wjec level 1-2 qualification in creative and media ... · craft design technical theatre...

VOCATIONAL

WJEC LEVEL 1 / 2 AWARD in

CREATIVE AND MEDIA

Teaching from 2013For award from 2014

SPECIFICATION

WJEC LEVEL 1/2 VOCATIONAL QUALIFICATIONS IN CREATIVE AND MEDIA SPECIFICATION For first teaching 2013

WJEC Levels 1-2 Vocational Qualifications in Creative and Media Specification 2

Contents Page

1. Introduction and Rationale 3

1.1 Qualification Title and Codes

1.2 Rationale

1.3 Progression

1.4 National Occupational Standards 4

2. Qualification Structure 5

2.1 WJEC Level 1/2 Vocational Qualifications in Creative and

Media Unit Titles

2.2 WJEC Level 1/2 Vocational Qualifications in Creative and

Media Structure 6

3. Unit Structure 7

4. Assessment 9

4.1 External assessment

4.2 Internal assessment

4.3 Synoptic assessment 12

4.4 Standardisation 13

4.5 Training Lead Assessors

5. Grading 14

6. Entry Procedures 16

7. External Moderation 17

8. Awarding and Reporting 19

9. Access Arrangements 20

10. Post-Results Services 21

11. The Wider Curriculum 22

12. Units and Guidance 24

Appendices

A Mapping of National Occupational Standards 265

B Mapping of Skills 266

C Glossary 268


1 INTRODUCTION

1.1 Qualification Titles and Codes

This specification covers the following qualifications: QN: 600/5502/9: WJEC Level 1/2 Vocational Award in Creative and Media QN: 600/5533/9: WJEC Level 1/2 Vocational Certificate in Creative and Media

1.2 Rationale

WJEC Level 1/2 Vocational Qualifications in Creative and Media offer a learning experience that focuses learning for 14-16 year olds through applied learning, i.e. acquiring and applying knowledge, skills and understanding through purposeful tasks set in sector or subject contexts that have many of the characteristics of real work. Each qualification is built from discrete units. Each unit has an applied purpose which acts as a focus for the learning in the unit. The applied purpose is the vehicle through which the learning contained in the unit is made relevant and purposeful. It is also the means by which learners are enthused, engaged and motivated to study creative and media. The applied purpose provides the opportunity for authentic work related learning, but more than this it will require learners to consider how the use and application of their learning impacts on individuals, employers, society and the environment. The applied purpose will also enable learners to learn in such a way that they develop

skills required for independent learning and development

a range of generic and transferable skills

the ability to solve problems

the skills of project based research, development and presentation

the fundamental ability to work alongside other professionals, in a professional environment

and a range of technical skills related to the creative and media sectors of art and design, media, music and performance

The qualifications have been devised around the concept of a ‘plan, do, review’ approach to learning where learners are introduced to a context for learning, review previous learning to plan activities, carry out activities and review outcomes and learning. This approach mirrors working in creative and media industries and also provides for learning in a range of contexts, enabling learners to apply and extend their learning. As such, the qualifications provide learners with a broad appreciation of work in the creative and media industries and wider opportunities for progression into further education, employment or training.


1.3 Progression These WJEC Level 1/2 Vocational Qualifications in Creative and Media have been designed to develop in learners the skills needed for progression from Key Stage 4 and GCSE to further education, employment and training. The range of units available would support learners’ progression from any study at Key Stage 3, as the skills based unit(s) allow learners to develop their skills from any starting point. Learners can then apply the skills they develop through that unit, as well as the ability to further develop their skills, when creating proposals and outcomes in response to a brief. The units in these qualifications will provide learners with opportunities to access a range of Level 3 qualifications including GCE A levels, apprenticeships and vocationally related qualifications. These include qualifications related to Art and Design, Media Studies and Performing Arts. Equally, the skills and understanding developed, including Essential Skills (Wales), Functional Skills, Key Skills and Personal, Learning and Thinking Skills (PLTS), are relevant to other qualifications at Level 3, whether 'General' or 'Vocational'.

1.4 National Occupational Standards (NOS)

WJEC Level 1/2 Vocational Qualifications in Creative and Media provide the basis of learning from which to build towards National Occupational Standards (NOS) in the following suites:

Broadcasting and film

Community arts

Craft

Design

Technical theatre

Publishing, journalism and advertising

A mapping document can be found in Appendix A.


2 QUALIFICATION STRUCTURE

2.1 WJEC Level 1/2 Vocational Qualifications in Creative and Media Unit Titles

WJEC Level 1/2 Vocational Qualifications in Creative and Media

Unit Number Unit Title Assessment GLH

9751/01 Creating a proposal in response to a brief External 30

9752/01 Creating an outcome in response to a brief Internal 30

9753/01 Skills development in Stage Acting Internal 60

9754/01 Skills development in TV/Film Acting Internal 60

9755/01 Skills development in Physical Theatre Performance

Internal 60

9756/01 Skills development in Set/Costume Design Internal 60

9757/01 Skills development in Lighting/Sound Design Internal 60

9758/01 Skills development in Solo Dance Performance

Internal 60

9759/01 Skills development in Group Dance Performance

Internal 60

9760/01 Skills development in Choreography Internal 60

9761/01 Skills development in Solo Music Performing Internal 60

9762/01 Skills development in Ensemble Music Performance

Internal 60

9763/01 Skills development in Musical Composition Internal 60

9764/01 Skills development in Audio Recording Internal 60

9765/01 Skills development in Music Sequencing Internal 60

9766/01 Skills development in Moving Image Production

Internal 60

9767/01 Skills development in Print Media Production Internal 60

9768/01 Skills development in Interactive Media Production

Internal 60

9769/01 Skills development in Two-Dimensional Studies

Internal 60

9770/01 Skills development in Three-Dimensional Studies

Internal 60

9771/01 Skills development in Applied Arts & Crafts Internal 60

9772/01 Skills development in Contemporary Textiles Internal 60

9773/01 Skills development in Digital and Lens-based Media

Internal 60

NB For qualifications awarded from 2020 onwards learners must pass each unit in order to achieve the qualification * Mandatory units are those in the shaded boxes.


2.2 WJEC Level 1/2 Vocational Qualifications in Creative and Media Structure

WJEC Level 1/2 Vocational Award in Creative and Media requires learners to complete units 1 and 2 and any one optional unit. WJEC Level 1/2 Vocational Certificate in Creative and Media requires learners to complete units 1 and 2 and any three optional units. The range of units and structure of the qualifications enable centres to devise programmes that are appropriate to the needs of learners. It is the responsibility of the centre to ensure that learners are entered for the correct combination of units to achieve one of the two qualifications and to enter the candidates for the appropriate cash in code.

Qualification title Cash in code

WJEC Level 1/2 Vocational Award in Creative and Media

9750 A1

WJEC Level 1/2 Vocational Certificate in Creative and Media

9750 C1


3 UNIT STUCTURE Unit title The unit title summarises in a concise manner the content of the unit.

Guided Learning Hours (GLH) Guided learning time represents only those hours in which a tutor is present and contributing to the learning process. In some organisations this is known as ‘contact time’. This time includes lecturers, supervised practical periods and supervised study time.

Aim and Purpose The aim and purpose provides a brief and clear summary of the unit. It also indicates the applied purpose for the unit.

Unit Introduction This is written to the learner and gives a summary of the unit content. It sets the vocational context of the unit and highlights the purpose of the learning in the unit.

Learning Outcomes Learning outcomes state what the learner should know, understand or be able to do as a result of completing the learning in the unit. Assessment Criteria The assessment criteria specify the standard a learner is expected to meet to demonstrate that the learning outcomes of that unit have been achieved.

Unit Content The indicative content defines the breadth and depth of learning for each assessment criteria. It is expected that all the indicative content will be delivered during the programme of learning. It is not required to assess every aspect of the content when assessing the unit. Learners will be expected to apply the knowledge, understanding and skills acquired through the learning to the specifics of the assessment context. Performance Bands These appear in internally assessed units and are used to determine the summative unit grade. Performance bands do not add additional requirements to the assessment criteria. Performance bands are used to determine the grade for a unit.


Assessment WJEC Level 1/2 Vocational Qualifications in Creative and Media are assessed through external examinations and controlled assessments. This section of the unit summarises assessment requirements.

Guidance for Delivery This gives the tutor some ideas on how to deliver the unit in a vocational setting consistent with the philosophy of the qualifications and intent of the unit. Three sample contexts are provided for each unit. The guidance also gives ideas of vocational settings for the unit and suggests possible contacts that could be made in the delivery of the learning. This section also includes details of how the unit supports the development of Skills - PLTS, Key Skills, Functional Skills and Essential Skills (Wales).

Resources This identifies useful resources to help in the delivery of the learning. Many of the resources listed are suitable for using with learners.


4 ASSESSMENT

The WJEC Level 1/2 Vocational Qualifications in Creative and Media are assessed using a combination of internal and external assessment.

4.1 External Assessment

Unit 1 is externally assessed. An assessment brief will be made available to centres each year. Learners will complete the assessment within a set time, 20 hours preparation time and 2 hours under examination conditions. WJEC will also set a window within which all assessment must be completed. Centres can determine how they organise the time available within that window. The assessment brief will include:

a section for learners that sets out the tasks and evidence requirements

a section for practitioners that sets out how the assessment controls should be administered

For externally assessed units, WJEC will produce a mark scheme which will be used as the basis for marking of the evidence submitted.

4.2 Internal Assessment For internal assessment, WJEC Level 1/2 Vocational Qualifications in Creative and Media have adopted the principles of controlled assessment as set out in the Joint Council for Qualifications document ‘GCSE, GCE, ELC, Functional Skills, Principal Learning in the Diploma and Project Qualifications – instructions for conducting controlled assessment’. This document can be accessed through the JQC website (www.jcq.org.uk). Each centre must ensure that internal assessment is conducted in accordance with these controls. The following principles apply to the assessment of each unit:

All units are assessed through summative controlled assessment.

Controls for internal assessment of each unit are provided in a model assignment

Each unit must be assessed independently. Learners may produce a piece of evidence that contributes to assessment criteria for more than one unit. This is acceptable provided it can be clearly attributed to a specified assessment criterion and has been produced under the appropriate controlled conditions for each unit.

Performance bands for merit and distinction can only apply once a learner has achieved all assessment criteria. Evidence must clearly show how the learner has met the standard for the higher grades.

There are three stages of assessment that will be controlled:

Task setting

Task taking

Task marking


Task setting For internal assessment, WJEC has produced model assignments for each unit. Centres are, however, allowed to modify the assignment within specified parameters. This will allow centres to tailor the assessment to local needs. The model assignment has been written to ensure the following controls are in place:

Each unit is assessed through one assignment.

Each assignment must have a brief that sets out an applied purpose. An applied purpose is a reason for completing the tasks that would benefit society, a community or organisation. Further details are in the rationale in Section 1.2.

The assignment can specify a number of tasks but tasks must be coherent, i.e. show how the assessment requirements all contribute to the achievement of the applied purpose of the assignment.

The assignment must provide each learner with the opportunity to address all assessment criteria and all performance band requirements.

The assignment must indicate the acceptable forms of evidence. These must conform to those forms set out in the model assignment.

Where a centre has adapted the model assignment, there must be evidence of quality assuring its fitness for purpose. Sample documentation for this activity is provided with each model assignment.

Task taking There are five areas of task taking that are controlled: time, resources, supervision, collaboration and resitting. Time Each model assignment will specify the total amount of time available for summative assessment. Centres may decide how that time is allocated to each task. Resources The assessor can determine which resources should be provided to all learners to ensure fair and valid assessment takes place. Where specific resource controls must be in place, these will be stated in the model assignment. Supervision Learners must normally be supervised by an assessor whilst completing internally assessed tasks. Model assignments will specify where supervision is not required, for example carrying out additional research for Unit 2: Creating an outcome in response to a brief. Centres must have in place systems to ensure learners cannot access evidence they have been developing outside of supervised activities. Authentication Supervision is in place to ensure the authenticity of evidence produced for summative assessment. Assessors are not expected to provide input or guidance to learners during the controlled assessment time. This includes providing formative feedback on the evidence being produced. Assessors can provide guidance on the requirements of the task and remind learners of the performance bands and how they can be interpreted. Assessors must intervene where there is a health and safety hazard observed. Learners can review and redraft evidence independently within the time controls for the assessment.


Learners must sign a declaration to confirm that all evidence submitted for moderation is their own work and that any sources used have been acknowledged. Assessors must sign a declaration to confirm that evidence submitted for moderation was completed under the controlled conditions set out in the model assignments. Collaboration The model assignment will indicate whether

Group work must take place

Group work is forbidden

Centres can elect to complete tasks through group work Where group work takes place, the following principles must be applied

Tasks should allow each member of the group to have full access to all performance bands for all assessment criteria

Learners must provide an individual response as part of any task outcome

Evidence of individual response may include written evidence (e.g. notes, sketchbooks, diaries, blogs, evaluations, mind maps, etc.) and/or audio-visual evidence (e.g. recordings, photographs, drawings, designs, etc.)

Individual contributions must be clearly identified and stated on the accompanying authentication sheet which must be signed by both the teacher and the candidate

Assessment of the individual must be based on the individual contribution to the evidence produced

Learners’ achievement must not be affected by the poor performance of other group members

Learners’ achievement must not benefit from the performance of other group members

Resitting Learners may re-enter internally assessed units. The learner must submit a new assessment, completed within the same levels of control. They cannot improve previously submitted work. Learners have one resit opportunity for each assessed unit.

Where an individual learner who has previously submitted group work for assessment wishes to resit an internally assessed unit, one of the following options must be taken:

the candidate must create a new piece of work within the same group;

the candidate must create a new piece of work within a new group;

the candidate must create a new piece of work with non- assessed candidates;

the candidate must create an individual piece of work.

The same levels of control for group work, as outlined above, will apply to candidates who choose to resit.


Task marking All marking of evidence must be made against the assessment criteria and performance band statements given in each unit specification. Evidence marked must comply with the controlled requirements set out in the model assignment. Written evidence must be annotated to show how it relates to the assessment criteria and performance band requirements. Performance evidence, for example of giving a presentation, must be made on observation records. Observation records will include a description of learner performance as well as a summative statement on the quality of that performance. Where performance is observed by someone other than an assessor, the ‘witness’ must complete a witness statement. Assessors will need to authenticate the statement either through scrutiny of supporting evidence and/or questioning of the learner and/or witness. If the statement is authenticated, it can be allowed to contribute to the evidence for assessment. Evidence of authentication will also need to be included. Each model assignment that allows performance evidence will include a sample observation record and witness statement. Marking should only be undertaken by a designated assessor. An assessor should have appropriate expertise in the subject and level for a specified unit. The assessor is responsible for ensuring that:

assessment is conducted under specified controlled conditions;

they are clear about the requirements of the learning outcomes, assessment criteria and performance band statements prior to commencing controlled assessment;

evidence presented for assessment is authentic;

assessment decisions are accurately recorded;

evidence is appropriately annotated;

observation records contain sufficient detail for objective corroboration of decisions;

judgements are only made against the performance band statements.

4.3 Synoptic Assessment Synoptic assessment is: ‘a form of assessment which requires a candidate to demonstrate that s/he can identify and use effectively in an integrated way an appropriate selection of techniques, concepts, theories and knowledge from across the whole vocational area, which are relevant to a key task’

‘Qualifications for 14 -16 year olds and Performance Tables: Technical guidance for Awarding organisations’ DfE p7

All units in WJEC Level 1/2 Vocational Qualifications in Creative and Media have been designed to require learners to develop their learning by working towards work related purposeful tasks. Learners will select and apply their learning in completion of these tasks. Through Unit 2 Creating an Outcome in Response to a Brief, WJEC Level 1/2 Vocational Qualifications in Creative and Media encourage learners to draw upon all of their learning when developing a final outcome in response to a brief.


4.4 Standardisation

Centres are expected to standardise assessment decisions. This is the process by which centres ensure that all learners are judged to the same standard across different assessors, teaching groups and from year to year. Evidence of standardisation should be submitted with learner evidence. Where more than one assessor is involved, the centre must appoint a Lead Assessor. The role of the Lead Assessor is to:

document all activities;

ensure that the assignment presented to learners is fit for purpose and complies with all controls;

ensure all assessors have appropriate documentation in place to support fair and valid assessment decisions;

ensure all assessment activities are in accordance with the task taking controls for the unit;

sample assessment judgements at appropriate times to ensure the performance bands are correctly and consistently applied;

provide feedback to assessors;

provide support to assessors on interpretation of performance band requirements.

Centres are directed to the document ‘Centre Guidelines’ for guidance on establishing internal moderation procedures.

4.5 Training Lead Assessors WJEC will provide training for Lead Assessors and assessors each academic year. Assessor support material, including sample documentation, will also be made available to assessors and Lead Assessors.


5 GRADING Unit achievement is based on a learner’s ability to meet the assessment criteria. Units can be awarded a summative grade of Pass, Merit or Distinction. Awarding a Summative Unit Grade Internally Assessed Units Performance bands have been written to enable learners to demonstrate their ability against the assessment criteria. There are no additional requirements to achieve higher grades. To be awarded a Pass grade for a unit, a learner must meet all of the minimum requirements of all assessment criteria for the unit. To be awarded a Merit grade for a unit, a learner must additionally meet all of the Merit minimum requirements as set out in the Merit performance band. To be awarded a Distinction grade for a unit, a learner must additionally meet all of the minimum requirements set out in the Distinction performance bands. Externally Assessed Units All Learning Outcomes will be assessed at every assessment opportunity. All Assessment Criteria will be covered within the mark allocation.

Assessment Grid

Learning Outcomes Assessment Criteria Marks %

LO1 know professional practice in creative and media industries

AC1.1 describe features influencing professional practice

8 -12

16 - 24%

LO2 be able to investigate creative and media ideas

AC2.1 plan research for creative and media ideas

8-12

16 – 24%

AC2.2 outline target audience for proposal

AC2.3 evaluate quality of research findings

LO3 be able to develop creative ideas

AC3.1 generate ideas for a proposal

1 - 18

28 -36%

AC3.2 use creative features of professional practice

AC3.3 develop creative ideas from research findings

LO4 be able to propose creative ideas

AC4.1 propose creative ideas

14 -18

28 -36%

TOTAL 50 100%


Grading the Qualification Each WJEC Level 1/2 Vocational Qualification in Creative and Media will be graded Pass, Merit, Distinction or Distinction*. The qualification grade is awarded on the basis of the aggregation of unit grades achieved. Each unit grade achieved by learners will be translated to a Unit Mark for the purpose of awarding the qualification. NB For qualifications awarded from 2020 onwards learners must pass each unit in order to achieve the qualification Points available are shown in the following table:

Unit

Points per unit

Level 1 Level 2 Pass Level 2 Merit Level 2

Distinction

Unit 1 1 2 3 4

Unit 2 1 2 3 4

Unit 3 2 4 6 8

The qualification grade is then calculated by comparing the learner’s point score to the qualification grade table below.

Qualification

Points per unit

Level 1 Level 2 Pass

Level 2 Merit

Level 2 Distinction

Level 2 Distinction*

WJEC Level 1/2 Vocational Award in Creative and Media

4-7 8-9 10-11 12-14 15-16

WJEC Level 1/2 Vocational Certificate in Creative and Media

8-15 16-21 22-28 29-31 32


6 ENTRY PROCEDURES WJEC Level 1/2 Vocational Qualifications in Creative and Media will be available for certification from June 2014. Thereafter, each qualification will be available for certification following each June. Entries for June moderation series must be submitted no later than 21 February. Unit Entry Entry for individual units must be made by submitting the relevant unit codes as indicated. Qualification Entry Learners will be entered for the qualification when entering for aggregation (cash-in). Aggregation does not take place automatically: it is necessary to enter the relevant code for aggregation to take place.


7 EXTERNAL MODERATION The consistency of assessment practices and decisions across centres will be assured through the external moderation of a sample of work. Each centre will have access to a consultative moderator. The consultative moderator will be available to discuss assessment requirements with centres. Postal moderation will take place in June of each year. For each series where learners are entered, centres will submit a sample, according to the formula below. Total number of candidates

Work to be submitted (Numbers relate to alphabetical order)

1 – 10 All

11 - 19 1st

and every second (1, 3, 5, 7 etc.) plus the lowest scoring* folder and additional folders as necessary (reflecting the spread of marks) to make a total sample of 10

20 - 45 1st and every fifth (1, 6, 11, 16 etc.) plus the lowest scoring* folder and additional folders as necessary (reflecting a spread of marks) to make a total sample of 10

46 - 99 1st and every eleventh (1, 12, 23, 34 etc.) plus the lowest scoring* folder and additional folders as necessary (reflecting a spread of marks) to make a total sample of 10

* The score is based upon the total points the learners obtain for their units before converting to a qualification grade

Centres should ensure they keep all learner portfolios not sent to the moderator in their possession for two months after the closing date for sending samples for moderation. Centres should submit a sample for each unit that includes

The controlled assignment brief used to set the assessment activity

A controlled assessment activities sheet completed and signed by the assessor to confirm that the controls for the unit, including authenticity of evidence, have been applied

Completed mark record sheets outlining which performance bands are met by the evidence

All evidence produced by learners in completion of the controlled assessment, annotated appropriately by the assessor


Moderators will review all evidence presented to ensure standards are aligned. Evidence will be judged against the following criteria

Task setting – were tasks set within the controls set by WJEC in the model assignment?

Task taking – is there evidence that tasks were completed under the controlled conditions set out in the model assignment?

Performance bands – does the evidence support assessor’s judgement of a learner against national standards?

Annotation – is the evidence produced by learners appropriately annotated?

Authentication- is it clear that the evidence submitted was authentically produced by the learner?

Standardisation – is there evidence of effective standardisation/internal quality assurance within the centre?

Timetable Samples of work must be submitted for external moderation, and related mark sheets returned to WJEC by 5 May for the June series. Centres will need to ensure that internal submission dates are set sufficiently in advance of this to allow for authentication, assessment and standardisation. Feedback The outcome of moderation will be to either accept or amend a centre’s assessments decisions. Guidance on specific issues linked to internal assessment will be also be provided. Feedback will be provided through a centre moderator’s report for each certification title, covering the units entered by the centre and will be accessible through WJEC secure website. The report will address the criteria referred to above. A Principal Moderator’s report will be provided for each series.


