during the preparatory period could be in sketchbooks, journals, design sheets, separate studies or in any other appropriate form, including digital media.• You must make reference to appropriate sources such as the work of artists, craftspeople,designers and/or photographers. These can be those named in your chosen starting point and/orother relevant examples. You must identify and acknowledge sources that are not your own.• Following the preparatory period, you will have 10 hours of time to complete yourpersonal response.• The work produced in the supervised time may take any appropriate form.• You must clearly identify work produced during the supervised time.

Information• Your work will be marked out of 96.Advice• You should discuss your ideas with your teacher before deciding on your starting point.• You should make sure that all appropriate materials and/or equipment which you might need areavailable before you start the supervised sessions.

Landmarks are often the most recognisable or well-known feature of a place or landscape. In her ‘London Classic’ collection Niki Garick uses photography to show something different about familiar landmarks. Richard Long, Robert Smithson and Alan Sonfist create landmarks in the environment using a variety of materials which they record photographically.

Margaret Stratton’s photographs are often based on how an image might tell a story about the use of a building in the past. Candida Hofer produces series of detailed photographs of the interior of public buildings that have similar functions, such as museums and libraries. Berenice Abbott and Ezra Stoller were interested in the building materials and scale of urban architecture.

You should make connections with appropriate selected sources when developing yourpersonal response to one of the following suggestions.

(a) Develop your own interpretation of the starting point Structures.(b) You could use the building or dismantling of any appropriate structure as a starting point.(c) You might develop ideas by looking at interesting structures in nature.

Research appropriate sources and produce your own work inspired by Landmarks, Architecture or structures.

Landmarks - Buildings - Structures0 1

Many photographers, such as Henri Cartier-Bresson, Sandra Eleta, Dorothea Lange and Peter Turnley, capture a moment in time that expresses emotion or records an event that is part of the rich variety of our human experience. Sometimes, they explore how we relate to others and moments that are important to us.

Photographers study the human figure in many different ways. Carl Warner uses images of the human figure to create large scale landscapes. In the film ‘An exploration of the human body as a landscape,’ Olivia Leek, Lizzie Klotz and Kathy Richardson use carefully considered viewpoint and lighting to explore similar aspects of the human figure. Bill Brandt used lenses with a short focal length to produce distorted photographs of the human figure. In the ‘Crawler Series,’ Sakir Yildirim used digital techniques and Brno Del Zou uses physical layering to explore distortion.

Investigate relevant sources and produce your own work in response to the Human condition or self image.

The Human Condition - Self Image0 2

Motion0 3

Photographers can use camera controls to freeze motion and also to create the impression of motion. Sports photographers use the camera to freeze a moment in time or to record the blur of movement.

Many photographers have explored detail. Using careful control of aperture, focus, lighting and background, Jo Whaley explores the detail in textures of groups of manufactured and natural objects. Henry Troup and Phil Straus have used camera position and control of depth of field to explore detail in close-up views of features in the landscape such as sand, water and the surface of rocks.

Research appropriate sources and produce your own work that explores the visual qualities of detail.

Detail0 4

Willy Ronis and Horst P Horst often used back lighting to create a silhouette or tonal contrast between subject and background. Ferdinando Scianna and Alexey Bednij have used shadows to create contrast and pattern in their photographs. Marks and Spencer’s advertising campaign for promoting their food products uses the intense colour of ingredients contrasted against dark backgrounds.

Research appropriate sources and produce your own images based on Light and dark.

Light and dark0 5

Photographers sometimes use parts of their image as a technique for framing and so direct the viewer’s attention to a particular part of the picture. Photographs by Christopher Anderson, Henri Cartier-Bresson and Alex Webb show how doorways, windows, mirrors or gaps in walls can be used to frame a subject. Irving Penn sometimes used corners to direct attention towards his subject and Laura Letinsky often uses the edges of tables to frame her still life arrangements.

Investigate relevant sources and produce your own response based on techniques forframing.

0 6 Framing

In his series of photographs ‘Conceptual Forms,’ Hiroshi Sugimoto photographed mechanical forms using subdued lighting to emphasise form. The intricate mechanisms, structures and detail of cogs, gears and watch parts are a popular source of inspiration for many photographers. In the stop frame animation ‘Machine’ by Bent Image Lab, characters made from various materials tell a story about a machine.

Produce your own response inspired by Machines.

Machines0 7

Daroo Photography, Jacob Reischel and Matt Russell produce still life photographs where choices about colour strength and contrast are very important. Martin Parr and Alec Soth carefully consider colour of props, clothing and background in their documentary studies of people and places.

Study appropriate sources and produce your own work where the choice of colour is important.

The Choice of colour0 8

• plan your final piece in detail in your sketchbook, highlighting key links to artists• complete any remaining or unfinished work in your sketchbook to ensure the development of your project is clearly communicated (refer to the assessment objectives)

• focus your work on a single idea for a final piece – contextualise your work by looking at other artists• trial the techniques you are planning to use: develop and refine your skills through practice

• review your ideas and make changes• explore the techniques you are planning to use• evaluate all the work you have done so far – identify areas you need to improve upon and work back into your sketchbook

• consider which materials are most appropriate to your approach to the theme• by the end of the week, make sure you have clearly stated the ideas you want to investigate• think about possible pieces you could make o document your ideas and the materials you could use o sketch a plans or make a maquettes o consider any practical problems you may encounter

• mind-map your own experiences in relation to the theme• begin to develop your responses to the theme by experimenting with materials and techniques o printing, sewing, painting, assemblage, drawing, digital manipulation, photography…. o review and improve your use of different media• link your own ideas to other artists and continue researching relevant designers and craftspeople• document your work in your sketchbook using photographs, sketches, samples and make sure these are fully annotated. Keep your blog upto date.

• prepare the materials and resources you will need for your exam period (5 x lesson periods plus 5 hours home work)• make sure your sketchbook includes the highest quality work you are capable of!

Begin the 10 hour Mock Externally Set Assignment

Complete 10 hour Mock Externally Set Assignment

• read through this exam paper and make initial notes on each of the questions – how could you approach them?• create an in-depth mind map for the questions that interests you most• begin initial research o research artists o record observations o make sketches o take photographs o collect images from newspapers or magazines etc…• by the end of week one, you should have begun collecting a range of resources and recording ideas in response to the question

Initial response on receiving this ESA (Mock Examination) paper (Given out July 2019)

• extend your research into the theme in creative ways o look closely at sources such as images, artefacts and buildings o make at least one relevant visit: galleries, parks, shops, town etc… o analyse the work of artists, photographers, designers, crafts people – consider the methods and techniques they used as well as their approach to the theme (use formal language)• make observational sketches as well as imaginative drawings or plans and designs• document all your investigations in your sketchbook carefully!

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