8 AWARDING AND REPORTING Awarding and reporting of results in WJEC Level 1/2 Vocational Qualifications in Creative and Media will take place in August each year. A Qualification Certificate, issued at a later date, will confirm the

Title

Level

Size (i.e. Award or Certificate)

Grade of qualification (Pass, Merit, Distinction, Distinction*)

Unit titles contributing to the qualification


9 ACCESS AND SPECIAL CONSIDERATION Qualifications at this level often require assessment of a broad range of competencies. This is because they are general qualifications and, as such, prepare candidates for a wide range of occupations and higher level courses. This specification has been designed to offer fair access for all and to minimise the need to make reasonable adjustments for learners who have particular requirements. It is expected that normally, individual learners’ abilities, interests and needs will be appropriately catered for by centres through (a) the choice of units and qualifications available, and (b) the potential for personalisation of controlled assessment. If there are any queries about the use of this flexibility inherent in the specification to meet learners’ needs, or about the use of reasonable adjustments, centres should contact WJEC. Reasonable adjustments are made for disabled candidates in order to enable them to access the assessments. For this reason, very few candidates will have a complete barrier to any part of the assessment. Information on reasonable adjustments is found in the Joint Council for Qualifications document Regulations and Guidance Relating to Candidates who are eligible for Adjustments in Examinations. This document is available on the JCQ website (www.jcq.org.uk).


10 POST-RESULTS SERVICES

If a centre wishes to query the outcome of the moderation process this must be done formally by the head of the centre notifying WJEC within 21 days of the publication of results. The sample of work submitted for moderation will be reviewed by a moderator not involved in the original process, and the centre informed of the outcome. Should the centre not be satisfied with the outcome of the review, there is provision for an appeal to WJEC.


11 THE WIDER CURRICULUM

Opportunities for use of technology Learners are expected to make effective use of ICT in ways that are appropriate to these qualifications. Opportunities will arise where they will be expected to find, select and synthesise information from a variety of primary and secondary sources. Opportunities will arise during normal classroom activities e.g.

Using the Internet and other non-print based media to develop their approach to learning

Using word-processing and graphic packages to present their portfolios

Using the Internet to research influences on professional practice

Using spreadsheet software to collate, analyse and present the results of primary research

Using ICT software to store and collate information obtained through research

Spiritual, Moral, Ethical, Social and Cultural Issues Developing creative and media outcomes requires learners to consider the points of view of others, including clients and audiences, in both written and spoken forms presented in a variety of ways. Learners will have opportunities to develop critical and analytical skills in their study of literary, non-literary, and media texts. They will also have opportunities to reflect on their reading, their own wider experience, and the experience of others, in both written and oral form. In classroom discussion and writing, they will be required to reflect on a range of spiritual, moral, ethical, social, and cultural issues when providing feedback on creative and media influences on professional practice and outcomes that they and their peers have developed.

Citizenship The specification gives learners opportunities to develop the skills of critical and analytical reading and listening. It also allows them to both express and develop their point of view in writing and speaking, whilst encouraging them to consider critically and constructively the views of others. This ability to make informed and considered judgements is a skill vital in the development of individual citizenship. This specification also underpins the development of a range of skills which are of vital importance to individuals in the wider world.

Environmental Issues This specification affords candidates the opportunity to read about, write about, and discuss environmental issues.


Health and Safety Consideration Candidates will be expected to consider health and safety issues when:

Undertaking primary research

When working with different types of materials and equipment

When developing skills in work related situations

When developing creative and media outcomes

The European Dimension A proficiency in written and spoken English and good reading and listening skills, are essential not just in England and Wales, but also in the wider context of Europe and the world. This specification supports the development of these skills, and provides

opportunities for assessment of them in a range of contexts. This specification also allows candidates to read about, write about, and discuss a range of contemporary issues, which may well require or extend an awareness of the European dimension


12 UNITS AND GUIDANCE

Unit Mandatory Units Page 1 Creating a Proposal in Response to a Brief 25

2 Creating an Outcome in Response to a Brief 33

Optional Units

Drama 3a Stage Acting 41

3b TV/Film Acting 51

3c Physical Theatre Performance 61

3d Set/Costume Design 71

3e Lighting/Sound Design 82

Dance

3f Solo Dance Performance 93

3g Group Dance Performance 103

3h Choreography 113

Music

3i Solo Music Performing 123

3j Ensemble Music Performance 133

3k Musical Composition 143

3l Audio Recording 153

3m Music Sequencing 163

Media

3n Moving Image Production 173

3o Print Media Production 183

3p Interactive Media Production 193

Art & Design

3q Two-Dimensional Studies 204

3r Three-Dimensional Studies 217

3s Applied Arts & Crafts 229

3t Contemporary Textiles 242

3u Digital and Lens-based Media 254


Title Creating a Proposal in Response to a Brief

Unit No. 1

Entry Code

Level 1/2

GLH 30

Unit Aim Through this unit, learners will apply their knowledge of professional practice in the creative and media industries in order to produce a creative proposal in response to a brief. This unit allows learners to focus on their development in one or more sectors of the creative and media industries.

Introduction

Where can I get inspiration for my ideas? How do I find out about my audience? How can I make my ideas stand out? How do I promote my ideas to others?

People in the creative industries need to be able to propose and present ideas or solutions in response to briefs so that they can gain commissions or funding from clients for work on projects such as films, books, websites, adverts, exhibitions, events, etc. The creative industries are highly competitive, so proposals submitted should demonstrate good planning and appropriateness to a target audience. The ability to meet the set brief and communicate creative ideas effectively is very important in order to impress potential clients. When organisations such as the BBC commission series and other projects, they look for exciting, high quality proposals.

Through this unit you will learn about professional practice in the creative and media industries. You will learn about different types of practice and the specialist vocabulary that is used. You will develop research skills to help you to be creative and develop innovative ideas to meet client and/or audience needs. You will also learn how to show your ideas in the form of a proposal.

In this unit, you can focus your learning on one sector of the creative and media industries, i.e. art and design, media, music or performance. Alternatively, you can apply your learning to a range of sectors.


Learning outcomes Assessment criteria Content

The learner will: The learner can:

LO1 know professional practice in creative and media industries

AC1.1 describe features influencing professional practice

Influences

Professionals (e.g. artists, film makers, journalists, animators, dancers, musicians, actors, games designers, etc.)

Examples of professional practice/content (e.g. films, magazines, plays, concerts, exhibitions, artefacts, products, etc.)

Features

Styles

Genres

Materials

Resources

Technologies Use of specialist vocabulary

LO2 be able to investigate creative and media ideas

AC2.1 plan research for creative and media ideas

Research plan

Information requirements (e.g. target audience, audience needs, content, style, theme, for use in proposal, to extend ideas, etc.)

Research tools (e.g. questionnaires, interviews, sketchbooks, etc.)

Potential primary sources of information (e.g. potential audience, interviews, visits, etc.)

Potential secondary sources of information (e.g. others’ work, internet, books, etc.)

Timescales

Health and Safety




AC2.2 outline target audience for proposal

Target audience

By age

By gender

By interests

By level of knowledge/appreciation

AC2.3 evaluate quality of research findings

Evaluation

Relevance

Value

LO3 be able to develop creative ideas

AC3.1 generate ideas for a proposal

Ideas

Relevant to realisation of brief

AC3.2 use creative features of professional practice

Features of professional practice

Professionals (e.g. artists, film makers, journalists, animators, dancers, musicians, actors, games designers, etc.)

Examples of professional practice/content (e.g. films, magazines, plays, concerts, exhibitions, artefacts, products, etc.)

Styles

Genres

Materials

Resources

Technologies Use

To extend existing ideas




AC3.3 develop creative ideas from research findings

Creative ideas

Relevant to realisation of brief

LO4 be able to propose creative ideas

AC4.1 propose creative ideas Proposal

Audience

Style/Genre

Content

Resources (e.g. human, physical, etc.)

Professional practice/content

Supporting materials (e.g. sketches, drafts, storyboards, sound/video clips, images, etc.)

Use of specialist vocabulary

Rationale


Assessment

This unit is externally assessed.

The assessment will take the following format:

an externally set assignment brief will be sent to centres;

the assignment brief will be opened and distributed to candidates;

learners will be given 20 hours to complete individual research on the requirements of the brief;

learners will carry out their individual research independently and will not be supervised during the process;

teachers should formally review the research undertaken by the learners to satisfy themselves that has been carried out by the learner and to sign the authentication sheet;

learners will sit a 2 hour examination, where they will be tested on their knowledge of selected assessment criteria for each learning outcome;

learners will be allowed to take their research notes, documenting their primary and secondary research into the examination. The notes will need to be authenticated as the learner’s own work. A cover sheet will need to be completed, signed by the learner and by the supervisory teacher;

the research notes must be retained in the centre until the term following the issuing of results;

the assessment evidence will be the learner’s completed answer booklet.

Marking criteria The total number of marks for this unit is 50. Sample assessment material has been developed for this unit. It clearly demonstrates the demands that are required from the learners in the assessment procedures. Guidance on the allocation of the marks will be found within the Sample Assessment Material. Further guidance Centres should ensure that learners are fully prepared for external assessment by providing frequent access to a wide range of exercises, ideally working with creative practitioners, to aid their understanding and skills of what they will have to do and why.


Guidance for Delivery

It is important that learners recognise that the knowledge, understanding and skills they develop are vocationally relevant. There are a number of ways this can be achieved:

Arranging visits to workplaces such as design studios to observe how a community arts project is developed

Arranging talks by visiting speakers, for example a journalist, outlining how they develop feature articles for a local newspaper

Working with employers on a creative and media project, for example a theatre group, planning a summer schedule of events.

The following are examples of approaches to delivery which could be used to enhance the learning and understanding of the vocational importance of creating a proposal in response to a brief. Example 1 Learners could work in groups to carry out a project on behalf of a community organisation seeking to celebrate the work of a local person. Learners could work with the community organisation to generate ideas and carry out research on their behalf. They could take their findings to the community organisation and together consider how these findings could be used to develop a proposal for the celebration. Learners would present their findings to representatives of the community organisation for feedback. Example 2 Learners could work with the local authority to plan a winter festival. Learners could generate ideas and plan research, including researching the local community for views on their ideas. They could work in pairs, sharing their findings, and develop proposals that could be presented to representatives of the local authority. Example 3 Learners could support a local historical society wanting to attract new members. Learners could generate ideas of how the promotion could be realised, investigating the background of the local area. Learners could test their ideas on representatives of the local community, obtaining feedback through focus groups or surveys. Learners would review their findings and present their final ideas to members of the society. Making contacts Examples of organisations that may be approached to provide help include:

Skillset

CCSkills

Arts commissioning agencies

BBC


Skills This unit provides opportunities for learners to develop a range of skills. This table shows the links to Key Skills, Functional Skills and Essential Skills (Wales).

Application of Number

Understand numerical data

Carry out calculations

Interpret results and present findings

Communication Speaking and listening

Reading

Writing

ICT Use ICT systems

Find, select and exchange information

Develop and present information

Improving own learning and performance

Set targets using information from appropriate people and plan how these will be met

Take responsibility for your learning, using your plan to help meet targets and improve your performance

Review progress and establish evidence of your achievements

Problem solving Explore a problem and identify different ways of tackling it

Plan and implement at least one way of solving the problem

Check if the problem has been solved and review your approach to problem solving

Working with others Plan work with others

Seek to develop co-operation and check progress towards your agreed objectives

Review work with others and agree ways of improving collaborative work in the future

PLTS This unit provides opportunities for learners to develop the following Personal, Learning and Thinking Skills (PLTS)

Independent enquirers IE1, IE2, IE3, IE4, IE5, IE6

Creative thinkers CT1, CT2, CT3, CT4, CT5, CT6

Reflective learners RL1, RL2, RL3, RL4, RL5, RL6

Team workers TW1, TW2, TW3, TW4, TW5, TW6

Self managers SM1, SM2, SM3, SM4, SM5, SM6, SM7

Effective participators EP1, EP2, EP3, EP4, EP5, EP6


Resources Books Gigi Rosenberg: The Artist's Guide to Grant Writing: How to Find Funds and Write Foolproof Proposals for the Visual, Literary, and Performance Artist (Watson Guptill: 2010) Michel Theriault: Win More Business - Write Better Proposals (Woodstone Press: 2011) Websites www.usistf.org/download/RFP/Universal/Proposal_writing_tips.pdf www.jamesabela.co.uk/exams/Proposal.pdf

http://www.amazon.co.uk/Gigi-Rosenberg/e/B0040BSU70/ref=ntt_athr_dp_pel_1

http://www.amazon.co.uk/Michel-Theriault/e/B001KHHGE0/ref=ntt_athr_dp_pel_1

http://www.usistf.org/download/RFP/Universal/Proposal_writing_tips.pdf

http://www.jamesabela.co.uk/exams/Proposal.pdf


Title Creating an Outcome in Response to a Brief

Unit No. 2

Entry Code

Level 1/2

GLH 30

Unit Aim Through this unit, learners will apply the skills needed to produce a creative outcome that meets a given brief.

Introduction

How can I produce an exciting and innovative outcome in response to a brief? How can I experiment with my skills to develop my outcome? How can I refine my outcome in response to feedback? Some amazing work has been developed in response to commissions and briefs in the creative and media industries. Having had a proposal accepted by a client, professionals then go on to produce innovative outcomes such as films, compositions, paintings, sculptures, websites, adverts, performances, etc. As the creative and media industries are so competitive, clients will often demand high quality work. Professionals will develop their outcomes, refining their work during the process to ensure that it meets the brief and is appropriate to the target audience.

In this unit you will learn to work independently to create an outcome in response to a brief. You will learn how to experiment with your skills and how to refine your work in response to feedback. Finally you will learn how to evaluate your work in relation to the brief.




LO1 be able to apply creative and media skills in response to briefs

AC 1.1 use skills in development of an outcome

Skills

Creative (e.g. styles, techniques, etc.)

Technical (e.g. materials, technologies, equipment, tools, etc.)

Professional (e.g. Health & Safety)

AC 1.2 experiment with skills in development of an outcome

Experiment

Explore combination of techniques

Explore combination of genres/moods/styles/technologies/materials

Meet set challenges Innovate

AC 1.3 refine an outcome through the development process

Refine

Process

Rationale

Outcome

Based on feedback

Based on personal reflection

AC 1.4 apply creative and media skills in response to a brief

Application

Suitability for purpose

Suitability for audience

Consideration of constraints




LO2 be able to evaluate outcomes created in response to briefs

AC 2.1 explain rationale for development of an outcome

Rationale

Aims

Purpose

Style

Techniques

Genres

Materials

Technologies

Audience

AC 2.2 review key factors that affected the final outcome

Factors

Strengths

Weaknesses

Time

Brief

Materials/tools/technologies

Environment (e.g. weather, equipment failure, etc.)

Health and Safety

AC 2.3 use feedback to identify changes needed

Feedback

Peer

Teacher

Audience Changes

To process

To rationale

To outcome

AC 2.4 review quality of outcome in relation to a brief

Quality of outcome

In relation to brief


Learning Outcome Assessment criteria

Performance bands

Level 1 Level 2 Pass Level 2 Merit Level 2 Distinction

LO1 be able to apply creative and media skills in response to briefs

AC 1.1 use skills in development of an outcome

Some use of creative and media skills is evident

Use of a range of creative and media skills appropriate to the outcome

Use of a wide range of creative and media skills appropriate to the outcome

AC 1.2 experiment with skills in development of an outcome

Evidence that experimentation has been attempted

Limited evidence that experimentation has taken place

Clear evidence that experimentation has taken place. Some experimentation leads to innovation

AC 1.3 refine an outcome through the development process

Evidence that refining has been attempted

Limited evidence that refining has taken place

Clear evidence that refining has taken place

Clear evidence that refining has taken place. Some refining leads to innovation

AC 1.4 apply creative and media skills in response to a brief

A limited range of creative and media skills are applied with limited consideration of the brief

A range of creative and media skills are applied with some consideration of the brief

A range of creative and media skills are applied with clear consideration of the brief

LO2 be able to evaluate outcomes created in response to briefs

AC 2.1 explain rationale for development of an outcome

Some description of rationale is evident

Some explanation of rationale is evident

A detailed explanation is evident which relates to outcome

AC 2.2 review key factors that affected the final outcome

Description of factors is provided. Comments are straightforward

Key factors are reviewed. Comments are limited and straightforward

Key factors are reviewed with reasoned conclusions

AC 2.3 use feedback to identify changes needed

Some description of feedback is evident

Some explanation of how feedback was used to identify changes

Clear explanation of how feedback was used to identify appropriate changes

AC 2.4 review quality of outcome in relation to a brief

Comments on quality of outcome are provided. Comments are straightforward

Quality of outcome is evaluated. Conclusions are limited and straightforward

Quality of outcome is evaluated with reasoned conclusions

Quality of outcome is evaluated with detailed and well reasoned conclusions


Assessment Requirements for centres This unit is internally assessed and externally moderated. All assessment must be conducted under controlled assessment conditions and controls have been determined for each stage of the assessment process: task setting, task taking and task marking. Task setting: To assist centres in the assessment of this unit, WJEC has provided a model assignment along with guidance and criteria related to using it. The model assignment consists of tasks that are applied and holistic in their approach. Model assignments are designed so that they can be used as they are or adapted by centres to fit with the local sector needs and allow the usage of local resources available to the centre. The model assignment includes information on which aspects of the assignment can be adapted. Task taking: Under the process of task taking, controls are set for the key aspects of time, resources, supervision and collaboration.

The time taken will be specified within the model assignment.

Resources must be provided that give learners fair and full access to the marking criteria and are appropriate for the assessment and requirements of the unit. Details of specific controls will be given within the model assessment.

Directions on where direct supervision is provided in the model assignment.

Directions on where collaboration is allowed within this unit will be detailed in the model assignment for this unit.

Guidance on collaboration, and where it is permitted, will be given with the model assignment.

Within WJEC model assignments, timing may be suggested for some individual tasks within the overall assessment time. The purpose is to give consortia additional guidance to help to manage the assessment task. Task marking: The centre must mark learner’s assessment evidence against the performance bands for each assessment criteria. The performance bands describe the depth which the assessment criterion has been achieved by the learner.


Guidance for Delivery It is important that learners recognise that the knowledge, understanding and skills they develop are vocationally relevant. There are a number of ways this can be achieved:

Arranging visits to workplaces, such as a theatre, to observe how a community arts project is developed

Arranging talks by visiting speakers, for example a sculptor, outlining how they are working on a commission to create a sculpture garden

Working with employers on a creative and media project, for example a local cinema, planning a summer schedule of events.

The following are examples of approaches to delivery which could be used to enhance the learning and understanding of the vocational importance of creating an outcome in response to a brief. Example 1 A local TV channel that makes youth programmes wants to commission a group of young people to make a short feature for a news piece on recreational facilities for teenagers. Learners could work in production teams to develop an outcome, experimenting with skills in the process. After presenting a rough cut of their work to the client, they could gain feedback on their outcome and refine it in response. Example 2 Learners could work in groups to carry out a design project on behalf of a community group seeking to establish a sculpture garden for a homeless hostel. The brief suggests decorative objects in a variety of materials, for example a mural and small-scale sculptures. Learners could carry out experiments with 3-D skills to develop a series of visual ideas including design drawings and 3-D maquettes, applying their creative skills to the brief. Learners would present these ideas to the client and refine their outcomes in response. Example 3 Learners could work as a member of a group to produce a performance for a concert with the theme of diversity. Learners would be required to select a relevant repertoire that would fit the theme of the concert. They could apply their creative skills to experiment with styles and performance techniques. Learners would perform for peers and teachers and refine their performances in the light of feedback received. Making contacts Examples of organisations that may be approached to provide help include:

Skillset

CCSkills

Local theatres

Local cinemas

Local arts centres

BBC



Application of Number Understand numerical data




Reading

Writing

ICT Use ICT systems














Independent enquirers IE1, IE2, IE3, IE4, IE5, IE6





Effective participators EP1, EP2, EP3, EP4, EP5, EP6


Resources Books Sherrill Kahn: Creative Mixed Media (Martingale & Company: 2010) Steve Dawkin: Video Production: Putting Theory into Practice (Palgrave Macmillan: 2009) David Buswell: Performance Strategies for Musicians (MX Publishing: 2006) Websites http://www.skillset.org/ http://www.ccskills.org.uk/

http://www.amazon.co.uk/Creative-Mixed-Media-Sherrill-Kahn/dp/1564779483/ref=sr_1_10?s=books&ie=UTF8&qid=1323897512&sr=1-10

http://www.amazon.co.uk/Steve-Dawkins/e/B002Y9FBTA/ref=ntt_athr_dp_pel_1

http://www.skillset.org/

http://www.ccskills.org.uk/


Title Skills Development in Stage Acting

Unit No. 3a

Entry Code

Level 1/2

GLH 60

Unit Aim Through this unit, learners will identify skills for development and use a range of techniques to develop those skills to meet their own success criteria.

Introduction

If I wanted to become a really good stage actor, what would I have to do? How would I go about improving my acting skills? How would I build a portfolio to showcase my work?

As a stage actor you have to continually work hard to make sure that you are performing to the best of your ability in a very competitive world. You must work on perfecting your craft so that you can seize your opportunity to shine when it comes. You could be like Catherine Zeta Jones, who was cast as the second understudy for the lead role in the musical 42nd Street. One night the star and the first understudy became sick and Catherine was given the chance to play the lead role. That night the play's producer was in the audience and he was so impressed with her excellent performance that she was given the lead for the rest of the performances of that show. She had worked so hard to perfect her skills that she was ready when an opportunity was presented to her. She has gone on to become a very successful actress both on stage and screen and is one of the top earning actresses in the USA. In this unit, you will learn how to work independently to develop skills in stage acting. You will learn how to plan for development and use different approaches to progress the skills that you want to develop. Finally, you will learn how to present examples of the skills you have developed in a portfolio.




LO1 know strategies for skills development in stage acting

AC1.1 identify techniques required for stage acting

Techniques related to:

Voice and speech skills (e.g. pitch, pace, pause, etc.)

Physical and spatial awareness skills (e.g. gesture, facial expressions, proxemics, etc.)

Listening and responding skills (e.g. interaction)

Character/role interpretation skills

AC1.2 describe approaches to skills development in stage acting

Approaches to skills development Verbal instructions Demonstration Video Observation of live performances by professionals Masterclasses/workshops Use of mirrors

AC1.3 plan strategies for skills development in stage acting

Strategy

Combination of techniques and approaches to skills development Plan

Objectives for skills development

Techniques to be developed

Approaches to skills development to be used

Timescales

Resources to be used




LO2 be able to develop skills for professional practice in stage acting

AC2.1 assess personal skills levels in stage acting

Skills levels

Techniques

Specialist vocabulary

Related to specific outcomes

Against professional standards

Using feedback from peers, tutors, professionals, audiences

AC2.2 set success criteria for skills development in stage acting

Success criteria

Reference to professional practice

Standards expected

Different contexts


Timescales

Priorities

AC2.3 review skills development in stage acting

Review

Monitor progress

Review process

Review learning experiences

AC2.4 experiment with techniques in stage acting

Experiment

Explore uses of techniques

Explore different genres/situations/characters

Explore combination of techniques and genres/situations/characters

Set challenges

Innovation




AC2.5 develop skills in stage acting

Develop

To success criteria

LO3 be able to present a stage acting skills portfolio

AC3.1 select stage acting content for portfolio inclusion

Content

In relation to purpose

In relation to skills

AC3.2 organise stage acting content for presentation

Organise

Collate content o By skill o By type of role/genre/situation o By skill level o Chronologically

Navigation o Cross-referencing o Links o Menu/index

AC3.3 present stage acting content in a portfolio

Present

Annotation/commentary

Display techniques

First impressions

Consideration of purpose Portfolio

Digital portfolio

Physical portfolio



Performance bands


LO1 know strategies for skills development in stage acting

AC1.1 identify techniques required for stage acting

States techniques required for stage acting

Identifies techniques required for each skills area/specify skills areas

AC1.2 describe approaches to skills development in stage acting

Outlines approaches to skills development that have some relevance to identified skills and techniques

Describes with limited detail approaches to skills development that have some relevance to identified skills and techniques

Describes with some detail approaches to skills development that are relevant to identified skills and techniques

AC1.3 plan strategies for skills development in stage acting

Plan is basic. indicating how it will lead to skills development in stage acting

Plan has limited detail. although it can be seen how it will lead to skills development in stage acting

Plan has some detail and shows with some clarity how it will lead to skills development in stage acting

Plan is detailed and clearly shows how it will lead to skills development in stage acting

LO2 be able to develop skills for professional practice in stage acting

AC2.1 assess personal skills levels in stage acting

Assessment indicates some awareness of skills levels in stage acting. Limited use of specialist vocabulary

Assessment shows some awareness of skills levels in stage acting, although there may be some conclusions that are not appropriate. Some use of specialist vocabulary is made

Assessment shows a realistic awareness of skills levels in stage acting. Consistent and appropriate use is made of specialist vocabulary

AC2.2 set success criteria for skills development in stage acting

Success criteria are set with limited clarity. Some criteria are related to identified skills and techniques

Success criteria are set, although they may lack some clarity. Criteria are mainly related to identified skills and techniques. Some criteria are achievable

Success criteria are set which are mainly clear. Some criteria are challenging and ambitious, but most criteria are achievable and related to identified skills and techniques



Performance bands


AC2.3 review skills development in stage acting

Monitoring of skills is limited. Some straightforward conclusions are drawn regarding progress although not all will be valid

There is some monitoring of skills development evident. Some valid, straightforward conclusions are drawn regarding progress

Skills development is clearly monitored throughout. Valid conclusions are reached, some of which are drawn from evidence and well reasoned

Skills development is clearly monitored throughout. Valid, well reasoned, evidence based conclusions are made

AC2.4 experiment with techniques in stage acting




AC2.5 develop skills in stage acting

Some development of stage acting skills towards success criteria is evident

Some development of stage acting skills is evident, meeting some success criteria

Development of stage acting skills has clearly taken place meeting most success criteria

Development of stage acting skills clearly meets success criteria

LO3 be able to present a stage acting skills portfolio

AC3.1 select stage acting content for portfolio inclusion

Some stage acting content is included in a portfolio

A range of stage acting content is selected for inclusion, most of which is appropriate

A wide range of appropriate stage acting content is selected for inclusion

AC3.2 organise stage acting content for presentation

Portfolio shows some attempt to organise content

There is some organisation of materials for presentation

Materials are well organised for presentation

AC3.3 present stage acting content in a portfolio

Shows some attempt to positively promote a limited range of achievements

Uses a limited range of skills to present content to positively promote a limited range of achievements

Uses a range of skills to present content to positively promote some achievements

Uses a range of skills to present content to consistently promote achievements



Arranging visits to a theatre to see a live performance with either an opportunity for the learners to ask the actors how they developed their skills for the role played or a debriefing session by the teacher discussing the skills witnessed

Arranging a workshop delivered by a professional actor focusing on stage acting skill development

Arranging for an actor to give a talk to learners on how he/she developed a portfolio to show to prospective employers, showing live examples

The following are examples of approaches to delivery which could be used to enhance the learning and understanding of the vocational importance of developing skills in stage acting Example 1 Learners could work in groups to prepare a TIE project for a Primary School on the topic of bullying. Learners could work with an invited TIE company on developing their performing skills to ensure that they are effectively getting the message across to their targeted audience. At the end of the performance the learners could discuss their work with the primary school pupils and receive feedback from the young audience. Example 2 Learners could work in groups in conjunction with their local library to present some short performances on popular books in the library. The purpose of the performances would be to encourage more people to read the books available in the library and would be targeted at a range of audiences, depending on the book. Learners could develop their acting skills to produce a performance for the target audience. At the end of the performance the learners could discuss their work with the local librarian and the target audiences to ask how effective their skills were in performance. Example 3 Learners could work collaboratively on a commission from the school to create a performance to promote the school. The piece would be presented at a new prospective parents’ evening. The play would reflect the diverse range of activities within the school so the performance would have to contain contrasting and inventive ideas in order to capture the attention of the audience. Learners could compile all of their planning and preparation work into a portfolio. Making contacts Examples of organisations that may be approached to provide help include:

Local TIE companies

Local theatres

Local arts centres

Local theatre companies either professional or amateur

Local colleges

Industry experts

Professional publications for the industry







Reading

Writing

ICT Use ICT systems














Independent enquirers





Effective participators


Resources Books John Hester: Stage Acting Techniques: A Practical Guide (Crowood Press: 2004) John Perry: Encyclopedia of Acting Techniques: Illustrated Instruction Examples and Advice for Improving Acting Techniques and Stage Presence--from Tragedy to Comedy, Epic to Farce (Northlight Books: 2001) Websites http://www.guardian.co.uk/stage/series/guide-to-performing-acting http://www.savoyhill.co.uk/actor/onstage.html

http://www.amazon.co.uk/Stage-Acting-Techniques-Practical-Guide/dp/1861266863/ref=sr_1_1?ie=UTF8&qid=1323295394&sr=8-1

http://www.guardian.co.uk/stage/series/guide-to-performing-acting

http://www.savoyhill.co.uk/actor/onstage.html


Title Skills Development in TV/Film Acting

Unit No. 3b

Entry Code

Level 1/2

GLH 60


Introduction

If I wanted to become a really good TV/film actor, what would I have to do? How would I go about improving my acting skills? How would I build a portfolio to showcase my work?

Harrison Ford is probably best known for his role as Hans Solo in the orginal Star Wars movie and as the star of the Indiana Jones series of films; but did you know that Harrison was at the bottom of the hiring list early on in his career? After he appeared as a ‘bell-boy’ in a film he was told by the producer that he would never make it as a film actor. However, he didn’t leave it there and continued to develop his acting skills until he eventually landed the part in the Star Wars movie. Harrison Ford has been nominated for various awards during his long film career and has been

listed as the third highest grossing U.S. domestic box-office star.

In this unit, you will learn how to work independently to develop skills in TV/film acting. You will learn how to plan for development and use different approaches to progress the skills that you want to develop. Finally, you will learn how to present examples of the skills you have developed in a portfolio.




LO1 know strategies for skills development in TV/film acting

AC1.1 identify techniques required for TV/film acting


Method acting skills (e.g. motivation, substitution, etc.)

Camera acting skills (e.g. lens awareness, framing, shots, etc.)

Blue screen acting skills (e.g. illusion, reaction, eye contact, levels, etc.)

Character/role interpretation skills Contexts

TV/film acting

AC1.2 describe approaches to skills development in TV/film acting

Approaches to skills development Verbal instructions Demonstration Video Observation of TV/film performances by professionals Masterclasses/workshops Use of mirrors

AC1.3 plan strategies for skills development in TV/film acting

Strategy





Timescales





LO2 be able to develop skills for professional practice in TV/film acting

AC2.1 assess personal skills levels in TV/film acting

Skills levels

Techniques





AC2.2 set success criteria for skills development in TV/film acting

Success criteria


Standards expected

Different contexts


Timescales

Priorities

AC2.3 review skills development in TV/film acting

Review

Monitor progress

Review process


AC2.4 experiment with techniques in TV/film acting

Experiment




Set challenges

Innovation




AC2.5 develop skills in TV/film acting

Develop

To success criteria

LO3 be able to present a TV/film acting skills portfolio

AC3.1 select TV/film acting content for portfolio inclusion

Content



AC3.2 organise TV/film acting content for presentation

Organise



AC3.3 present TV/film acting content in a portfolio

Present


Display techniques

First impressions


Digital portfolio

Physical portfolio



Performance bands


LO1 know strategies for skills development in TV/film acting

AC1.1 identify techniques required for TV/film acting

States techniques required for TV/film acting


AC1.2 describe approaches to skills development in TV/film acting




AC1.3 plan strategies for skills development in TV/film acting

Plan is basic, indicating how it will lead to skills development in TV/film acting

Plan has limited detail, although it can be seen how it will lead to skills development in TV/film acting

Plan has some detail and shows with some clarity how it will lead to skills development in TV/film acting

Plan is detailed and clearly shows how it will lead to skills development in TV/film acting

LO2 be able to develop skills for professional practice in TV/film acting

AC2.1 assess personal skills levels in TV/film acting

Assessment indicates some awareness of skills levels in TV/film acting. Limited use of specialist vocabulary

Assessment shows some awareness of skills levels in TV/film acting, although there may be some conclusions that are not appropriate. Some use of specialist vocabulary is made

Assessment shows a realistic awareness of skills levels in TV/film acting. Consistent and appropriate use is made of specialist vocabulary

AC2.2 set success criteria for skills development in TV/film acting






Performance bands


AC2.3 review skills development in TV/film acting





AC2.4 experiment with techniques in TV/film acting




AC2.5 develop skills in TV/film acting

Some development of TV/film acting skills towards success criteria is evident

Some development of TV/film acting skills is evident, meeting some success criteria

Development of TV/film acting skills has clearly taken place meeting most success criteria

Development of TV/film acting skills clearly meets success criteria

LO3 be able to present a TV/film acting skills portfolio

AC3.1 select TV/film acting content for portfolio inclusion

Some TV/film acting content is included in a portfolio

A range of TV/film acting content is selected for inclusion, most of which is appropriate

A wide range of appropriate TV/film acting content is selected for inclusion

AC3.2 organise TV/film acting content for presentation




AC3.3 present TV/film acting content in a portfolio







Arranging visits to a TV or film set to see a rehearsal or a live recording of a performance with either an opportunity for the learners to ask the actors how they developed their skills for the role/scene played or a debriefing session by the teacher discussing the skills witnessed

Arranging a workshop delivered by a professional actor focusing on TV/film acting skills development

Arranging for a TV/film actor to give a talk to students on how he/she developed a portfolio to show to prospective employers, showing live examples

The following are examples of approaches to delivery which could be used to enhance the learning and understanding of the vocational importance of developing skills in TV/film acting. Example 1 Learners could work in groups to prepare a film for a Primary School on the topic of bullying. Learners could work with a professional company on developing their performing skills to ensure that they are effectively getting the message across to their targeted audience. At the end of the project, the learners could discuss their work with the primary school pupils and receive feedback from the young audience. Example 2 Learners could work in groups in conjunction with their local library to present some short film clips on popular books in the library. The purpose of the performances would be to encourage more people to read the books available in the library and would be targeted at a range of audiences, depending on the book. Learners could develop their acting skills to produce a series of short films for the target audience. At the end of the project the learners could discuss their work with the local librarian and the target audiences to ask how effective their skills were in performance. Example 3 Learners could work collaboratively on a commission from the school to create a promotional video of the school. The piece would be presented at a new prospective parents’ evening. The video would reflect the diverse range of activities within the school so the learners would have to develop their skills to produce contrasting and inventive performances in order to capture the attention of the audience. Learners could compile all of their planning and preparation work into a portfolio. Making contacts Examples of organisations that may be approached to provide help include:

Local TV companies

Local arts centres

Local film companies either professional or amateur

Local colleges

Industry experts








Reading

Writing

ICT Use ICT systems





















Resources Books Patrick Tucker: Secrets of Screen Acting (Routledge: 2003) Mel Churche: A Screen Acting Workshop (Nick Hern Books: 2011) Websites http://www.ehow.com/video_5226019_acting-film-tips.html http://www.actingreality.com/

http://www.amazon.co.uk/Patrick-Tucker/e/B001J8XHUW/ref=ntt_athr_dp_pel_1

http://www.amazon.co.uk/Mel-Churcher/e/B0034Q72D0/ref=ntt_athr_dp_pel_1

http://www.ehow.com/video_5226019_acting-film-tips.html


Title Skills Development in Physical Theatre Performance

Unit No. 3c

Entry Code

Level 1/2

GLH 60


Introduction

If I wanted to become a really good physical theatre performer, what would I have to do? How would I go about improving my physical theatre skills? How would I build a portfolio to showcase my work?

Amit Lahav and Al Nedjari founders of Gecko, a physical theatre company, had worked in theatre for a while but they both felt a little uninspired by theatre in general. They worked hard on their physical theatre skills and experimented with them to create a style of performance that aimed to arrest their audience’s imagination, awaken their senses and fill them with energy and vitality. The result is a successful physical theatre company which performs a dynamic style of theatre exploring movement that involves great athleticism, physical contact and endurance.

In this unit, you will learn how to work independently to develop skills in physical theatre performance. You will learn how to plan for development and use different approaches to progress the skills that you want to develop. Finally, you will learn how to present examples of the skills you have developed in a portfolio.




LO1 know strategies for skills development in physical theatre performance

AC1.1 identify techniques required for physical theatre performance


Mime skills (e.g. tableaux, physical gestures, facial expression, etc.)

Mask work skills (e.g. gesture, movement, characterisation, commedia dell’arte, etc.)

Circus skills (e.g. clowning, balancing, juggling, etc.)

Vocal skills (e.g. breath control, dynamics, physicalised, etc.)

Ensemble work skills (e.g. cooperation, interaction, timing, lifting, etc.)

Character/role interpretation skills

AC1.2 describe approaches to skills development in physical theatre performance

Approaches to skills development Verbal instructions Demonstration Video Photo sequences Observation of physical theatre performances by professionals Masterclasses/workshops Use of mirrors

AC1.3 plan strategies for skills development in physical theatre performance

Strategy





Timescales





LO2 be able to develop skills for professional practice in physical theatre performance

AC2.1 assess personal skills levels in physical theatre performance

Skills levels

Techniques





AC2.2 set success criteria for skills development in physical theatre performance

Success criteria


Standards expected

Different contexts


Timescales

Priorities

AC2.3 review skills development in physical theatre performance

Review

Monitor progress

Review process


AC2.4 experiment with techniques in physical theatre performance

Experiment




Set challenges

Innovation




AC2.5 develop skills in physical theatre performance

Develop

To success criteria

LO3 be able to present a physical theatre performance skills portfolio

AC3.1 select physical theatre performance content for portfolio inclusion

Content



AC3.2 organise physical theatre performance content for presentation

Organise



AC3.3 present physical theatre performance content in a portfolio

Present


Display techniques

First impressions


Digital portfolio

Physical portfolio



Performance bands


LO1 know strategies for skills development in physical theatre performance

AC1.1 identify techniques required for physical theatre performance

States techniques required for physical theatre performance


AC1.2 describe approaches to skills development in physical theatre performance




AC1.3 plan strategies for skills development in physical theatre performance

Plan is basic, indicating how it will lead to skills development in physical theatre performance

Plan has limited detail, although it can be seen how it will lead to skills development in physical theatre performance

Plan has some detail and shows with some clarity how it will lead to skills development in physical theatre performance

Plan is detailed and clearly shows how it will lead to skills development in physical theatre performance

LO2 be able develop skills for professional practice in physical theatre performance

AC2.1 assess personal skills levels in physical theatre performance

Assessment indicates some awareness of skills levels in physical theatre performance. Limited use of specialist vocabulary

Assessment shows some awareness of skills levels in physical theatre performance, although there may be some conclusions that are not appropriate. Some use of specialist vocabulary is made

Assessment shows a realistic awareness of skills levels in physical theatre performance. Consistent and appropriate use is made of specialist vocabulary

AC2.2 set success criteria for skills development in physical theatre performance






Performance bands


AC2.3 review skills development in physical theatre performance





AC2.4 experiment with techniques in physical theatre performance




AC2.5 develop skills in physical theatre performance

Some development of physical theatre performance skills towards success criteria is evident

Some development of physical theatre performance skills is evident, meeting some success criteria

Development of physical theatre performance skills has clearly taken place meeting most success criteria

Development of physical theatre performance skills clearly meets success criteria

LO3 be able to present a physical theatre performance skills portfolio

AC3.1 select physical theatre performance content for portfolio inclusion

Some physical theatre performance content is included in a portfolio

A range of physical theatre performance content is selected for inclusion, most of which is appropriate

A wide range of appropriate physical theatre performance content is selected for inclusion

AC3.2 organise physical theatre performance content for presentation




AC3.3 present physical theatre performance content in a portfolio







Arranging visits to a professional physical theatre company to see a performance or an open rehearsal with either an opportunity for the learners to ask the actors how they developed their skills for the role/scene played or a debriefing session by the teacher discussing the skills witnessed

Arranging a workshop delivered by a professional actor focusing on physical theatre performance skills development

Arranging for a physical theatre performance actor to give a talk to learners on how he/she developed a portfolio to show to prospective employers, showing live examples

The following are examples of approaches to delivery which could be used to enhance the learning and understanding of the vocational importance of developing skills in physical theatre performance. Example 1 Learners could work in groups to prepare a TIE project for a Primary School on the topic of bullying. Learners could work with an invited TIE company on developing their performing skills to ensure that they are effecitvely getting the message across to their targeted audience. At the end of the performance the learners could discuss their work with the primary school pupils and receive feedback from the young audience. Example 2 Learners could work in groups in conjunction with their local library to present some short performances on popular books in the library. The purpose of the performances would be to encourage more people to read the books available in the library and would be targeted at a range of audiences, depending on the book. Learners could develop their physical theatre performance skills to produce a performance for the target audience. At the end of the performance the learners could discuss their work with the local librarian and the target audiences to ask how effective their skills were in performance. Example 3 Learners could work collaboratively on a commission from the school to create a performance to promote the school. The piece would be presented at a new prospective parents’ evening. The play would reflect the diverse range of activities within the school so the performance would have to contain contrasting and inventive ideas in order to capture the attention of the audience. Learners could compile all of their planning and preparation work into a portfolio. Making contacts Examples of organisations that may be approached to provide help include:

Local TIE companies

Local theatres

Local arts centres


Local colleges

Industry experts








Reading

Writing

ICT Use ICT systems





















Resources Books Lorna Marshall: The Body Speaks: Performance and Physical Expression (Methuen Drama: 2008) Jacques Lecoq: Theatre of Movement and Gesture (Routledge: 2006) Websites http://www.blackfishacademy.com/physical.htm http://nycphysicaltheatre.com/definition.aspx

http://www.amazon.co.uk/Body-Speaks-Performance-Physical-Expression/dp/1408106825/ref=sr_1_5?ie=UTF8&qid=1323373963&sr=8-5

http://www.amazon.co.uk/Theatre-Movement-Gesture-Jacques-Lecoq/dp/0415359449/ref=sr_1_4?ie=UTF8&qid=1323373963&sr=8-4

http://www.blackfishacademy.com/physical.htm

http://nycphysicaltheatre.com/definition.aspx


Title Skills Development in Set/Costume Design

Unit No. 3d

Entry Code

Level 1/2

GLH 60


Introduction

If I wanted to become a really good set/costume designer, what would I have to do? How would I go about improving my set/costume design skills? How would I build a portfolio to showcase my work?

Bob Crowley, a well known set and costume designer, was first inspired by theatre design when he viewed a production of Oliver! as a child. He studied art at first but then decided to change to a theatre design course and he then worked his way up through the business, learning his craft and honing his design skills. His favourite part of the design process is when he "white-cards it”." It means doing a white-card model. He takes a sketch and starts to three-dimensionalise the ideas, in just white card, putting the form of the design together very basically. Bob Crowley’s hard work has certainly paid off as he has won several awards including Tony awards for his design work on Broadway productions, including Carousel, The History Boys and Mary Poppins amongst others.

In this unit, you will learn how to work independently to develop skills in set/costume design. You will learn how to plan for development and use different approaches to progress the skills that you want to develop. Finally, you will learn how to present examples of the skills you have developed in a portfolio.




LO1 know strategies for skills development in set/costume design

AC1.1 identify techniques required for set/costume design


Sketching and drawing skills (e.g. 2D sketches, diagrams, storyboards, ground plans, manual drawing, CAD, using scale, perspective, patterns, diagrams, etc.)

Working with materials (e.g. properties, textures, processes, etc.)

Model making skills (e.g. scale, measuring, 3D, materials, interpretation of 2D plan, construction materials, joining mediums, elevations, levels, etc.)

Costume making skills (e.g. use of pattern, cutting, measuring, sewing, fastenings, threads, etc.)

Visual impact (e.g. use of colour, dying, painting, printing, decoration, texturing, etc.)

Health and Safety skills (use of tools, equipment, etc.)

AC1.2 describe approaches to skills development in set/costume design

Approaches to skills development Verbal instructions Written instructions Step by step instructions Follow diagrams Demonstration Video Photo sequences Observation of set/costume design processes undertaken by professionals Masterclasses/workshops




AC1.3 plan strategies for skills development in set/costume design

Strategy





Timescales


LO2 be able to develop skills for professional practice in set/costume design

AC2.1 assess personal skills levels in set/costume design

Skills levels

Techniques





AC2.2 set success criteria for skills development in set/costume design

Success criteria


Standards expected

Different contexts


Timescales

Priorities

AC2.3 review skills development in set/costume design

Review

Monitor progress

Review process





AC2.4 experiment with techniques in set/costume design

Experiment


Explore different genres/styles

Explore combination of techniques and genres/styles

Set challenges

Innovation

AC2.5 develop skills in set/costume design

Develop

To success criteria

LO3 be able to present a set/costume design skills portfolio

AC3.1 select set/costume design content for portfolio inclusion

Content



AC3.2 organise set/costume design content for presentation

Organise

Collate content o By skill o By type of genre/style o By skill level o Chronologically





AC3.3 present set/costume design content in a portfolio

Present


Display techniques

First impressions


Digital portfolio

Physical portfolio



Performance bands


LO1 know strategies for skills development in set/costume design

AC1.1 identify techniques required for set/costume design

States techniques required for set/costume design


AC1.2 describe approaches to skills development in set/costume design




AC1.3 plan strategies for skills development in set/costume design

Plan is basic, indicating how it will lead to skills development in set/costume design

Plan has limited detail, although it can be seen how it will lead to skills development in set/costume design

Plan has some detail and shows with some clarity how it will lead to skills development in set/costume design

Plan is detailed and clearly shows how it will lead to skills development in set/costume design

LO2 be able to develop skills for professional practice in set/costume design

AC2.1 assess personal skills levels in set/costume design

Assessment indicates some awareness of skills levels in set/costume design. Limited use of specialist vocabulary

Assessment shows some awareness of skills levels in set/costume design, although there may be some conclusions that are not appropriate. Some use of specialist vocabulary is made

Assessment shows a realistic awareness of skills levels in set/costume design. Consistent and appropriate use is made of specialist vocabulary

AC2.2 set success criteria for skills development in set/costume design






Performance bands


AC2.3 review skills development in set/costume design





AC2.4 experiment with techniques in set/costume design




AC2.5 develop skills in set/costume design

Some development of set/costume design skills towards success criteria is evident

Some development of set/costume design skills is evident, meeting some success criteria

Development of set/costume design skills has clearly taken place meeting most success criteria

Development of set/costume design skills clearly meets success criteria

LO3 be able to present set/costume design skills portfolio

AC3.1 select set/costume design content for portfolio inclusion

Some set/costume design content is included in a portfolio

A range of set/costume design content is selected for inclusion, most of which is appropriate

A wide range of appropriate set/costume design content is selected for inclusion

AC3.2 organise set/costume design content for presentation




AC3.3 present set/costume design content in a portfolio







Arranging visits to a professional theatre company to see a performance with exciting and innovative set/costume designs with either an opportunity for the learners to ask the designers how they developed their skills for the production or a debriefing session by the teacher discussing the skills witnessed

Arranging a workshop delivered by a professional designer focusing on set/costume design skills development

Arranging for a set/costume designer to give a talk to learners on how he/she developed a portfolio to show to prospective employers, showing live examples

The following are examples of approaches to delivery which could be used to enhance the learning and understanding of the vocational importance of developing skills in set/costume design. Example 1 Learners could work in groups to prepare a TIE project for a Primary School on the topic of bullying. Learners could work with an invited TIE company on developing the set and costume designs to accompany a piece of drama to be performed to the target audience. The learners would develop their set/costume design skills to ensure that they are effectively getting the message across to their targeted audience. At the end of the performance the learners could discuss their work with the primary school pupils and receive feedback from the young audience. Example 2 Learners could work in groups in conjunction with their local library to present some short performances on popular books in the library. The purpose of the performances would be to encourage more people to read the books available in the library and would be targeted at a range of audiences, depending on the book. Learners could develop their set/costume design skills to accompany a piece of drama to be performed to the target audience. At the end of the performance the learners could discuss their work with the local librarian and the target audiences to ask how effective their design skills were in performance. Example 3 Learners could work collaboratively on a commission from the school to design the set/costumes to accompany a promotional play about the school to be performed at a new prospective parents’ evening. The play would reflect the diverse range of activities within the school so the set and costumes would have to contain contrasting and inventive ideas in relation to the performance in order to capture the attention of the audience. Learners could compile all of their planning and preparation work into a portfolio. Making contacts Examples of organisations that may be approached to provide help include:

Local TIE companies

Local theatres

Local arts centres


Local colleges

Industry experts








Reading

Writing

ICT Use ICT systems





















Resources Books Colin Winslow: Handbook of Set Design (Crowood Press: 2006) Tina Bicat: Handbook of Stage Costume (Crowood Press: 2006) Websites http://www.theatredesign.org.uk/ http://www.vam.ac.uk/page/t/theatre-and-performance/

http://www.amazon.co.uk/Colin-Winslow/e/B001K8BP8C/ref=ntt_athr_dp_pel_1

http://www.amazon.co.uk/Handbook-Stage-Costume-Tina-Bicat/dp/1861268076/ref=sr_1_4?s=books&ie=UTF8&qid=1323377475&sr=1-4

http://www.theatredesign.org.uk/

http://www.vam.ac.uk/page/t/theatre-and-performance/


Title Skills Development in Lighting/Sound Design

Unit No. 3e

Entry Code

Level 1/2

GLH 60


Introduction

If I wanted to become a really good lighting/sound designer, what would I have to do? How would I go about improving my lighting/sound design skills? How would I build a portfolio to showcase my work?

Paule Constable is a British lighting designer who won the 2005, 2006, and 2009 Laurence Olivier Award for Best Lighting Design. However, she didn’t begin her career in lighting design; she admits that she got into lighting design by accident. She never stops developing her skills and she says that it “stretches my creative side and my love of logistics. Pretty unique really.” She is constantly experimenting with her designs and has become involved in some many styles and genres of theatre. She creates lighting designs for dance, opera, concerts, straight plays and musical theatre. That takes constant development and extension of her skills. Paule’s hard work has certainly paid off as in addition to the Laurence Olivier awards that she won she was also a nominee for four further productions and for a 2007 Tony Award on Broadway. In 2011 she won the Tony Award for Best Lighting Design for the very successful production of War Horse. In this unit, you will learn how to work independently to develop skills in lighting/sound design. You will learn how to plan for development and use different approaches to progress the skills that you want to develop. Finally, you will learn how to present examples of the skills you have developed in a portfolio.

http://en.wikipedia.org/wiki/Lighting_designer

http://en.wikipedia.org/wiki/Laurence_Olivier_Award_for_Best_Lighting_Design

http://en.wikipedia.org/wiki/Laurence_Olivier_Award_for_Best_Lighting_Design

http://en.wikipedia.org/wiki/War_Horse_(play)




LO1 know strategies for skills development in lighting/sound design

AC1.1 identify techniques required for lighting/sound design


Drawing skills (e.g. 2D sketches, diagrams, storyboards, 3D model boxes, manual drawing, CAD, etc.)

Lighting skills (e.g. lanterns, focus, patching, shutters, intensity, cross fades, snaps, top light, backlight, specials, washes, gobos, etc.)

Sound skills (e.g. microphones, cabling, DIs, sound mixers, gain, auxiliaries, recording, synchronisation, hardware/software systems, backing tracks, SFX, etc.)

Pre-production skills (e.g. sound/lighting requirements, scene or script specific design, recording, etc.)

Production skills (e.g. get-in, rigging, fit-up, operation of equipment, refocus, reposition, mix, cues, etc.)

Post-production skills (e.g. shut down)

Health and Safety skills (use of equipment, etc.)

AC1.2 describe approaches to skills development in lighting/sound design

Approaches to skills development Verbal instructions Written instructions Step by step instructions Follow diagrams Demonstration Video Photo sequences Observation of lighting/sound design processes undertaken by professionals Masterclasses/workshops




AC1.3 plan strategies for skills development in lighting/sound design

Strategy





Timescales


LO2 be able to develop skills for professional practice in lighting/sound design

AC2.1 assess personal skills levels in lighting/sound design

Skills levels

Techniques





AC2.2 set success criteria for skills development in lighting/sound design

Success criteria


Standards expected

Different contexts


Timescales

Priorities

AC2.3 review skills development in lighting/sound design

Review

Monitor progress

Review process





AC2.4 experiment with techniques in lighting/sound design

Experiment




Set challenges

Innovation

AC2.5 develop skills in lighting/sound design

Develop

To success criteria

LO3 be able to present a lighting/sound design skills portfolio

AC3.1 select lighting/sound design content for portfolio inclusion

Content



AC3.2 organise lighting/sound design content for presentation

Organise






AC3.3 present lighting/sound design content in a portfolio

Present


Display techniques

First impressions


Digital portfolio

Physical portfolio



Performance bands


LO1 know strategies for skills development in lighting/sound design

AC1.1 identify techniques required for lighting/sound design

States techniques required for lighting/sound design


AC1.2 describe approaches to skills development in lighting/sound design




AC1.3 plan strategies for skills development in lighting/sound design

Plan is basic, indicating how it will lead to skills development in lighting/sound design

Plan has limited detail, although it can be seen how it will lead to skills development in lighting/sound design

Plan has some detail and shows with some clarity how it will lead to skills development in lighting/sound design

Plan is detailed and clearly shows how it will lead to skills development in lighting/sound design

LO2 be able to develop skills for professional practice in lighting/sound design

AC2.1 assess personal skills levels in lighting/sound design

Assessment indicates some awareness of skills levels in lighting/sound design. Limited use of specialist vocabulary

Assessment shows some awareness of skills levels in lighting/sound design, although there may be some conclusions that are not appropriate. Some use of specialist vocabulary is made

Assessment shows a realistic awareness of skills levels in lighting/sound design. Consistent and appropriate use is made of specialist vocabulary

AC2.2 set success criteria for skills development in lighting/sound design






Performance bands


AC2.3 review skills development in lighting/sound design

Monitoring of skills is limited. Some straightforward conclusions are drawn regarding progress, although not all will be valid




AC2.4 experiment with techniques in lighting/sound design




AC2.5 develop skills in lighting/sound design

Some development of lighting/sound design skills towards success criteria is evident

Some development of lighting/sound design skills is evident, meeting some success criteria

Development of lighting/sound design skills has clearly taken place meeting most success criteria

Development of lighting/sound design skills clearly meets success criteria

LO3 be able to present a lighting/sound design skills portfolio

AC3.1 select lighting/sound design content for portfolio inclusion

Some lighting/sound design content is included in a portfolio

A range of lighting/sound design content is selected for inclusion, most of which is appropriate

A wide range of appropriate lighting/sound design content is selected for inclusion

AC3.2 organise lighting/sound design content for presentation




AC3.3 present lighting/sound design content in a portfolio







Arranging visits to a professional theatre company to see a performance with exciting and innovative lighting/sound designs with either an opportunity for the learners to ask the designers how they developed their skills for the production or a debriefing session by the teacher discussing the skills witnessed

Arranging a workshop delivered by a professional lighting/sound designer focusing on lighting/sound design skills development

Arranging for a lighting/sound designer to give a talk to learners on how he/she developed a portfolio to show to prospective employers, showing live examples

The following are examples of approaches to delivery which could be used to enhance the learning and understanding of the vocational importance of developing skills in lighting/sound design. Example 1 Learners could work in groups to prepare a TIE project for a Primary School on the topic of bullying. Learners could work with an invited TIE company on developing the lighting and sound designs to accompany a piece of drama to be performed to the target audience. The learners would develop their lighting/sound design skills to ensure that they are effectively getting the message across to their targeted audience. At the end of the performance the learners could discuss their work with the primary school pupils and receive feedback from the young audience. Example 2 Learners could work in groups in conjunction with their local library to present some short performances on popular books in the library. The purpose of the performances would be to encourage more people to read the books available in the library and would be targeted at a range of audiences, depending on the book. Learners could develop their lighting/sound design skills to accompany a piece of drama to be performed to the target audience. At the end of the performance the learners could discuss their work with the local librarian and the target audiences to ask how effective their design skills were in performance. Example 3 Learners could work collaboratively on a commission from the school to design the lighting/ sound to accompany a promotional play about the school to be performed at a new prospective parents’ evening. The play would reflect the diverse range of activities within the school so the lighting and sound would have to contain contrasting and inventive ideas in relation to the performance in order to capture the attention of the audience. Learners could compile all of their planning and preparation work into a portfolio. Making contacts Examples of organisations that may be approached to provide help include:

Local TIE companies

Local theatres

Local arts centres


Local colleges

Industry experts








Reading

Writing

ICT Use ICT systems





















Resources Books C.I. Swift: Introduction to Stage Lighting: The Fundamentals of Theatre Lighting Design (Meriwether Publishing: 2004) Deena Kaye and James LeBrech: Sound and Music for the Theatre: The Art and Technique of Design (Focal Press: 2009) Websites http://www.theatredesign.org.uk/ http://www.mts.net/~william5/sld.htm

http://www.amazon.co.uk/s/ref=ntt_athr_dp_sr_1?_encoding=UTF8&search-alias=books-uk&field-author=C.I.%20Swift

http://www.amazon.co.uk/Sound-Music-Theatre-Technique-Design/dp/0240810112/ref=sr_1_2?s=books&ie=UTF8&qid=1323628118&sr=1-2

http://www.amazon.co.uk/Sound-Music-Theatre-Technique-Design/dp/0240810112/ref=sr_1_2?s=books&ie=UTF8&qid=1323628118&sr=1-2

http://www.theatredesign.org.uk/

http://www.mts.net/~william5/sld.htm


Title Skills Development in Solo Dance Performance

Unit No. 3f

Entry Code

Level 1/2

GLH 60


Introduction

If I wanted to become a really good dancer, what would I have to do? How would I go about improving my solo dance performance skills? How would I build a portfolio to showcase my work?

Fred Astaire, a famous TV and Broadway dancer, didn’t succeed at first. In his first screen test, the casting director of MGM noted that Astaire “can’t act, can’t sing, slightly bald, can dance a little”. Astaire didn’t get too down hearted and instead of giving up he continued to develop his dancing skills and he eventually went on to become an incredibly successful dancer. Fred Astaire was named the fifth Greatest Male Star of All Time by the American Film Institute.

In this unit, you will learn how to work independently to develop skills in choreography. You will learn how to plan for development and use different approaches to progress the skills that you want to develop. Finally, you will learn how to present examples of the skills you have developed in a portfolio.

http://en.wikipedia.org/wiki/AFI%27s_100_Years..._100_Stars

http://en.wikipedia.org/wiki/American_Film_Institute




LO1 know strategies for skills development in solo dance performance

AC1.1 identify techniques required for solo dance performance


Physical skills (e.g. posture, alignment, co-ordination, flexibility, strength, etc.)

Technical skills (e.g. timing, phrasing, accuracy, rhythm, spatial awareness, etc.)

Expressive skills (e.g. style, mood, dynamics, musicality, etc.)

Performance skills (e.g. focus, projection, communication, energy, etc.)

AC1.2 describe approaches to skills development in solo dance performance

Approaches to skills development Verbal instructions Demonstration Video Photo sequences Observation of dancers at work Watching live dance sequences Masterclasses/workshops Use of mirrors

AC1.3 plan strategies for skills development in solo dance performance

Strategy





Timescales





LO2 be able to develop skills for professional practice in solo dance performance

AC2.1 assess personal skills levels in solo dance performance

Skills levels

Techniques





AC2.2 set success criteria for skills development in solo dance performance

Success criteria


Standards expected

Different contexts


Timescales

Priorities

AC2.3 review skills development in solo dance performance

Review

Monitor progress

Review process


AC2.4 experiment with techniques in solo dance performance

Experiment


Explore different genres/moods/styles/music

Explore combination of techniques and genres/styles/music

Set challenges

Innovation




AC2.5 develop skills in solo dance performance

Develop

To success criteria

LO3 be able to present a solo dance performance skills portfolio

AC3.1 select solo dance performance content for portfolio inclusion

Content



AC3.2 organise solo dance performance content for presentation

Organise



AC3.3 present solo dance performance content in a portfolio

Present


Display techniques

First impressions


Digital portfolio

Physical portfolio



Performance bands


LO1 know strategies for skills development in solo dance performance

AC1.1 identify techniques required for solo dance performance

States techniques required for solo dance performance


AC1.2 describe approaches to skills development in solo dance performance




AC1.3 plan strategies for skills development in solo dance performance

Plan is basic, indicating how it will lead to skills development in solo dance performance

Plan has limited detail, although it can be seen how it will lead to skills development in solo dance performance

Plan has some detail and shows with some clarity how it will lead to skills development in solo dance performance

Plan is detailed and clearly shows how it will lead to skills development in solo dance performance

LO2 be able to develop skills for professional practice in solo dance performance

AC2.1 assess personal skills levels in solo dance performance

Assessment indicates some awareness of skills levels in solo dance performance. Limited use of specialist vocabulary

Assessment shows some awareness of skills levels in solo dance performance, although there may be some conclusions that are not appropriate. Some use of specialist vocabulary is made

Assessment shows a realistic awareness of skills levels in solo dance performance. Consistent and appropriate use is made of specialist vocabulary

AC2.2 set success criteria for skills development in solo dance performance

Success criteria are set, with limited clarity. Some criteria are related to identified skills and techniques

Success criteria are set although they may lack some clarity. Criteria are mainly related to identified skills and techniques. Some criteria are achievable




Performance bands


AC2.3 review skills development in solo dance performance





AC2.4 experiment with techniques in solo dance performance




AC2.5 develop skills in solo dance performance

Some development of solo dance performance skills towards success criteria is evident

Some development of solo dance performance skills is evident, meeting some success criteria

Development of solo dance performance skills has clearly taken place meeting most success criteria

Development of solo dance performance skills clearly meets success criteria

LO3 be able to present a solo dance performance skills portfolio

AC3.1 select solo dance performance content for portfolio inclusion

Some solo dance performance content is included in a portfolio

A range of solo dance performance content is selected for inclusion, most of which is appropriate

A wide range of appropriate solo dance performance content is selected for inclusion

AC3.2 organise solo dance performance content for presentation




AC3.3 present solo dance performance content in a portfolio







Arranging visits to a professional dance company to see a performance or an open rehearsal with either an opportunity for the learners to ask the dancers how they developed their skills for the specific dance sequence or a debriefing session by the teacher discussing the skills witnessed

Arranging a workshop delivered by a professional dancer focusing on solo dance performance skills development

Arranging for a dancer to give a talk to learners on how he/she developed a portfolio to show to prospective employers, showing live examples

The following are examples of approaches to delivery which could be used to enhance the learning and understanding of the vocational importance of developing skills in solo dance performance Example 1 Learners could work in groups with a professional community dance group to help the elderly in the community to perform dances linked to their youth. The aim of the project would be to combine reminiscence and dance activity to inspire the participants to develop and perform their own dance routines based on memories and previous dance experiences. Learners, in association with the professionals could develop their solo dance performance skills to assist the elderly residents to perform the dances of their youth. At the end of the performance the learners could discuss their work with the elderly participants and receive feedback from them on how successful the project was. Example 2 Learners could work with the year 6 pupils in their local primary school to choreograph and perform a series of dances linked to the experiences and musical memories of their life in primary school. Learners could develop their own solo dance performance skills to assist the young pupils in creating and performing the dances and in putting on a final performance for their parents. They could produce a portfolio of the work in process and present it to the year 6 pupils as a memory of the project and their time in primary school. Example 3 Learners could work with a local group on a fashion show to raise money for charity. They could liaise with the participating shops researching the fashion styles, target audience and music they wish to use. The learners could use their solo dance performance skills to perform dances showing off the clothes and their dance skills in keeping with the selected style. They could receive feedback from the retailers at the end of the event on how successful their dance performance was. Making contacts Examples of organisations that may be approached to provide help include:

Local dance companies either professional or amateur

Local dance schools

Local arts centres

Local colleges

Industry experts








Reading

Writing

ICT Use ICT systems





















Resources Books Elizabeth Gibbons: Teaching Dance: The Spectrum of Styles (Authour House: 2007) Joshua Legg: Introduction to Modern Dance Techniques (Princeton Book Company: 2011) Websites http://artsalive.ca/en/dan/ http://www.puppikdance.co.uk/page7.htm

http://www.amazon.co.uk/Teaching-Dance-Spectrum-Elizabeth-Gibbons/dp/1434312062/ref=sr_1_3?ie=UTF8&qid=1323460465&sr=8-3

http://www.amazon.co.uk/s/ref=ntt_athr_dp_sr_1?_encoding=UTF8&search-alias=books-uk&field-author=Joshua%20Legg

http://artsalive.ca/en/dan/

http://www.puppikdance.co.uk/page7.htm


Title Skills Development in Group Dance Performance

Unit No. 3g

Entry Code

Level 1/2

GLH 60


Introduction

If I wanted to become a really good group dancer, what would I have to do? How would I go about improving my group dance performance skills? How would I build a portfolio to showcase my work?

Diversity, the famous dance troupe, had only formed two years before winning Britain’s Got Talent in 2009. They worked extremely hard to develop their individual, but more importantly, their group dance skills and made their performance so slick and well co-ordinated that it seemed as if they had been dancing together for years. They continued to develop their skills even after their success on Britain’s Got Talent and won major dance competitions. They performed to great acclaim on the successful Street Dance film.

In this unit, you will learn how to work independently to develop skills in group dance performance. You will learn how to plan for development and use different approaches to progress the skills that you want to develop. Finally, you will learn how to present examples of the skills you have developed in a portfolio.




LO1 know strategies for skills development in group dance performance

AC1.1 identify techniques required for group dance performance


Group formation skills (e.g. unison, canon, group pathways shapes, etc.)

Group spatial skills (e.g. movement size, speed, levels, directions, etc.)

Group dynamic skills (e.g. timing of action/phrase, weight positioning, quality, tension, etc.)

Ensemble skills (e.g. rhythm, timing, trust, interaction, synchronise, etc.) Contexts

Dance

AC1.2 describe approaches to skills development in group dance performance

Approaches to skills development Verbal instructions Demonstration Video Photo sequences Observation of dancers at work Watching live dance sequences Masterclasses/workshops Use of mirrors

AC1.3 plan strategies for skills development in group dance performance

Strategy





Timescales





LO2 be able to develop skills for professional practice in group dance performance

AC2.1 assess personal skills levels in group dance performance

Skills levels

Techniques





AC2.2 set success criteria for skills development in group dance performance

Success criteria


Standards expected

Different contexts


Timescales

Priorities

AC2.3 review skills development in group dance performance

Review

Monitor progress

Review process


AC2.4 experiment with techniques in group dance performance

Experiment


Explore different genres/moods/styles/music/group size

Explore combination of techniques and genres/styles/music/group size

Set challenges

Innovation




AC2.5 develop skills in group dance performance

Develop

To success criteria

LO3 be able to present a group dance performance skills portfolio

AC3.1 select group dance performance content for portfolio inclusion

Content



AC3.2 organise group dance performance content for presentation

Organise

Collate content o By skill o By type of genre/style/group size o By skill level o Chronologically


AC3.3 present group dance performance content in a portfolio

Present


Display techniques

First impressions


Digital portfolio

Physical portfolio



Performance bands


LO1 know strategies for skills development in group dance performance

AC1.1 identify techniques required for group dance performance

States techniques required for group dance performance


AC1.2 describe approaches to skills development in group dance performance




AC1.3 plan strategies for skills development in group dance performance

Plan is basic, indicating how it will lead to skills development in group dance performance

Plan has limited detail, although it can be seen how it will lead to skills development in group dance performance

Plan has some detail and shows with some clarity how it will lead to skills development in group dance performance

Plan is detailed and clearly shows how it will lead to skills development in group dance performance

LO2 be able to develop skills for professional practice in group dance performance

AC2.1 assess personal skills levels in group dance performance

Assessment indicates some awareness of skills levels in group dance performance. Limited use of specialist vocabulary

Assessment shows some awareness of skills levels in group dance performance, although there may be some conclusions that are not appropriate. Some use of specialist vocabulary is made

Assessment shows a realistic awareness of skills levels in group dance performance. Consistent and appropriate use is made of specialist vocabulary

AC2.2 set success criteria for skills development in group dance performance






Performance bands


AC2.3 review skills development in group dance performance





AC2.4 experiment with techniques in group dance performance




AC2.5 develop skills in group dance performance

Some development of group dance performance skills towards success criteria is evident

Some development of group dance performance skills is evident, meeting some success criteria

Development of group dance performance skills has clearly taken place meeting most success criteria

Development of group dance performance skills clearly meets success criteria

LO3 be able to present a group dance performance skills portfolio

AC3.1 select group dance performance content for portfolio inclusion

Some group dance performance content is included in a portfolio

A range of group dance performance content is selected for inclusion, most of which is appropriate

A wide range of appropriate group dance performance content is selected for inclusion

AC3.2 organise group dance performance content for presentation

Portfolio show some attempt to organise content



AC3.3 present group dance performance content in a portfolio







Arranging visits to a professional dance company to see a performance or an open rehearsal with either an opportunity for the learners to ask the dancers how they developed their group dance skills for the specific dance sequence or a debriefing session by the teacher discussing the skills witnessed

Arranging a workshop delivered by a professional dancer focusing on group dance performance skills development

Arranging for a dancer to give a talk to learners on how he/she developed a portfolio to show to prospective employers, showing live examples

The following are examples of approaches to delivery which could be used to enhance the learning and understanding of the vocational importance of developing skills in group dance performance. Example 1 Learners could work in groups with a professional community dance group to help the elderly in the community to perform dances linked to their youth. The aim of the project would be to combine reminiscence and dance activity to inspire the participants to develop and perform their own group dance routines based on memories and previous dance experiences. Learners, in association with the professionals could develop their group dance performance skills to assist the elderly residents to perform the dances of their youth. At the end of the performance the learners could discuss their work with the elderly participants and receive feedback from them on how successful the project was. Example 2 Learners could work with the year 6 pupils in their local primary school to choreograph and perform a series of dances linked to the experiences and musical memories of their life in primary school. Learners could develop their own group dance performance skills to assist the young pupils in creating and performing the dances and in putting on a final performance for their parents. They could produce a portfolio of the work in process and present it to the year 6 pupils as a memory of the project and their time in primary school. Example 3 Learners could work with a local group on a fashion show to raise money for charity. They could liaise with the participating shops researching the fashion styles, target audience and music they wish to use. The learners could use their group dance performance skills to perform dances showing off the clothes and their dance skills in keeping with the selected style. They could receive feedback from the retailers at the end of the event on how successful their group dance performance was. Making contacts Examples of organisations that may be approached to provide help include:


Local dance schools

Local arts centres

Local colleges

Industry experts








Reading

Writing

ICT Use ICT systems





















Resources Books Elizabeth Gibbons: Teaching Dance: The Spectrum of Styles (Authour House: 2007) Joshua Legg: Introduction to Modern Dance Techniques (Princeton Book Company: 2011) Websites http://artsalive.ca/en/dan/ http://www.puppikdance.co.uk/page7.htm

http://www.amazon.co.uk/Teaching-Dance-Spectrum-Elizabeth-Gibbons/dp/1434312062/ref=sr_1_3?ie=UTF8&qid=1323460465&sr=8-3

http://www.amazon.co.uk/s/ref=ntt_athr_dp_sr_1?_encoding=UTF8&search-alias=books-uk&field-author=Joshua%20Legg




Title Skills Development in Choreography

Unit No. 3h

Entry Code

Level 1/2

GLH 60


Introduction

If I wanted to become a really good choreographer, what would I have to do? How would I go about improving my choreography skills? How would I build a portfolio to showcase my work?

Bob Fosse, the famous choreographer, changed the way audiences around the world viewed dance on the stage and in the film industry. At first he worked as a performer in the theatre and then moved on to TV acting/dancing. However, his acting career in film was cut short by premature balding, which limited the roles he could take but he didn’t let that put him off. Whilst he was performing he was developing his choreography skills and he moved very successfully from performing to choreography. He created a very unique style of jazz dance which has influenced many others and he went on to develop this and to fuse various styles of dance in his choreography. This constant development and experimentation of his skills paid off as Fosse won an unprecedented eight Tony Awards for choreography. In this unit, you will learn how to work independently to develop skills in choreography. You will learn how to plan for development and use different approaches to progress the skills that you want to develop. Finally, you will learn how to present examples of the skills you have developed in a portfolio.




LO1 know strategies for skills development in choreography

AC1.1 identify techniques required for choreography


Body shape skills (e.g. levels, symmetry, asymmetry, scale, etc.)

Space work skills (e.g. geometric, symmetry, asymmetry, scale, etc.)

Timing skills (e.g. tempo, metre, rhythm, etc.)

Dynamic skills (e.g. weight, speed, energy, flow, etc.)

Structuring skills (e.g. binary, ternary, rondo, theme and variation, etc.)

Interpretation skills (e.g. meaning, music, phrasing, climax, etc.)

AC1.2 describe approaches to skills development in choreography

Approaches to skills development Verbal instructions Demonstration Video Photo sequences Observation of choreographers at work Watching live dance sequences Masterclasses/workshops Use of mirrors

AC1.3 plan strategies for skills development in choreography

Strategy





Timescales





LO2 be able to develop skills for professional practice in choreography

AC2.1 assess personal skills levels in choreography

Skills levels

Techniques





AC2.2 set success criteria for skills development in choreography

Success criteria


Standards expected

Different contexts


Timescales

Priorities

AC2.3 review skills development in choreography

Review

Monitor progress

Review process


AC2.4 experiment with techniques in choreography

Experiment


Explore different genres/moods/styles/music

Explore combination of techniques and genres/styles/music

Set challenges

Innovation




AC2.5 develop skills in choreography

Develop

To success criteria

LO3 be able to present a choreography skills portfolio

AC3.1 select choreography content for portfolio inclusion

Content



AC3.2 organise choreography content for presentation

Organise



AC3.3 present choreography content in a portfolio

Present


Display techniques

First impressions


Digital portfolio

Physical portfolio



Performance bands


LO1 know strategies for skills development in choreography

AC1.1 identify techniques required for choreography

States techniques required for choreography


AC1.2 describe approaches to skills development in choreography

Outlines approaches to skills development that has some relevance to identified skills and techniques



AC1.3 plan strategies for skills development in choreography

Plan is basic, indicating how it will lead to skills development in choreography

Plan has limited detail, although it can be seen how it will lead to skills development in choreography

Plan has some detail and shows with some clarity how it will lead to skills development in choreography

Plan is detailed and clearly shows how it will lead to skills development in choreography

LO2 be able to develop skills for professional practice in choreography

AC2.1 assess personal skills levels in choreography

Assessment indicates some awareness of skills levels in choreography. Limited use of specialist vocabulary

Assessment shows some awareness of skills levels in choreography, although there may be some conclusions that are not appropriate. Some use of specialist vocabulary is made

Assessment shows a realistic awareness of skills levels in choreography. Consistent and appropriate use is made of specialist vocabulary

AC2.2 set success criteria for skills development in choreography






Performance bands


AC2.3 review skills development in choreography





AC2.4 experiment with techniques in choreography




AC2.5 develop skills in choreography

Some development of choreography skills towards success criteria is evident

Some development of choreography skills is evident, meeting some success criteria

Development of choreography skills has clearly taken place meeting most success criteria

Development of choreography skills clearly meets success criteria

LO3 be able to present a choreography skills portfolio

AC3.1 select choreography content for portfolio inclusion

Some choreography content is included in a portfolio

A range of choreography content is selected for inclusion, most of which is appropriate

A wide range of appropriate choreography content is selected for inclusion

AC3.2 organise choreography content for presentation




AC3.3 present choreography content in a portfolio







Arranging visits to a professional dance company to see a performance or an open rehearsal with either an opportunity for the learners to ask the choreographer how he/she developed skills for the specific dance sequence or a debriefing session by the teacher discussing the skills witnessed

Arranging a workshop delivered by a professional choreographer focusing on choreography skills development

Arranging for a choreographer to give a talk to learners on how he/she developed a portfolio to show to prospective employers, showing live examples

The following are examples of approaches to delivery which could be used to enhance the learning and understanding of the vocational importance of developing skills in choreography Example 1 Learners could work in groups with a professional community dance group to help the elderly in the community to create dances linked to their youth. The aim of the project would be to combine reminiscence and dance activity to inspire the participants to develop their own dance routines based on memories and previous dance experiences. Learners, in association with the professionals could develop their choreography skills to assist the elderly residents to recreate the dances of their youth. At the end of the performance the learners could discuss their work with the elderly participants and receive feedback from them on how successful the project was. Example 2 Learners could work with the year 6 pupils in their local primary school to choreograph and perform a series of dances linked to the experiences and musical memories of their life in primary school. Learners could develop their own choreography skills to assist the young pupils in creating the dances and in putting on a final performance for their parents. They could produce a portfolio of the work in process and present it to the year 6 pupils as a memory of the project and their time in primary school. Example 3 Learners could work with a local group on a fashion show to raise money for charity. They could liaise with the participating shops researching the fashion styles, target audience and music they wish to use. The learners could use their choreography skills to choreograph each section of the fashion show in keeping with the selected style. They could receive feedback from the retailers at the end of the event on how successful their choreography was. Making contacts Examples of organisations that may be approached to provide help include:


Local dance schools

Local arts centres

Local colleges

Industry experts








Reading

Writing

ICT Use ICT systems





















Resources Books Sandra Cerny Minton: Choreography (Human Kinetics Europe Ltd.: 2007) Jacqueline M. Smith-Autard: Dance Composition: A Practical Guide to Creative Success in Dance Making (Methuen Drama: 2010) Websites http://artsalive.ca/en/dan/ http://www.puppikdance.co.uk/page7.htm

http://www.amazon.co.uk/Choreography-Sandra-Cerny-Minton/dp/0736064761/ref=sr_1_1?ie=UTF8&qid=1323457822&sr=8-1

http://www.amazon.co.uk/Dance-Composition-Practical-Creative-Performance/dp/1408115646/ref=sr_1_3?ie=UTF8&qid=1323457822&sr=8-3

http://www.amazon.co.uk/Dance-Composition-Practical-Creative-Performance/dp/1408115646/ref=sr_1_3?ie=UTF8&qid=1323457822&sr=8-3




Title Skills Development in Solo Music Performing

Unit No. 3i

Entry Code

Level 1/2

GLH 60


Introduction

If I wanted to become a really good solo music performer, what would I have to do? How would I go about improving my performing skills? How would I build a portfolio to showcase my work?

As a solo music performer you have to continually work hard to make sure that you are performing to the best of your ability in a very competitive world, but not everybody gets it right the first time. Elvis Presley has become a household name even years after his death, but when he first started the manager of the Grand Ole Opry fired Elvis after just one performance telling him, "You ain't goin' nowhere, son. You ought to go back to drivin' a truck." Fortunately Elvis didn’t follow his advice and continued to develop his skills. He went on to star in 33 successful films, made history with his television appearances and specials and is one of the best selling male vocal artists of all time.

In this unit, you will learn how to work independently to develop skills in solo music performance. You will learn how to plan for development and use different approaches to progress the skills that you want to develop. Finally, you will learn how to present examples of the skills you have developed in a portfolio.

http://www.elvis.com/




LO1 know strategies for skills development in solo music performance

AC1.1 identify techniques required for solo music performance


Accuracy (e.g. pitch, rhythm, intonation, performance directions, etc.)

Fluency (e.g. definition, timing, control, etc.)

Instrumental/vocal skills (e.g. breath control, RH/LH co-ordination, etc.)

Interpretation skills (e.g. style, dynamics, phrasing, expression, etc.)

AC1.2 describe approaches to skills development in solo music performance


AC1.3 plan strategies for skills development in solo music performance

Strategy





Timescales





LO2 be able to develop skills for professional practice in solo music performance

AC2.1 assess personal skills levels in solo music performance

Skills levels

Techniques





AC2.2 set success criteria for skills development in solo music performance

Success criteria


Standards expected

Different contexts


Timescales

Priorities

AC2.3 review skills development in solo music performance

Review

Monitor progress

Review process


AC2.4 experiment with techniques in solo music performance

Experiment




Set challenges

Innovation




AC2.5 develop skills in solo music performance

Develop

To success criteria

LO3 be able to present a solo music performance skills portfolio

AC3.1 select solo music performance content for portfolio inclusion

Content



AC3.2 organise solo music performance content for presentation

Organise

Collate content o By skill o By type of genres/styles o By skill level o Chronologically


AC3.3 present solo music performance content in a portfolio

Present


Display techniques

First impressions


Digital portfolio

Physical portfolio



Performance bands


LO1 know strategies for skills development in solo music performance

AC1.1 identify techniques required for solo music performance

States techniques required for solo music performance


AC1.2 describe approaches to skills development in solo music performance




AC1.3 plan strategies for skills development in solo music performance

Plan is basic, indicating how it will lead to skills development in solo music performance

Plan has limited detail, although it can be seen how it will lead to skills development in solo music performance

Plan has some detail and shows with some clarity how it will lead to skills development in solo music performance

Plan is detailed and clearly shows how it will lead to skills development in solo music performance

LO2 be able to develop skills for professional practice in solo music performance

AC2.1 assess personal skills levels in solo music performance

Assessment indicates some awareness of skills levels in solo music performance. Limited use of specialist vocabulary

Assessment shows some awareness of skills levels in solo music performance, although there may be some conclusions that are not appropriate. Some use of specialist vocabulary is made

Assessment shows a realistic awareness of skills levels in solo music performance. Consistent and appropriate use is made of specialist vocabulary

AC2.2 set success criteria for skills development in solo music performance






Performance bands


AC2.3 review skills development in solo music performance





AC2.4 experiment with techniques in solo music performance




AC2.5 develop skills in solo music performance

Some development of solo music performance skills towards success criteria is evident

Some development of solo music performance skills is evident, meeting some success criteria

Development of solo music performance skills has clearly taken place meeting most success criteria

Development of solo music performance skills clearly meets success criteria

LO3 be able to present a solo music performance skills portfolio

AC3.1 select solo music performance content for portfolio inclusion

Some solo music performance content is included in a portfolio

A range of solo music performance content is selected for inclusion, most of which is appropriate

A wide range of appropriate solo music performance content is selected for inclusion

AC3.2 organise solo music performance content for presentation




AC3.3 present solo music performance content in a portfolio


Uses a limited range of skills to present content to positively promoting a limited range of achievements





Arranging visits to a concert to see a live performance or an open rehearsal with either an opportunity for the learners to ask the musicians how they developed their skills for the music played or a debriefing session by the teacher discussing the skills witnessed

Arranging a workshop delivered by a professional musician focusing on solo music performance skill development

Arranging for a musician to give a talk to learners on how he/she developed a portfolio to show to prospective employers, showing live examples

The following are examples of approaches to delivery which could be used to enhance the learning and understanding of the vocational importance of developing skills in solo music performance Example 1 Learners could work collaboratively to research practice and performance techniques to produce a video tutorial on their chosen instrument or voice. Learners could upload their videos to shared internet sites either internally within the school network or externally to sites such as YouTube. Learners should consider the most effective way to communicate the skills that they are demonstrating. Example 2 Learners could plan to tutor young instrumentalists / vocalists in a local primary school as part of a transition project. To do this successfully they would be required to research a range of learning styles and practice techniques. Learners would need to evaluate how effective their practice techniques were through working with the young instrumentalists on a weekly basis. Example 3 Learners could be invited to perform as a soloist in a concert with a theme of film music. Learners would be required to discuss repertoire that would fit the theme of the concert, how their choice of music complemented other pieces in the programme and if their music would suit the audience. Learners would need to plan a practice schedule to ensure their performance is of a suitable standard in time for the concert. Making contacts Examples of organisations that may be approached to provide help include:

Local music services

Local concert halls

Local arts centres

Local music ensembles either professional or amateur

Local colleges

Industry experts








Reading

Writing

ICT Use ICT systems





















Resources Books Stephen Anderson: So You Wanna be a Rock Star: Discover How to Play Music, Get Gigs, and Maybe Even Make it Big! (Beyond Words Publishing: 2001) Graham Hewitt: How to Sing (How to play) (IMP: 1978) Websites http://www.askthemusicteacher.co.uk/ http://www.guardian.co.uk/music/series/guide-to-performing-singing

http://www.amazon.co.uk/So-You-Wanna-Rock-Star/dp/1885223994/ref=sr_1_4?s=books&ie=UTF8&qid=1323467480&sr=1-4


http://www.amazon.co.uk/How-Sing-play-Graham-Hewitt/dp/024189915X/ref=sr_1_3?s=books&ie=UTF8&qid=1323467533&sr=1-3

http://www.askthemusicteacher.co.uk/

http://www.guardian.co.uk/music/series/guide-to-performing-singing


Title Skills Development in Ensemble Music Performance

Unit No. 3j

Entry Code

Level 1/2

GLH 60


Introduction

If I wanted to become a really good ensemble music performer, what would I have to do? How would I go about improving my group performing skills? How would I build a portfolio to showcase my work?

Few people can deny the lasting power of the super group The Beatles who are still popular with listeners around the world today. But did you know that when they were just starting out, a recording company told them no? They were told "we don't like their sound, and guitar music is on the way out”. Luckily the group didn’t give up and continued to develop their group performing skills and went on to earn fame and fortune. The Beatles are the best-selling band in history and, over four decades after their break-up, their recordings are still in demand. They have had more number one albums on the UK charts and have held the top spot longer than any other musical act. It just goes to show what you can achieve if you keep working hard on developing your performing skills.

In this unit, you will learn how to work on developing skills in ensemble music performance. You will learn how to plan for development and use different approaches to progress the skills that you want to develop. Finally, you will learn how to present examples of the skills you have developed in a portfolio.

http://en.wikipedia.org/wiki/List_of_best-selling_music_artists




LO1 know strategies for skills development in ensemble music performance

AC1.1 identify techniques required for ensemble music performance


Group rhythm skills (e.g. timing, tempo, pulse, synchronising, syncopation, etc.)

Group musicality skills (e.g. balance, blend, expression, dynamics, phrasing, etc.)

Instrumental/vocal skills (e.g. breath control, RH/LH co-ordination, etc.)

Communication skills (e.g. interaction, dynamics, projection, phrasing, expression, empathy, etc.)

Contexts

Ensemble music performance

AC1.2 describe approaches to skills development in ensemble music performance


AC1.3 plan strategies for skills development in ensemble music performance

Strategy





Timescales





LO2 be able to develop skills for professional practice in ensemble music performance

AC2.1 assess personal skills levels in ensemble music performance

Skills levels

Techniques





AC2.2 set success criteria for skills development in ensemble music performance

Success criteria


Standards expected

Different contexts


Timescales

Priorities

AC2.3 review skills development in ensemble music performance

Review

Monitor progress

Review process


AC2.4 experiment with techniques in ensemble music performance

Experiment


Explore different genres/styles/group size

Explore combination of techniques and genres/styles/group size

Set challenges

Innovation




AC2.5 develop skills in ensemble music performance

Develop

To success criteria

LO3 be able to present an ensemble music performance skills portfolio

AC3.1 select ensemble music performance content for portfolio inclusion

Content



AC3.2 organise ensemble music performance content for presentation

Organise

Collate content o By skill o By type of role/genre/style/ensemble size o By skill level o Chronologically


AC3.3 present ensemble music performance content in a portfolio

Present


Display techniques

First impressions


Digital portfolio

Physical portfolio



Performance bands


LO1 know strategies for skills development in ensemble music performance

AC1.1 identify techniques required for ensemble music performance

States techniques required for ensemble music performance


AC1.2 describe approaches to skills development in ensemble music performance




AC1.3 plan strategies for skills development in ensemble music performance

Plan is basic, indicating how it will lead to skills development in ensemble music performance

Plan has limited detail, although it can be seen how it will lead to skills development in ensemble music performance

Plan has some detail and shows with some clarity how it will lead to skills development in ensemble music performance

Plan is detailed and clearly shows how it will lead to skills development in ensemble music performance

LO2 be able to develop skills for professional practice in ensemble music performance

AC2.1 assess personal skills levels in ensemble music performance

Assessment indicates some awareness of skills levels in ensemble music performance. Limited use of specialist vocabulary

Assessment shows some awareness of skills levels in ensemble music performance, although there may be some conclusions that are not appropriate. Some use of specialist vocabulary is made

Assessment shows a realistic awareness of skills levels in ensemble music performance. Consistent and appropriate use is made of specialist vocabulary

AC2.2 set success criteria for skills development in ensemble music performance






Performance bands


AC2.3 review skills development in ensemble music performance





AC2.4 experiment with techniques in ensemble music performance




AC2.5 develop skills in ensemble music performance

Some development of ensemble music performance skills towards success criteria is evident

Some development of ensemble music performance skills is evident, meeting some success criteria

Development of ensemble music performance skills has clearly taken place meeting most success criteria

Development of ensemble music performance skills clearly meets success criteria

LO3 be able to present an ensemble music performance skills portfolio

AC3.1 select ensemble music performance content for portfolio inclusion

Some ensemble music performance content is included in a portfolio

A range of ensemble music performance content is selected for inclusion, most of which is appropriate

A wide range of appropriate ensemble music performance content is selected for inclusion

AC3.2 organise ensemble music performance content for presentation




AC3.3 present ensemble music performance content in a portfolio







Arranging visits to a concert to see a live performance or an open rehearsal with either an opportunity for the learners to ask the musicians how they developed their ensemble skills for the music played or a debriefing session by the teacher discussing the skills witnessed

Arranging a workshop delivered by a professional musician focusing on ensemble music performance skill development

Arranging for a musician to give a talk to learners on how he/she developed a portfolio to show to prospective employers, showing live examples

The following are examples of approaches to delivery which could be used to enhance the learning and understanding of the vocational importance of developing skills in ensemble music performance Example 1 Learners could work collaboratively to research practice and performance techniques to produce a video tutorial on their chosen instrument or voice in conjunction with others. Learners could upload their videos to shared internet sites either internally within the school network or externally to sites such as YouTube. Learners should consider the most effective way to communicate the skills that they are demonstrating. Example 2 Learners could plan to tutor young instrumentalists/ vocalists in a local primary school as part of a transition project. To do this successfully they would be required to research a range of learning styles and practice techniques. Learners would need to evaluate how effective their practice techniques were through working with the young instrumentalists on a weekly basis. Example 3 Learners could be invited to perform as a member of an ensemble in a concert with a theme of world music. Learners would be required to discuss repertoire that would fit the theme of the concert, how their choice of music complemented other pieces in the programme and if their music would suit the audience. Learners would need to plan a practice schedule and to develop their skills to ensure their performance is of a suitable standard in time for the concert. Making contacts Examples of organisations that may be approached to provide help include:


Local concert halls

Local arts centres

Local music ensembles either professional or amateur

Local colleges

Industry experts








Reading

Writing

ICT Use ICT systems





















Resources Books Debbie Cracknell: Enjoy Playing Guitar: Ensemble Games: 34 workouts for guitar ensemble (OUP: 2010) Stephen Anderson: So You Wanna be a Rock Star: Discover How to Play Music, Get Gigs, and Maybe Even Make it Big! (Beyond Words Publishing: 2001) Websites http://www.askthemusicteacher.co.uk/ http://www.guardian.co.uk/music/series/guide-to-performing-singing

http://www.amazon.co.uk/Enjoy-Playing-Guitar-Ensemble-workouts/dp/0193367688/ref=sr_1_1?s=books&ie=UTF8&qid=1323634793&sr=1-1




http://www.guardian.co.uk/music/series/guide-to-performing-singing


Title Skills Development in Musical Composition

Unit No. 3k

Entry Code

Level 1/2

GLH 60


Introduction

If I wanted to become a really good composer of music, what would I have to do? How would I go about improving my composition skills? How would I build a portfolio to showcase my work?

Stephanie Bentley, a singer-songwriter, is probably best known for her song “Breathe” which was a hit for Faith Hill. However, she hasn’t always succeded with her composing and has said that the more she got rejected, the more determined she got. She continued to develop her composing skills and to promote her work. She says “I believe that if you set your mind to do something and keep on doing it, you’re gonna get what you’re after. I’m proof of that”. The same could be said of the classical composer Beethoven who loved to compose from an early age. He was told that he was hopeless and that he would never succeed as a musician or a composer. He didn’t let that set him back and he kept developing his composing skills. Beethoven went to compose some of the best-loved symphonies of all time, five of them while he was completely deaf!

In this unit, you will learn how to work independently to develop skills in musical composition. You will learn how to plan for development and use different approaches to progress the skills that you want to develop. Finally, you will learn how to present examples of the skills you have developed in a portfolio.




LO1 know strategies for skills development in musical composition

AC1.1 identify techniques required for musical composition


Creating musical ideas (e.g. melodies, rhythms, motifs, chords, riffs, etc.)

Developing musical ideas (e.g. repetition, contrast, sequence, variation, modulation, textures, word setting, etc.)

Structural skills (e.g. AB, ABA, verse, chorus, middle eight, intro, outro, coda, etc.)

Instrumental/vocal writing (e.g. range, style, techniques, expression, etc.)

AC1.2 describe approaches to skills development in musical composition

Approaches to skills development Verbal instructions Demonstration Video Audio recordings Masterclasses/workshops Performing existing compositions

AC1.3 plan strategies for skills development in musical composition

Strategy





Timescales





LO2 be able to develop skills for professional practice in musical composition

AC2.1 assess personal skills levels in musical composition

Skills levels

Techniques





AC2.2 set success criteria for skills development in musical composition

Success criteria


Standards expected

Different contexts


Timescales

Priorities

AC2.3 review skills development in musical composition

Review

Monitor progress

Review process


AC2.4 experiment with techniques in musical composition

Experiment


Explore different genres/styles/instruments

Explore combination of techniques and genres/styles/instruments

Set challenges

Innovation




AC2.5 develop skills in musical composition

Develop

To success criteria

LO3 be able to present a musical composition skills portfolio

AC3.1 select musical composition content for portfolio inclusion

Content



AC3.2 organise musical composition content for presentation

Organise

Collate content o By skill o By type of style/instrumental grouping o By skill level o Chronologically


AC3.3 present musical composition content in a portfolio

Present


Display techniques

First impressions


Digital portfolio

Physical portfolio



Performance bands


LO1 know strategies for skills development in musical composition

AC1.1 identify techniques required for musical composition

States techniques required for musical composition


AC1.2 describe approaches to skills development in musical composition




AC1.3 plan strategies for skills development in musical composition

Plan is basic, indicating how it will lead to skills development in musical composition

Plan has limited detail, although it can be seen how it will lead to skills development in musical composition

Plan has some detail and shows with some clarity how it will lead to skills development in musical composition

Plan is detailed and clearly shows how it will lead to skills development in musical composition

LO2 be able to develop skills for professional practice in musical composition

AC2.1 assess personal skills levels in musical composition

Assessment indicates some awareness of skills levels in musical composition. Limited use of specialist vocabulary

Assessment shows some awareness of skills levels in musical composition, although there may be some conclusions that are not appropriate. Some use of specialist vocabulary is made

Assessment shows a realistic awareness of skills levels in musical composition. Consistent and appropriate use is made of specialist vocabulary

AC2.2 set success criteria for skills development in musical composition






Performance bands


AC2.3 review skills development in musical composition





AC2.4 experiment with techniques in musical composition




AC2.5 develop skills in musical composition

Some development of musical composition skills towards success criteria is evident

Some development of musical composition skills is evident, meeting some success criteria

Development of musical composition skills has clearly taken place meeting most success criteria

Development of musical composition skills clearly meets success criteria

LO3 be able to present musical composition skills portfolio

AC3.1 select musical composition content for portfolio inclusion

Some musical composition content is included in a portfolio

A range of musical composition content is selected for inclusion, most of which is appropriate

A wide range of appropriate musical composition content is selected for inclusion

AC3.2 organise musical composition content for presentation




AC3.3 present musical composition content in a portfolio







Arranging visits to a concert to see original compositions performed or an open rehearsal with either an opportunity for the learners to ask the composers how they developed their skills for the compositions being performed or a debriefing session by the teacher discussing the skills witnessed

Arranging a workshop delivered by a professional composer focusing on musical composition skill development

Arranging for a composer to give a talk to learners on how he/she developed a portfolio to show to prospective employers, showing live examples

The following are examples of approaches to delivery which could be used to enhance the learning and understanding of the vocational importance of developing skills in musical composition Example 1 Learners could work collaboratively on a commission from the school to provide the music to accompany a promotional video. The video will reflect the diverse range of activities within the school so the music will have to contain contrasting ideas. Learners will combine their brief individual musical ideas to form a soundtrack to the video. Example 2 Learners could carry out research into a range of different compositional styles. They could present what they have learnt through short composition ideas that reflect the style researched. Learners could explain their findings to support the presentation of their material. Example 3 Learners could work together to organise a competition for composers. Each of the composers would need to present three short musical ideas and a panel of learners would choose the most effective. This would allow learners to develop composition and evaluative skills. Making contacts Examples of organisations that may be approached to provide help include:


Local concert halls

Local arts centres

Local composers either professional or amateur

Local colleges

Industry experts








Reading

Writing

ICT Use ICT systems





















Resources Books Scott Jarrett and Holly Day: Music Composition For Dummies All Inst (John Wiley and Sons: 2008) Dave Stewart: Inside the Music: The Musician's Guide to Composition, Improvisation and the Mechanics of Music (Backbeat Books: 2000) Websites http://www.askthemusicteacher.co.uk/ http://www.learn-piano.org/compose-music.html

http://www.amazon.co.uk/Music-Composition-Dummies-All-Inst/dp/0470224215/ref=sr_1_1?ie=UTF8&qid=1323538620&sr=8-1

http://www.amazon.co.uk/Inside-Music-Musicians-Composition-Improvisation/dp/0879305711/ref=sr_1_3?ie=UTF8&qid=1323538620&sr=8-3

http://www.amazon.co.uk/Inside-Music-Musicians-Composition-Improvisation/dp/0879305711/ref=sr_1_3?ie=UTF8&qid=1323538620&sr=8-3


http://www.learn-piano.org/compose-music.html


Title Skills Development in Audio Recording

Unit No. 3l

Entry Code

Level 1/2

GLH 60


Introduction

If I wanted to become really good at audio recording, what would I have to do? How would I go about improving my audio recording skills? How would I build a portfolio to showcase my work?

Lee Perry, a well known recording engineer of reggae music, was always looking for ways to develop and experiment with his audio recording techniques. He worked in his own studio Black Ark Studios which had very basic equipment. However, Perry didn’t let that stop him from creating some of Jamaica's most innovative sounds and recording techniques. An example of Perry's inventive style was his ability to overdub layers of sound effects and instrumentation on each recording track. Perry once buried microphones at the base of a palm tree and thumped it rhythmically to produce a mystifying bass drum effect and his drum booth at the Black Ark was for a time surrounded with chicken wire to further his distinctive sound. Lee Perry and his studio were also formative in creating the highly innovative reggae sub-genre called dub, in which the engineer becomes the focus of the music, manipulating a pre-recorded track and creating something entirely new using his or her mixing console as nothing less than an instrument. In this unit, you will learn how to work independently to develop skills in audio recording. You will learn how to plan for development and use different approaches to progress the skills that you want to develop. Finally, you will learn how to present examples of the skills you have developed in a portfolio.

http://en.wikipedia.org/wiki/Overdub

http://en.wikipedia.org/wiki/Microphone

http://en.wikipedia.org/wiki/Chicken_wire

http://en.wikipedia.org/wiki/Dub_music




LO1 know strategies for skills development in audio recording

AC1.1 identify techniques required for audio recording


Configuring equipment (e.g. microphone, interconnecting equipment, signal paths, positioning, mixers, software, etc.)

Capturing skills (e.g. microphone selection and positioning, DI, analogue/digital, multi-track, talkback, foldback, etc.)

Processing skills (e.g. reverb, echo, chorus, compression, gating, etc.)

Mixing skills (e.g. amplitude and tonal balance, EQ, range, fading, etc.)

AC1.2 describe approaches to skills development in audio recording

Approaches to skills development Verbal instructions Step by step instructions Demonstration Video tutorials Audio recordings Masterclasses/workshops Experimentation

AC1.3 plan strategies for skills development in audio recording

Strategy





Timescales





LO2 be able to develop skills for professional practice in audio recording

AC2.1 assess personal skills levels in audio recording

Skills levels

Techniques





AC2.2 set success criteria for skills development in audio recording

Success criteria


Standards expected

Different contexts


Timescales

Priorities

AC2.3 review skills development in audio recording

Review

Monitor progress

Review process


AC2.4 experiment with techniques in audio recording

Experiment




Set challenges

Innovation




AC2.5 develop skills in audio recording

Develop

To success criteria

LO3 be able to present an audio recording skills portfolio

AC3.1 select audio recording content for portfolio inclusion

Content



AC3.2 organise audio recording content for presentation

Organise



AC3.3 present audio recording content in a portfolio

Present


Display techniques

First impressions


Digital portfolio

Physical portfolio



Performance bands


LO1 know strategies for skills development in audio recording

AC1.1 identify techniques required for audio recording

States techniques required for audio recording


AC1.2 describe approaches to skills development in audio recording




AC1.3 plan strategies for skills development in audio recording

Plan is basic, indicating how it will lead to skills development in audio recording

Plan has limited detail, although it can be seen how it will lead to skills development in audio recording

Plan has some detail and shows with some clarity how it will lead to skills development in audio recording

Plan is detailed and clearly shows how it will lead to skills development in audio recording

LO2 be able to develop skills for professional practice in audio recording

AC2.1 assess personal skills levels in audio recording

Assessment indicates some awareness of skills levels in audio recording. Limited use of specialist vocabulary

Assessment shows some awareness of skills levels in audio recording, although there may be some conclusions that are not appropriate. Some use of specialist vocabulary is made.

Assessment shows a realistic awareness of skills levels in audio recording. Consistent and appropriate use is made of specialist vocabulary

AC2.2 set success criteria for skills development in audio recording

Success criteria are set with limited clarity. Some criteria are related to identified skills and techniques.


Success criteria are set, which are mainly clear. Some criteria are challenging and ambitious but most criteria are achievable and related to identified skills and techniques



Performance bands


AC2.3 review skills development in audio recording





AC2.4 experiment with techniques in audio recording




AC2.5 develop skills in audio recording

Some development of audio recording skills towards success criteria is evident

Some development of audio recording skills is evident, meeting some success criteria

Development of audio recording skills has clearly taken place meeting most success criteria

Development of audio recording skills clearly meets success criteria

LO3 be able to present an audio recording skills portfolio

AC3.1 select audio recording content for portfolio inclusion

Some audio recording content is included in a portfolio

A range of audio recording content is selected for inclusion, most of which is appropriate

A wide range of appropriate audio recording content is selected for inclusion

AC3.2 organise audio recording content for presentation




AC3.3 present audio recording content in a portfolio







Arranging visits to a recording studio to see a recording session with either an opportunity for the learners to ask the engineers how they developed their skills for recording or a debriefing session by the teacher discussing the skills witnessed

Arranging a workshop delivered by a professional recording engineer focusing on audio recording skill development

Arranging for a recording engineer to give a talk to learners on how he/she developed a portfolio to show to prospective employers, showing live examples

The following are examples of approaches to delivery which could be used to enhance the learning and understanding of the vocational importance of developing skills in audio recording Example 1 Learners could work collaboratively on a commission from the school to record music to accompany a promotional video. The video will reflect the diverse range of activities within the school so the music will have to contain contrasting ideas and inventive recording techniques. Learners will receive feedback from teachers and pupils at the school on the success of the project. Example 2 Learners could work with a local group on a fashion show to raise money for charity. They could liaise with the participating shops researching the fashion styles, target audience and music they wish to use. The learners could use their audio recording skills to create the music to accompany each section of the fashion show in keeping with the selected style. They could receive feedback from the retailers at the end of the event on how successful their audio recording was. Example 3 Learners could work with professional composers and pupils in the local primary school on creating a sound track for a computer game to assist their learning in a particular subject. The learners would have to take the musical ideas generated by the pupils with the assistance of the composers and combine them with sound effects to support the game action. Learners could use their skills to record, process and mix the final outcome. They could organise some of their ideas into a portfolio of work. Making contacts Examples of organisations that may be approached to provide help include:


Local recording studios

Local arts centres

Local colleges

Industry experts








Reading

Writing

ICT Use ICT systems





















Resources Books Bruce Bartlett: Practical Recording Techniques: The Step- by- Step Approach to Professional Audio Recording (Focal Press: 2008) David Miles Huber and Robert E. Runstein: Modern Recording Techniques (Focal Press: 2009) Websites http://www.askthemusicteacher.co.uk/ http://www.pointblankonline.net/sample-a-course/

http://www.amazon.co.uk/Bruce-Bartlett/e/B001ITRK96/ref=ntt_athr_dp_pel_1

http://www.amazon.co.uk/Modern-Recording-Techniques-David-Miles/dp/0240810694/ref=sr_1_2?s=books&ie=UTF8&qid=1323634050&sr=1-2


http://www.pointblankonline.net/sample-a-course/


Title Skills Development in Music Sequencing

Unit No. 3m

Entry Code

Level 1/2

GLH 60


Introduction

If I wanted to become really good at music sequencing, what would I have to do? How would I go about improving my music sequencing skills? How would I build a portfolio to showcase my work?

Klaus Schulze is a German electronic music composer and musician. He was part of several bands but decided to move his focus to sequencing his own and others’ music. He used analogue and then digital medium to create his original sound. He constantly developed his skills to incorporate new technologies and worked hard to perfect his craft. After creating some successful albums of sequenced music he decided to experiment a bit further with this music and incorporated elements of jazz and classical music, working with more contemporary electronic dance music such as trance. It just goes to show that you can constantly reinvent your style and move the boundaries even when you are successful.

In this unit, you will learn how to work independently to develop skills in music sequencing. You will learn how to plan for development and use different approaches to progress the skills that you want to develop. Finally, you will learn how to present examples of the skills you have developed in a portfolio.

http://en.wikipedia.org/wiki/Germany

http://en.wikipedia.org/wiki/Electronic_music

http://en.wikipedia.org/wiki/Composer

http://en.wikipedia.org/wiki/Electronic_musician

http://en.wikipedia.org/wiki/Jazz

http://en.wikipedia.org/wiki/European_classical_music

http://en.wikipedia.org/wiki/Trance_music




LO1 know strategies for skills development in music sequencing

AC1.1 identify techniques required for music sequencing


Configuring equipment (e.g. audio set-up, audio clip and file management, software, hardware, interconnections, cables, positioning, etc.)

Operational skills (e.g. editing audio files, normalisation, selecting and editing MIDI tracks, step/ real-time input, file management, tracking, sampling, etc.)

Arranging skills (e.g. structure, texture, tempo, expression, panning, looping, instrumentation, etc.).

Mixing skills (e.g. track levels, bounce down, WAVs, MP3s, etc.)

AC1.2 describe approaches to skills development in music sequencing

Approaches to skills development Verbal instructions Step by step instructions Demonstration Video tutorials Listening to music sequenced tracks Masterclasses/workshops Experimentation

AC1.3 plan strategies for skills development in music sequencing

Strategy





Timescales





LO2 be able to develop skills for professional practice in music sequencing

AC2.1 assess personal skills levels in music sequencing

Skills levels

Techniques





AC2.2 set success criteria for skills development in music sequencing

Success criteria


Standards expected

Different contexts


Timescales

Priorities

AC2.3 review skills development in music sequencing

Review

Monitor progress

Review process


AC2.4 experiment with techniques in music sequencing

Experiment




Set challenges

Innovation




AC2.5 develop skills in music sequencing

Develop

To success criteria

LO3 be able to present a music sequencing skills portfolio

AC3.1 select music sequencing content for portfolio inclusion

Content



AC3.2 organise music sequencing content for presentation

Organise



AC3.3 present music sequencing content in a portfolio

Present


Display techniques

First impressions


Digital portfolio

Physical portfolio



Performance bands


LO1 know strategies for skills development in music sequencing

AC1.1 identify techniques required for music sequencing

States techniques required for music sequencing


AC1.2 describe approaches to skills development in music sequencing




AC1.3 plan strategies for skills development in music sequencing

Plan is basic, indicating how it will lead to skills development in music sequencing

Plan has limited detail, although it can be seen how it will lead to skills development in music sequencing

Plan has some detail and shows with some clarity how it will lead to skills development in music sequencing

Plan is detailed and clearly shows how it will lead to skills development in music sequencing

LO2 be able to develop skills for professional practice in music sequencing

AC2.1 assess personal skills levels in music sequencing

Assessment indicates some awareness of skills levels in music sequencing. Limited use of specialist vocabulary

Assessment shows some awareness of skills levels in music sequencing , although there may be some conclusions that are not appropriate. Some use of specialist vocabulary is made

Assessment shows a realistic awareness of skills levels in music sequencing . Consistent and appropriate use is made of specialist vocabulary

AC2.2 set success criteria for skills development in music sequencing



Success criteria are set which are mainly clear. Some criteria are challenging and ambitious, but most criteria are achievable and related to identified skills and techniques.



Performance bands


AC2.3 review skills development in music sequencing





AC2.4 experiment with techniques in music sequencing




AC2.5 develop skills in music sequencing

Some development of music sequencing skills towards success criteria is evident

Some development of music sequencing skills is evident, meeting some success criteria

Development of music sequencing skills has clearly taken place meeting most success criteria

Development of music sequencing skills clearly meets success criteria

LO3 be able to present a music sequencing skills portfolio

AC3.1 select music sequencing content for portfolio inclusion

Some music sequencing content is included in a portfolio

A range of music sequencing content is selected for inclusion, most of which is appropriate

A wide range of appropriate music sequencing content is selected for inclusion

AC3.2 organise music sequencing content for presentation




AC3.3 present music sequencing content in a portfolio







Arranging visits to a recording studio to see a music sequencing session with either an opportunity for the learners to ask the musician how they developed their sequencing skills or a debriefing session by the teacher discussing the skills witnessed

Arranging a workshop delivered by a professional focusing on music sequencing skill development

Arranging for a professional to give a talk to learners on how he/she developed a portfolio of music sequencing pieces to show to prospective employers, showing live examples

The following are examples of approaches to delivery which could be used to enhance the learning and understanding of the vocational importance of developing skills in music sequencing Example 1 Learners could work collaboratively on a commission from their own school to sequence a range of musical extracts to accompany a promotional video. The video will reflect the diverse range of activities within the school so the music will have to contain contrasting ideas and inventive sequencing techniques. Learners will receive feedback from teachers and pupils at the school on the success of the project. Example 2 Learners could work with a local group on a fashion show to raise money for charity. They could liaise with the participating shops, researching the fashion styles, target audience and music they wish to use. The learners could use their music sequencing skills to create the music to accompany each section of the fashion show in keeping with the selected style. They could receive feedback from the retailers at the end of the event on how successful their music sequencing was. Example 3 Learners could work with teachers and pupils in the local primary school on sequencing some of the music they are studying in class. The learners would have to take the classical pieces selected by the teacher and sequence them to make them more accessible to the primary pupils. They could use their skills to select appropriate sounds and mix them effectively using hardware and software. They could produce a CD or a range of MP3 files of their final pieces. They could present these in an interesting and accessible way for the young learners. Making contacts Examples of organisations that may be approached to provide help include:


Local recording studios

Local arts centres

Local colleges

Industry experts








Reading

Writing

ICT Use ICT systems





















Resources Books Andrea Pejrolo: Creative Sequencing Techniques for Music Production: A practical guide to Logic, Digital Performer, Cubase and Pro Tools (Focal Press: 2005) David Ruby Trubitt: Making Music with Your Computer: Practical Guide to MIDI, Digital Recording, Multimedia, Music Software, Sequencing and Notation (Ominbus Press: 1993) Websites http://www.askthemusicteacher.co.uk/ http://www.ehow.com/video_4944739_music-sequencing-logic-pro.html

http://www.amazon.co.uk/Creative-Sequencing-Techniques-Music-Production/dp/0240519604/ref=sr_1_1?s=books&ie=UTF8&qid=1323544430&sr=1-1

http://www.amazon.co.uk/Creative-Sequencing-Techniques-Music-Production/dp/0240519604/ref=sr_1_1?s=books&ie=UTF8&qid=1323544430&sr=1-1

http://www.amazon.co.uk/Making-Music-Your-Computer-Multimedia/dp/079351990X/ref=sr_1_2?s=books&ie=UTF8&qid=1323544430&sr=1-2

http://www.amazon.co.uk/Making-Music-Your-Computer-Multimedia/dp/079351990X/ref=sr_1_2?s=books&ie=UTF8&qid=1323544430&sr=1-2


http://www.ehow.com/video_4944739_music-sequencing-logic-pro.html


Title Skills Development in Moving Image Production

Unit No. 3n

Entry Code

Level 1/2

GLH 60


Introduction

If I wanted to make a music video, what skills would I need to develop? What techniques could I use to make an action sequence from a film? How can I improve my camerawork skills to make an effective advert? What editing techniques could I experiment with? How do I build a portfolio to showcase my work?

Have you ever wondered why the credits of a film are so long? There are many skills involved in making moving image products. Professionals in the industry need to develop a range of skills to enable them to plan, produce and edit images and sound. A storyboard artist needs creativity and sequencing skills. Camera operators must frame shots effectively and use smooth camera movements in their work. An editor has to be able to import footage and create transitions between shots.

In this unit, you will learn how to work independently to develop skills in moving image production. You will learn how to plan for development and use different approaches to progress the skills that you want to develop. Finally, you will learn how to present examples of the skills you have developed in a portfolio.




LO1 know strategies for skills development in moving image production

AC1.1 identify techniques required for moving image production


Pre-production, e.g. storyboarding, scriptwriting

Production, e.g. camerawork, editing

Post-production, e.g. editing, sound editing

AC1.2 describe approaches to skills development in moving image production

Approaches to skills development Verbal instructions Demonstrations Workshops Video tutorials Interviews with/observations of professionals Manuals and textbooks

AC1.3 plan strategies for skills development in moving image production

Strategy





Timescales


LO2 be able to develop skills for professional practice in moving image production

AC2.1 assess personal skills levels in moving image production

Skills levels

Techniques








AC2.2 set success criteria for

skills development in moving

image production

Success criteria


Standards expected

Different contexts


Timescales

Priorities

AC2.3 review skills

development in moving image

production

Review

Monitor progress

Review process


AC2.4 experiment with

techniques in moving image

production

Experiment

Explore use of techniques

Explore use of technologies

Explore combination of techniques and materials

Set challenges

Innovation

AC2.5 develop skills in moving

image production

Develop

To success criteria

LO3 be able to present a moving image production skills portfolio

AC3.1 select moving image

production content for portfolio

inclusion

Content






AC3.2 organise moving image production content for presentation

Organise

Collate content o By skill o By style/genre o By skill level o Chronologically


AC3.3 present moving image production content in a portfolio

Present


Design and presentation techniques

First impressions


Digital portfolio

Physical portfolio


Learning Outcome

Assessment criteria

Performance bands


LO1 know strategies for skills development in moving image production

AC1.1 identify techniques required for moving image production

States techniques required for moving image production

Identifies techniques required for moving image production

AC1.2 describe approaches to skills development in moving image production




AC1.3 plan strategies for skills development in moving image production

Plan is basic, indicating how it will lead to skills development in moving image production

Plan has limited detail, although it can be seen how it will lead to skills development in moving image production

Plan has some detail and shows with some clarity how it will lead to skills development in moving image production

Plan is detailed and clearly shows how it will lead to skills development in moving image production

LO2 be able to develop skills for professional practice in moving image production

AC2.1 assess personal skills levels in moving image production

Assessment indicates some awareness of skills levels in moving image production. Limited use of specialist vocabulary

Assessment shows some awareness of skills levels in moving image production, although there may be some conclusions that are not appropriate. Some use of specialist vocabulary is made

Assessment shows a realistic awareness of skills levels in moving image production. Consistent and appropriate use is made of specialist vocabulary

AC2.2 set success criteria for skills development in moving image production





Learning Outcome

Assessment criteria

Performance bands


AC2.3 review skills development in moving image production





AC2.4 experiment with techniques in moving image production




AC2.5 develop skills in moving image production

Some development of moving image production skills towards success criteria is evident

Some development of moving image production skills is evident, meeting some success criteria

Development of moving image production skills has clearly taken place, meeting most success criteria

Development of moving image production skills clearly meets success criteria

LO3 be able to present a moving image production skills portfolio

AC3.1 select moving image production content for portfolio inclusion

Some moving image production content is included in a portfolio

A range of moving image production content is selected for inclusion, most of which is appropriate

A wide range of appropriate moving image production content is selected for inclusion

AC3.2 organise moving image production content for presentation




AC3.3 present moving image production content in a portfolio







Arranging visits to workplaces such as a TV newsroom to discuss with employees the skills and techniques used in TV news production

Arranging talks by visiting speakers, for example an independent film maker, to explain how they experiment with techniques and technologies in their work

Entering a portfolio of work into a national film making competition such as Virgin Media Shorts or the London Short Film Festival.

The following are examples of approaches to delivery which could be used to enhance the learning and understanding of the vocational importance of developing skills in moving image production: Example 1 A local charity for the young homeless invites schools in the area to create a short promotional video. Learners could work in production teams to identify techniques to use in the video and plan strategies to develop the required skills. They could produce a range of sample responses to the project, exploring different moving image production techniques, and then present a showreel of work to the charity. They could use feedback from the client to identify the most effective idea, which could then be developed into a finished piece. Example 2 The local cinema is putting on a new talent showcase, a screening of short films by up and coming film makers, and has invited entries. Learners could refer to existing professional practice to identify techniques and skills used in making short films.They could then work in production teams to experiment with techniques and technologies, selecting their most appropriate and innovative work for a showreel to be presented to the cinema for feedback. Example 3 A local TV channel that makes youth programmes wants to commission a group of young people to make a short feature for a news piece on recreational facilities for teenagers. Learners could work in production teams to identify the skills they will need to make the feature and the techniques they could use within it. They could set success criteria for their work by establishing standards and timescales. After presenting an e-portfolio of work to the client, they could gain feedback on the content. Making contacts Examples of organisations that may be approached to provide help include:

Skillset

BFI

BBC – local and national

Local film production companies

Local TV production companies

Freelance film makers, production designers, directors, sound recordists, editors

Arts Centres

Cinemas

Schools and colleges

Local media centres







Reading

Writing

ICT Use ICT systems





















Resources Books Lyver, Des et al (1999) Basics of Video Production Focal Press Lyver, Des (2001) Basics of the Video Production Diary Focal Press Jones, C & Joliffe, G (2000) The Guerilla Film Maker’s Handbook Continuum International Publishing Evans, R. (2005) Practical DV Filmmaking Focal Press Hardy, P. (2008) Filming on a Microbudget Pocket Essentials Websites www.skillset.org www.filmeducation.org.uk www.bfi.org.uk http://www.bbc.co.uk/journalism/


http://www.filmeducation.org.uk/

http://www.bfi.org.uk/

http://www.bbc.co.uk/journalism/


Title Skills Development in Print Media Production

Unit No. 3o

Entry Code

Level 1/2

GLH 60


Introduction

If I wanted to create a magazine front cover, what skills would I need to develop? What techniques could I use to write attention grabbing headlines? How can I improve my layout skills to make an effective newspaper page? What writing techniques could I experiment with? How do I build a portfolio to showcase my work?

How many people does it take to produce your favourite magazine? Writer, editor, graphic designer – these are just some of the jobs involved. There are many skills involved in making print media products. Professionals in the industry need to develop a range of skills to enable them to develop and produce magazines, newspapers, adverts and book covers.

In this unit, you will learn how to work independently to develop skills in print media production. You will learn how to plan for development and use different approaches to progress the skills that you want to develop. Finally, you will learn how to present examples of the skills you have developed in a portfolio.




LO1 know strategies for skills development in print media production

AC1.1 identify techniques required for print media production


Development, e.g. identifying audience, interviewing

Production, e.g. writing, layout and design

Editing, e.g. proofreading, cutting length

AC1.2 describe approaches to skills development in print media production

Approaches to skills development Modelling Scaffolding Observation of professional output Video tutorial Masterclass or workshop Following written instructions

AC1.3 plan strategies for skills development in print media production

Strategy





Timescales


LO2 be able to develop skills for professional practice in print media production

AC2.1 assess personal skills levels in print media production

Skills levels

Techniques








AC2.2 set success criteria for

skills development in print media

production

Success criteria


Standards expected

Different contexts


Timescales

Priorities

AC2.3 review skills development

in print media production

Review

Monitor progress

Review process


AC2.4 experiment with

techniques in print media

production

Experiment


Explore use of styles

Explore combination of techniques and styles

Set challenges

Innovation

AC2.5 develop skills in print

media production

Develop

To success criteria

LO3 be able to present a

print media production skills

portfolio

AC3.1 select print media

production content for portfolio

inclusion

Content






AC3.2 organise print media production content for presentation

Organise

Collate content o By skill o By style, purpose or audience o By skill level o Chronologically


AC3.3 present print media production content in a portfolio

Present


Display techniques

First impressions


Digital portfolio

Physical portfolio



Performance bands


LO1 know strategies for skills development in print media production

AC1.1 identify techniques required for print media production

States techniques required for print media production

Identifies techniques required for print media production

AC1.2 describe approaches to skills development in print media production




AC1.3 plan strategies for skills development in print media production

Plan is basic, indicating how it will lead to skills development in print media production

Plan has limited detail, although it can be seen how it will lead to skills development in print media production

Plan has some detail and shows with some clarity how it will lead to skills development in print media production

Plan is detailed and clearly shows how it will lead to skills development in print media production

LO2 be able to develop skills for professional practice in print media production

AC2.1 assess personal skills levels in print media production

Assessment indicates some awareness of skills levels in print media production. Limited use of specialist vocabulary

Assessment shows some awareness of skills levels in print media production, although there may be some conclusions that are not appropriate. Some use of specialist vocabulary is made

Assessment shows a realistic awareness of skills levels in print media production. Consistent and appropriate use is made of specialist vocabulary

AC2.2 set success criteria for skills development in print media production






Performance bands


AC2.3 review skills development in print media production





AC2.4 experiment with techniques in print media production




AC2.5 develop skills in print media production

Some development of print media production skills towards success criteria is evident

Some development of print media production skills is evident, meeting some success criteria

Development of print media production skills has clearly taken place, meeting most success criteria

Development of print media production skills clearly meets success criteria

LO3 be able to present a print media production skills portfolio

AC3.1 select print media production content for portfolio inclusion

Some print media production content is included in a portfolio

A range of print media production content is selected for inclusion, most of which is appropriate

A wide range of appropriate print media production content is selected for inclusion

AC3.2 organise print media production content for presentation




AC3.3 present print media production content in a portfolio







Arranging visits to workplaces such as a local newspaper office to discuss with employees the skills and techniques used in print news production

Arranging talks by visiting speakers, for example a graphic designer, to explain how they experiment with techniques and technologies in their work

Entering a portfolio of work into a national competition, such as the Unesco Student Journalism competition.

The following are examples of approaches to delivery which could be used to enhance the learning and understanding of the vocational importance of developing skills in print media production: Example 1 A local charity for the young homeless invites schools in the area to create a promotional leaflet . Learners could identify techniques to use in the leaflet and plan strategies to develop the required skills. They could produce a range of sample responses to the project, exploring different print production techniques, and then present a portfolio of work to the charity. They could use feedback from the client to identify the most effective idea, which could then be developed into a finished piece. Example 2 A magazine is running a new talent showcase, where it intends to publish features by up and coming writers, and has invited entries. Learners could refer to existing professional practice to identify techniques and skills used in feature writing.They could then experiment with techniques and styles, selecting their most appropriate work for the publication and its audience to present to the magazine editor as an e-portfolio for feedback. Example 3 A local newspaper wants to commission a group of young people to create a supplement on recreational facilities for teenagers. Learners could work in production teams to identify the skills they will need to produce the supplement and the techniques they could use within it. They could set success criteria for their work by establishing standards and timescales. After presenting a portfolio of work to the client, they could gain feedback on the content. Making contacts Examples of organisations that may be approached to provide help include:

Skillset

Local newspaper and magazine companies

National newspaper and magazine companies

Freelance journalists

Schools and colleges

Industry and professional bodies, e.g. National Union Journalists, National Council for the Training of Journalists

Local print workshops

Freelance graphic designers

English and Media Centre







Reading

Writing

ICT Use ICT systems





















Resources Books Bann, D (2007) – The All New Print Production Handbook Turtleback Keeble, R (2001) – The Newspapers Handbook Routledge Websites www.skillset.org/ http://www.journalism.co.uk/ www.printindustry.com

http://www.journalism.co.uk/

http://www.printindustry.com/


Title Skills Development in Interactive Media Production

Unit No. 3p

Entry Code

Level 1/2

GLH 60


Introduction

If I wanted to create a computer game, what skills would I need to develop? What techniques could I use to create a user friendly website ? How can I improve my interactive design skills to make a DVD menu? What multimedia design techniques could I experiment with? How do I build a portfolio to showcase my work?

How many interactive media products have you used this week? You may have looked up a film on the internet, played a game on your console, or used an app on your phone. Interactive media are a huge part of our lives today. There are many skills involved in making interactive media products. Professionals in the industry need to develop a range of skills to enable them to develop and produce websites, computer games, DVD menus and apps.

In this unit, you will learn how to work independently to develop skills in interactive media production. You will learn how to plan for development and use different approaches to progress the skills that you want to develop. Finally, you will learn how to present examples of the skills you have developed in a portfolio.




LO1 know strategies for skills development in interactive media production

AC1.1 identify techniques required for interactive media production


Development, e.g.content, layout, navigation, platform

Production, e.g. graphics, text, html tags, music, sound effects

Review, e.g. check links, check navigation

AC1.2 describe approaches to skills development in interactive media production

Approaches to skills development:

Workshops

Video tutorials

Step by step instructions

De-bugging

User manuals

Observation of professional output

AC1.3 plan strategies for skills development in interactive media production

Strategy:

Combination of techniques and approaches to skills development Plan:




Timescales





LO2 be able to develop skills for professional practice in interactive media production

AC2.1 assess personal skills levels in interactive media production

Skills levels:

Techniques





AC2.2 set success criteria for skills development in interactive media production

Success criteria


Standards expected

Different contexts


Timescales

Priorities

AC2.3 review skills development in interactive media production

Review

Monitor progress

Review process


AC2.4 experiment with techniques in interactive media production

Experiment


Explore use of technologies


Set challenges

Innovation




AC2.5 develop skills in interactive media production

Develop

To success criteria

LO3 be able to present an interactive media production skills portfolio

AC3.1 select interactive media production content for portfolio inclusion

Content



AC3.2 organise interactive media production content for presentation

Organise

Collate content o By skill o By type or platform o By skill level o Chronologically


AC3.3 present interactive media production content in a portfolio

Present


Design and presentation techniques

First impressions


Digital portfolio

Physical portfolio


Learning Outcome

Assessment criteria

Performance bands


LO1 know strategies for skills development in interactive media production

AC1.1 identify techniques required for interactive media production

States techniques required for interactive media production

Identifies techniques required for interactive media production

AC1.2 describe approaches to skills development in interactive media production




AC1.3 plan strategies for skills development in interactive media production

Plan is basic, indicating how it will lead to skills development in interactive media production

Plan has limited detail, although it can be seen how it will lead to skills development in interactive media production

Plan has some detail and shows with some clarity how it will lead to skills development in interactive media production

Plan is detailed and clearly shows how it will lead to skills development in interactive media production

LO2 be able to develop skills for professional practice in interactive media production

AC2.1 assess personal skills levels in interactive media production

Assessment indicates some awareness of skills levels in interactive media production. Limited use of specialist vocabulary

Assessment shows some awareness of skills levels in interactive media production, although there may be some conclusions that are not appropriate. Some use of specialist vocabulary is made

Assessment shows a realistic awareness of skills levels in interactive media production. Consistent and appropriate use is made of specialist vocabulary


Learning Outcome

Assessment criteria

Performance bands


AC2.2 set success criteria for skills development in interactive media production




AC2.3 review skills development in interactive media production





AC2.4 experiment with techniques in interactive media production




AC2.5 develop skills in interactive media production

Some development of interactive media production skills towards success criteria is evident

Some development of interactive media production skills is evident, meeting some success criteria

Development of interactive media production skills has clearly taken place, meeting most success criteria

Development of interactive media production skills clearly meets success criteria


Learning Outcome

Assessment criteria

Performance bands


LO3 be able to present an interactive media production skills portfolio

AC3.1 select interactive media production content for portfolio inclusion

Some interactive media production content is included in a portfolio

A range of interactive media production content is selected for inclusion, most of which is appropriate

A wide range of appropriate interactive media production content is selected for inclusion

AC3.2 organise interactive media production content for presentation




AC3.3 present interactive media production content in a portfolio







Arranging visits to workplaces such as a computer games development company to discuss with employees the skills and techniques used in computer games production

Arranging talks by visiting speakers, for example a web designer, to explain how they experiment with techniques and technologies in their work

Entering a portfolio of work into a national competition, such as the British Interactive Media Awards student category.

The following are examples of approaches to delivery which could be used to enhance the learning and understanding of the vocational importance of developing skills in interactive media production: Example 1 A local charity for the young homeless invites schools in the area to create a promotional website. Learners could identify techniques to use in the website and plan strategies to develop the required skills. They could produce a range of sample responses to the project, exploring different web production techniques, and then present an e-portfolio of work to the charity. They could use feedback from the client to identify the most effective idea, which could then be developed into a finished piece. Example 2 An apps development company is offering a work experience placement to identify and develop new talent and has invited expressions of interest from young people. Learners could refer to existing professional practice to identify techniques and skills used in creating apps.They could then experiment with techniques and styles, selecting their most appropriate work to present to the company as an e-portfolio for feedback. Example 3 A computer games company wants to commission a group of young people to create an innovative new computer game. Learners could work in production teams to identify the skills they will need to produce the game and the techniques they could use within it. They could set success criteria for their work by establishing standards and timescales. After presenting a portfolio of work to the client, they could gain feedback on the content. Making contacts Examples of organisations that may be approached to provide help include:

Skillset

British Interactive Media Association

Local web design companies

Computer games design companies

Freelance designers, developers, production assistants etc.







Reading

Writing

ICT Use ICT systems





















Resources Books Niederst, Jennifer. (2003) Learning Web Design: A Beginners Guide O’Reilly Crowder, David. (2004) Building a Website for Dummies Hungry Minds Inc Lloyd, Ian. (2006) Build Your own Website the Right Way Sitepoint

Krug, Rogers, Scott (2010 DeLoura, Mark. (2001) Game Programming Gems (Vol 2) Charles River Media

Rouse, R. III. (2001) Computer Game Design: Theory & Practice Wordware Publishing Journals Edge Magazine Future Publishing Develop Magazine Aura Publications Websites http://www.skillset.org/ http://www.w3.org/ http://www.blitzgamesstudios.com/blitz_academy/ http://www.gdmag.com/ http://www.cc4g.net/ http://www.daretobedigital.com/protoplay/ http://www.gamedev.net/ http://www.discreet.com http://www.aliaswavefront.com http://www.virtools.com http://www.conitec.com http://www.auran.com http//www.quest3d.com http://www.darkbasic.com http://www.blitzbasic.com http://www.gamasutra.com


http://www.w3.org/

http://www.blitzgamesstudios.com/blitz_academy/

http://www.gdmag.com/

http://www.cc4g.net/

http://www.daretobedigital.com/protoplay/

http://www.gamedev.net/

http://www.discreet.com/

http://www.aliaswavefront.com/

http://www.virtools.com/

http://www.conitec.com/

http://www.auran.com/

http://www.darkbasic.com/

http://www.blitzbasic.com/

http://www.gamasutra.com/


Title Skills Development in Two-Dimensional Studies (2-D)

Unit No. 3q

Entry Code

Level 1/2

GLH 60


Introduction

How can I work creatively with a range of specialist 2-D materials and processes? How can I research and develop work in response to a brief? How can I appreciate the range of 2-D specialisms within the creative industries?

2-D art and design is everywhere – in the books we read, the film posters and advertising we see all around us. This part of the creative industry is hugely diverse and includes many specialisms such as fine art, graphic design, illustration and animation. Famous painter Lucien Freud, international graphic designer Neville Brody, illustrator Lauren Childs and animation director Miyasaki of Studio Ghibli are all artists and designers working within 2-D, whose work helps to shape our cultural landscapes.

This unit gives you an introduction into ways of working that are common practice within the industry. You will learn to draw in a variety of media for a variety of applications and purposes, in traditional and digital formats. Through manipulating a range of materials you will be introduced to principles such as form, structure, line, colour and some of the processes and techniques that are used to create the 2-D art and design work we see around us every day.

In this unit, you will learn how to work independently to develop skills in two-dimensional studies. You will learn how to plan for development and use different approaches to progress the skills that you want to develop. Finally, you will learn how to present examples of the skills you have developed in a portfolio.




LO1 know strategies for skills development in two-dimensional studies

AC1.1 identify techniques required for two-dimensional studies


Drawing for 2-D applications and purposes

Working to a brief

Generating creative ideas

Fine art

Print

Graphic design

Illustration

Animation

Making visual work using formal priniciples ( e.g. structure, form, mark-making, etc.)

Communicating creative ideas

Presenting visual ideas

Contextualisation within creative industries Contexts

Drawing from observation and imagination for a variety of outcomes (e.g. thumbnail sketches, diagrams, storyboards, etc.)

Working to a creative brief within specialist disciplines

The design process (research & development of visual ideas)

The sketchbook, worksheets, mood boards, drafts, visuals, proofs, etc.

Specialist workshops (e.g. materials, digital software, techniques & processes, etc.)

Graphic design (e.g. advertising, editorial, typography, etc.)

Illustration & animation (e.g. editorial, childrens, scientific, etc.)

Print (e.g. traditional, digital, etc.)




AC1.2 describe approaches to skills development in two-dimensional studies

Approaches to skills development Verbal instructions – exposition of materials, processes, methodologies Workshop demonstration – manipulating materials & processes, traditional &

digital Video – research into 2-D practitioners, processes & techniques Diagrams – technical instructions, ideas generation & development Photo sequences – documenting work in progress and workshop practice,

researching ideas.

AC1.3 plan strategies for skills development in two-dimensional studies

Strategy





Timescales


LO2 be able to develop skills for professional practice in two-dimensional studies

AC2.1 assess personal skills levels in two-dimensional studies

Skills levels

Techniques








AC2.2 set success criteria for skills development in two-dimensional studies

Success criteria


Standards expected

Different contexts


Timescales

Priorities

AC2.3 review skills development in two-dimensional studies

Review

Monitor progress

Review process


AC2.4 experiment with techniques in two-dimensional studies

Experiment


Explore use of materials


Set challenges

Innovation

AC2.5 develop skills in two-dimensional studies

Develop

To success criteria

LO3 be able to present a two-dimensional studies

AC3.1 select two-dimensional studies content for portfolio inclusion

Content






skills portfolio AC3.2 organise two-dimensional studies content for presentation

Organise

Collate content o By skill o By type of style/genre or medium o By skill level o Chronologically


AC3.3 present two-dimensional studies content in a portfolio

Present


Display techniques

First impressions


Digital portfolio

Physical portfolio



Performance bands


LO1 know strategies for skills development in two-dimensional studies

AC1.1 identify techniques required for two-dimensional studies

States techniques required for two-dimensional studies

Identifies techniques required for two-dimensional studies

AC1.2 describe approaches to skills development in two-dimensional studies




AC1.3 plan strategies for skills development in two-dimensional studies

Plan is basic indicating how it will lead to skills development in in two-dimensional studies

Plan has limited detail, although it can be seen how it will lead to skills development in two-dimensional studies

Plan has some detail and shows with some clarity how it will lead to skills development in two-dimensional studies

Plan is detailed and clearly shows how it will lead to skills development in two-dimensional studies

LO2 be able develop skills for professional practice in two-dimensional studies

AC2.1 assess personal skills levels in two-dimensional studies

Assessment indicates some awareness of skills levels in two-dimensional studies. Limited use of specialist vocabulary

Assessment shows some awareness of skills levels in two-dimensional studies, although there may be some conclusions that are not appropriate. Some use of specialist vocabulary is made.

Assessment shows a realistic awareness of skills levels in two-dimensional studies. Consistent and appropriate use is made of specialist vocabulary



Performance bands


AC2.2 set success criteria for skills development in two-dimensional studies



Success criteria are set, which are mainly clear. Some criteria are challenging and ambitious but most criteria are achievable and related to identified skills and techniques

AC2.3 review skills development in two-dimensional studies





AC2.4 experiment with techniques in two-dimensional studies




AC2.5 develop skills in two-dimensional studies

Some development of two-dimensional studies skills towards success criteria is evident

Some development of two-dimensional studies skills is evident, meeting some success criteria

Development of two-dimensional studies skills has clearly taken place meeting most success criteria

Development of two-dimensional studies skills clearly meets success criteria



Performance bands


LO3 be able to present a two-dimensional studies skills portfolio

AC3.1 select two-dimensional studies content for portfolio inclusion

Some two-dimensional studies content is included in a portfolio

A range of two-dimensional studies content is selected for inclusion, most of which are appropriate

A wide range of appropriate two-dimensional studies content is selected for inclusion

AC3.2 organise two-dimensional studies content for presentation




AC3.3 present two-dimensional studies content in a portfolio






Guidance for Delivery It is important that learners recognise that the knowledge, understanding and skills they develop are vocationally relevant. There are a number of ways this can be achieved: Arranging visits to workplaces such as studios and galleries to discuss with specialist practitioners their perspective on 2-D Art & Design issues (e.g. drawing, painting, print, graphics, illustration, animation, etc.) and the breadth of opportunities and progression within the sector

Arranging visits to workplaces such as studios and galleries to discuss with 2-D artists and designers how they create and present their visual work.

Arranging workshop demonstrations by visiting 2-D practitioners, for example a self-employed illustrator could present his/her portfolio and explain how he/she works on a design from concept to completion, from initial drawings and paintings through to the printed end product.

Carrying out a live project set by an employer such as a local graphic design agency requiring branding concepts for local businesses. Learners would need to provide drawings and digital designs and present these in a portfolio to representatives from the company.

The following are examples of approaches to delivery which could be used to enhance the learning and understanding of the vocational importance of developing skills in Two-Dimensional Studies. Example 1 Learners could work in groups to carry out an information design brief on behalf of local government, seeking to establish a healthy eating awarenes initiative. The project is bilingual and targets the young adult market. Learners could research other examples and create design ideas for marketing materials including posters, leaflets and television commercials. Learners would present their final designs and preparatory work to representatives of the local government. Example 2 Learners could respond to a local author’s request for illustrations to accompany his/her poetry, which centres around an anthropomorphic character. The brief is to create visual ideas for the poems, as well as character design – the publishers are also interested in creating a short animation to accompany the book. Working from the text learners would identify key themes, create drawings from observation and imagination and develop these into final pieces. Illustrations would be presented in portfolio to the Publishers for selection. Learners could set success criteria for their work by establishing timescales, standards expected and practice related to illustration, character design and animation production. Example 3 Learners could carry out a research project for the local children’s hospice who are interested in integrating arts sessions for their patients, to improve their health and wellbing. The staff are interested in being shown basic painting and printing techniques that they can then share with the young patients, many of whom have severe health & mobility problems. Learners would be required to demonstrate application of materials and techniques, devise a mini-workshop timeframe and plan, and assist in the running of mini-workshops to demonstrate skills to hospice staff.


Making contacts Examples of organisations that may be approached to provide help include:

Galleries

Printmaking studios

Contemporary arts groups

Professional organisations within the industry

Local practitioners

Colleges & Universities

Industry experts




Application of number Understand numerical data




Reading

Writing

ICT Use ICT systems





















Resources Books: Fiell, C. & Fiell, P., Graphic Design for the Twenty First Century (Taschen:2005) Prendeville, B, Realism in 20th Century Painting (Thames & Hudson:2000) Taylor, B., Collage: The Making of Modern Art (Thames & Hudson:2004) Weill, A.,Graphics: A Century of Poster & Advertising Design (Thames & Hudson:2004) Woodall, J., Portraiture, Facing the Subject (Manchester:1997) Leslie Geddes-Brown, Angie Lewin : Plants and Places (Merrell Publishers Ltd:2010) Rosemary Simmons & Katie Clemson,The Complete Manual of Relief Printmaking (Dorling Kindersley:1988) Jerry Beck, Animation Art (Flame Tree Publishing:2004) Websites: http://www.a-prints.com/ http://www.moma.org/collection/depts/prints_books/index.html http://www.tamu.edu/mocl/picasso/ www.accessart.org.uk/ www.artiscamnorth.org.uk/mac.php www.axisweb.org/alHOME.aspx www.copy-art.net/ www.drumcroon.org.uk www.virtualartroom.com http://www.printmaker.co.uk/pmc/ http://www.worldprintmakers.com/english/wp-main.htm

http://www.a-prints.com/

http://www.moma.org/collection/depts/prints_books/index.html

http://www.tamu.edu/mocl/picasso/

http://www.accessart.org.uk/

http://www.artiscamnorth.org.uk/mac.php

http://www.axisweb.org/alHOME.aspx

http://www.copy-art.net/

http://www.drumcroon.org.uk/

http://www.virtualartroom.com/

http://www.printmaker.co.uk/pmc/

http://www.worldprintmakers.com/english/wp-main.htm


Title Skills Development in Three-Dimensional Studies (3-D)

Unit No. 3r

Entry Code

Level 1/2

GLH 60


Introduction

How can I work creatively with a range of specialist materials and processes related to 3-D work? How can I research and develop work in response to a brief? How can I develop my 3-D making skills within Art & Design?

The 3-D creative industry encompasses a range of specialist areas including product design, architecture and sculpture. 3-D artists and designers work with a range of physical and digital media and processes in the design and construction of their ideas. One of the best-known 3-D product designers is James Dyson, famous for his innovative design solutions. Other practitioners working in 3-D include the sculptor Anish Kapoor, winner of the Turner prize and designer for the landmark sculpture for the 2012 London Olympics.

This unit gives you an introduction into ways of working that are common practice within the industry. It encourages you to explore your own creative ideas, giving you the tools and confidence to develop and create 3-D objects from your own design drawings. Through manipulating a range of materials you will be introduced to principles such as form, structure, texture, and some of the processes and techniques used to create contemporary 3-D Art & Design.

In this unit, you will learn how to work independently to develop skills in three-dimensional studies. You will learn how to plan for development and use different approaches to progress the skills that you want to develop. Finally, you will learn how to present examples of the skills you have developed in a portfolio.




LO1 know strategies for skills development in three-dimensional studies

AC1.1 identify techniques required for three-dimensional studies skills


Drawing for 3-D applications and purposes


Working to a brief

Sculpture

Product design

Digital 3-D design

3-D stop frame and digital animation

Set design

Architecture

Interior design

Making visual work using formal principles (e.g. structure, form, texture etc.)




Spatial drawing (e.g. observational, imaginative, design drawings etc.)

The Design Process (e.g. research & development of visual ideas sketchbook, diagrams, design sheets, worksheets, contextualisation etc.)

Working to a creative brief

Specialist workshops (e.g. materials, machinery, software, techniques & processes etc.)

Micro projects within specialist workshops (e.g. test pieces, sample pieces, maquettes, models etc.)




AC1.2 describe approaches to skills development in three dimensional-studies

Approaches to skills development Verbal instructions (e.g. exposition of materials, processes & methodologies

etc.) Demonstration(e.g. Workshops – manipulating materials, processes &

techniques) Video (e.g. research into 3-D practitioners, processes & techniques) Diagrams (e.g. technical instructions, ideas generation & development) Photo sequences (e.g. documenting work in progress and workshop

practice, researching ideas, etc.)

AC1.3 plan strategies for skills development in three dimensional-studies

Strategy





Timescales


LO2 be able to develop skills for professional practice in three-dimensional studies

AC2.1 assess personal skills levels in three-dimensional studies

Skills levels

Techniques








AC2.2 set success criteria for skills development in three- dimensional studies

Success criteria


Standards expected

Different contexts


Timescales

Priorities

AC2.3 review skills development in three- dimensional studies

Review

Monitor progress

Review process


AC2.4 experiment with techniques in three-dimensional studies

Experiment




Set challenges

Innovation

AC2.5 develop skills in three- dimensional studies

Develop

To success criteria




LO3 be able to present a three-dimensional studies skills portfolio

AC3.1 select three- dimensional studies content for portfolio inclusion

Content



AC3.2 organise three- dimensional studies content for presentation

Organise



AC3.3 present three-dimensional studies content in a portfolio

Present


Display techniques

First impressions


Digital portfolio

Physical portfolio



Performance bands


LO1 know strategies for skills development in three-dimensional studies

AC1.1 identify techniques required for three-dimensional studies

States techniques required for


AC1.2 describe approaches to skills development in-three dimensional studies




AC1.3 plan strategies for skills development in three-dimensional studies

Plan is basic indicating how it will lead to skills development in three-dimensional studies

Plan has limited detail although it can be seen how it will lead to skills development in three-dimensional studies

Plan has some detail and shows with some clarity how it will lead to skills development in three-dimensional studies

Plan is detailed and clearly shows how it will lead to skills development in three-dimensional studies

LO2 be able develop skills for professional practice in three-dimensional studies

AC2.1 assess personal skills levels in three- dimensional studies

Assessment indicates some awareness of skills levels in three-dimensional studies. Limited use of specialist vocabulary

Assessment shows some awareness of skills levels in three-dimensional studies, although there may be some conclusions that are not appropriate. Some use of specialist vocabulary is made.

Assessment shows a realistic awareness of skills levels in three-dimensional studies.Consistent and appropriate use is made of specialist vocabulary

AC2.2 set success criteria for skills development in three-dimensional studies






Performance bands


AC2.3 review skills development in three-dimensional studies


There is some monitoring of skills development evident. Some valid and straightforward conclusions are drawn regarding progress


Skills development is clearly monitored throughout. Valid and well reasoned, evidence based conclusions are made

AC2.4 experiment with techniques in three-dimensional studies




AC2.5 develop skills in three-dimensional studies

Some development of three-dimensional studies skills towards success criteria is evident

Some development of three-dimensional studies skills is evident, meeting some success criteria

Development of three-dimensional studies skills has clearly taken place, meeting most success criteria

Development of three-dimensional studies skills clearly meets success criteria

LO3 be able to present a three-dimensional studies skills portfolio

AC3.1 select three-dimensional studies content for portfolio inclusion

Some three-dimensional studies content is included in a portfolio

A range of three-dimensional studies content is selected for inclusion, most of which is appropriate

A wide range of appropriate three-dimensional studies content is selected for inclusion

AC3.2 organise three-dimensional studies content for presentation




AC3.3 present three-dimensional studies content in a portfolio







Arranging visits to workplaces such as studios and galleries to see 3-Dimensional work in commercial and workshop contexts. Discussing with 3-D artists and designers how they develop and present their visual work for public environments. Learners could recognise the variety of ways drawing can be used to support design development and view professional portfolios.

Arranging workshop demonstrations and talks by visiting 3-D designers, for example a 3-D digital design company could demonstrate their particular specialist techniques and explain how these are used within their work. Learners could learn different applications of media and gain insight into how processes are integrated into final outcomes.

Carrying out a live project set by an employer such as a local theatre requiring set-designs and props for a forthcoming production. Learners could design drawings, test pieces and maquettes for production. Learners would present their visual ideas to the creative team, having realised the design process involved in working to a brief and by presenting their final designs in a portfolio

The following are examples of approaches to delivery which could be used to enhance the learning and understanding of the vocational importance of developing skills in Three-Dimensional Studies Example 1 Learners could work in groups to carry out a design project on behalf of a product design company seeking new designs for an existing product. The company is looking for a design for the casing of the product, which would house the technology and are interested in ‘original and unusual ideas that appeal to the 18-30 sports leisure market’. Learners would work to a brief to create drawings, design sheets, models and maquettes and present these in a portfolio to the company. Example 2 Learners could carry out a digital visualisation project for a digital design company who are researching and developing 3-D virtual worlds and their role in website development. They are interested in working with students’ drawings of objects that will be integrated into 3-D virtual landscapes, in a variety of commercial contexts. Learners would work to a brief and create drawings, designs and visual material to present in the portfolio to the company directors. Example 3 Learners could work in groups to carry out a 3-D design brief for a local theatre company in their production of Tales from the Mabinogion. The brief involves research and design for audience-immersive sets and also puppets and props. Learners would follow the design process to originate and develop visual ideas, for example: drawings, design sheets, models and maquettes. These would be presented in portfolios to the theatre creative team for approval. Learners could set success criteria for their work by establishing timescales, standards expected and practice related to innovative scenic, prop, puppet, mask and costume designs such as those of Julie Taymor and Richard Hudson in the stage version of the Lion King.



Crafts council

Galleries

Arts Council

Sculpture parks


Local practitioners

Industry experts


Local theatres and operatic societies

3-D animation studios







Reading

Writing

ICT Use ICT systems





















Resources Books Lord, P. & Sibley, B., Cracking Animation: Aardman Book of 3-D Animation (Thames & Hudson: 1999) Fiell, C. & Fiell, P., Industrial Design A-Z (Taschen: 2006) Ghirardo, D., Architecture after Modernism (Thames & Hudson: 2006) Kennedy, A., Bauhaus (Flame Tree Publishing: 2006) Massey, A., Interior Design of the Twentieth Century (Thames & Hudson: 2001) McDermott, C., 20th Century Design (Carlton/Design Museum: 1999)

Websites http://www.sculpture.org.documents/webspec/magazine/wsenglis.htm http://www.myvirtualmodel.com http://www.petersharpe.com/Tutorials.htm http://www.raymondloewy.com/

http://www.sculpture.org.documents/webspec/magazine/wsenglis.htm

http://www.myvirtualmodel.com/

http://www.petersharpe.com/Tutorials.htm

http://www.raymondloewy.com/


Title Skills Development in Applied Arts & Crafts

Unit No. 3s

Entry Code

Level 1/2

GLH 60


Introduction

How can I work creatively with a range of materials and processes? How can I research and develop work in response to an applied arts & crafts brief? How can I develop my making skills within applied arts & crafts?

Did you know that Turner prize-winner Grayson Perry is an applied artist? Perry creates ceramic pieces and is internationally acclaimed as an artist and ceramicist. Other applied artists work with materials which include: glass, metal, lighting and wood, in many roles within industry such as blacksmith, jeweller, carpenter – the list is extensive. A range of applied artsts and craftspeople work either in their own studios as independent makers, or as part of larger organisations and design groups. This unit gives you an introduction into how to develop your creative ideas and make applied art & craft works using some of the materials, processes and techniques that are used in contemporary practice.

The applied arts & crafts creative industry is varied and diverse and includes specialisms such as ceramics, jewellery and furniture design. This unit gives you an introduction into ways of working that are common practice within the industry, Through drawing and manipulating a range of materials you will begin to understand essential principles such as form, structure, and some of the processes and techniques that are used to create designed and crafted objects.

In this unit, you will learn how to work independently to develop skills in applied arts & crafts. You will learn how to plan developments and use different approaches to progress the skills that you want to develop. Finally, you will learn how to present evidence of the skills you have developed in a portfolio.




LO1 know strategies for skills development in applied arts & crafts

AC1.1 identify techniques required for applied arts & crafts


Drawing for applied arts & crafts

Working to a brief

Generating Creative ideas

Ceramics

Jewellery

Furniture design

Model-making

Glass

Paper

Plastics

Making visual work using formal prinicples (e.g. structure, form, mark-making, colour, texture, etc.)




Drawing for design development

Drawing from observation and imagination, e.g. sketchbook, worksheets, mood boards,

Working with clayhandbuilding (e.g. throwing, modelling, glazing, firing etc.)

Working with metal (e.g. cutting, filing, joining, etc.)

Working with wood (e.g. cutting, filing, joining, etc)

Experiments(e.g. test pieces, samples, maquettes and models, etc. from micro-projects within specialist materials & processes workshops)




AC1.2 describe approaches to skills development in applied arts & crafts

Approaches to skills development Verbal instructions – exposition of materials, processes, methodologies Workshop demonstration – manipulating materials & processes Video – research into applied art & craft practitioners, processes &

techniques Diagrams – technical instructions, ideas generation & development Photo sequences – documenting work in progress and workshop practice,

researching ideas.

AC1.3 plan strategies for skills development in applied arts & crafts

Strategy





Timescales


LO2 be able to develop skills for professional practice in applied arts & crafts

AC2.1 assess personal skills levels in applied arts & crafts

Skills levels

Techniques








AC2.2 set success criteria for skills development in applied arts & crafts

Success criteria


Standards expected

Different contexts


Timescales

Priorities

AC2.3 review skills development in applied arts & crafts

Review

Monitor progress

Review process


AC2.4 experiment with techniques in applied arts & crafts

Experiment




Set challenges

Innovation

AC2.5 develop skills in applied arts & crafts

Develop

To success criteria

LO3 be able to present an applied arts & crafts portfolio

AC3.1 select applied arts & crafts content for portfolio inclusion

Content






AC3.2 organise applied arts & crafts content for presentation

Organise

Collate content o by skill o By type of style/genre or medium o By skill level o Chronologically


AC3.3 present applied arts & crafts content in a portfolio

Present


Display techniques

First impressions


Digital portfolio

Physical portfolio



Performance bands


LO1 know strategies for skills development in applied arts & crafts

AC1.1 identify techniques required for applied arts & crafts

States techniques required for applied arts & crafts

Identifies techniques required for applied arts & crafts

AC1.2 describe approaches to skills development in applied arts & crafts




AC1.3 plan strategies for skills development in applied arts & crafts

Plan is basic indicating how it will lead to skills development in applied arts & crafts

Plan has limited detail, although it can be seen how it will lead to skills development in applied arts & crafts

Plan has some detail and shows with some clarity how it will lead to skills development in applied arts & crafts

Plan is detailed and clearly shows how it will lead to skills development in applied arts & crafts

LO2 be able develop skills for professional practice in applied arts & crafts

AC2.1 assess personal skills levels in applied arts & crafts

Assessment indicates some awareness of skills levels in applied arts & crafts. Limited use of specialist vocabulary

Assessment shows some awareness of skills levels in applied arts & crafts, although there may be some conclusions that are not appropriate. Some use of specialist vocabulary is made.

Assessment shows a realistic awareness of skills levels in applied arts & crafts. Consistent and appropriate use is made of specialist vocabulary



Performance bands


AC2.2 set success criteria for skills development in applied arts & crafts

Success criteria are set with limited clariy. Some criteria are related to identified skills and techniques.



AC2.3 review skills development in applied arts & crafts





AC2.4 experiment with techniques in applied arts & crafts




AC2.5 develop skills in applied arts & crafts

Some development of applied arts & crafts skills towards success criteria is evident

Some development of applied arts & crafts skills is evident, meeting some success criteria

Development of applied arts & crafts skills has clearly taken place meeting most success criteria

Development of applied arts & crafts skills clearly meets success criteria



Performance bands


LO3 be able to present an applied arts & crafts skills portfolio

AC3.1 select applied arts & crafts content for portfolio inclusion

Some applied arts & crafts content is included in a portfolio

A range of applied arts & crafts content is selected for inclusion, most of which is appropriate

A wide range of appropriate applied arts & crafts content is selected for inclusion

AC3.2 organise applied arts & crafts content for presentation




AC3.3 present applied arts & crafts content in a portfolio







Arranging visits to workplaces such as studios and galleries to discuss with applied artists, designers and craftspeople how they develop and present their visual work in public environments

Arranging workshop demonstrations by visiting applied arts & craft practitioners, for example a self-employed jeweller could demonstrate particular specialist techniques and explain how he/she uses these within his/her work. He/she could also talk about what influences individual designs and how drawing can be utilised to develop and progress jewellery designs.

Carrying out a project set by an employer such as an animation company requiring 2-D character designs and 3-D models. Learners would need to provide drawings and maquettes and present these in a portfolio to representatives from the company.

The following are examples of approaches to delivery which could be used to enhance the learning and understanding of the vocational importance of developing skills in applied arts & crafts Example 1 Learners could work in groups to carry out a design project on behalf of a community group seeking to establish a ‘sculpture garden’ for a homeless hostel. The brief suggests decorative objects in a variety of materials, for example a mural and small-scale sculptures. Learners could carry out primary research and develop drawings and ideas for 3-D pieces. Learners could research other examples and suggest relevant materials and processes. Learners would present visual ideas including design drawings and 3-D maquettes within their portfolio to representatives of the community group for selection and development. Example 2 Learners could respond to a co-operative crafts centre and gallery who are looking for local makers to display work in their shop and café. They are particlarly interested in exhibiting functional pieces of 3-D work, e.g. furniture and tableware, as well as decorative objects and jewellery. All work will be for sale, both in the shop and online. Learners would create design drawings and develop these into test and sample pieces. Finished 3-D work would be photographed and presented to the gallery directors for selection. Learners could set success criteria for their work by establishing timescales, standards expected and practice related to small-scale batch production as well as the creation of one-off pieces. Example 3 Learners could carry out a research & development project for the local childrens’ hospice who are interested in integrating arts & crafts sessions for their staff and patients, to improve their health and wellbeing. Learners could research materials, techniques and processes appropriate for the target audience and identify timescales for instruction delivery and production in workshop sessions.



Galleries

Contemporary applied arts & crafts centres

Studios & workshops


Industry experts


Applied arts & crafts guilds







Reading

Writing

ICT Use ICT systems





















Resources Books Fiell, C. & Fiell, P. Design of the 20th Century (Taschen: 2001) Fiell, C. & Fiell, P., Design for the 21st Century (Taschen: 2003) Greenhalgh, P. Ed, The Persistence of Craft (A&C Black: 2003) Grey, M. & Wild, J., Paper, metal and stitch (Batsford: 2004)

Cecilia Cohen, The Glass Artist's Studio Handbook: Traditional and Contemporary Techniques for Working with Glass (Quarry Books: 2011)

Manners, E., Ceramics Source Book (Quantum, Grange Books: 1997) Waller, J., The Human Form in Clay (Crowwood Press: 2001) De Waal, E., Twentieth Century Ceramics (Thames & Hudson: 2003) Suzanne Tourtillot, 500 clay sculptures (Lark Books: 2004) Veronika Alice Gunter, 400 wood boxes: the fine art of containment & concealment (Lark Books:2004)

Carles Codina, The Complete Book of Jewelry Making: A Full-Color Introduction to the Jeweler's Art (Lark Books: 2006)

Websites http://www.craftscouncil.org.uk www.makersguildinwales.org.uk/ http://gallery.mcneel.com/?language=en&g=5 : Architectural design http://www.art-life.com/MOCA/tasman/index.html: Ceramics http://www.cerhas.uc.edu/ http://www.wgsn.com/public/ www.craftscouncil.org.uk/photostore/index.html www.makingitwork.org.uk/index.html Glass Artists.org www.glassartists.org/

http://www.google.co.uk/products/catalog?hl=en&q=wood+art+books&gs_upl=47441l50550l0l51130l11l11l0l0l0l4l290l2209l1.3.7l11l0&bav=on.2,or.r_gc.r_pw.,cf.osb&biw=1280&bih=715&wrapid=tlif132368651617310&um=1&ie=UTF-8&tbm=shop&cid=15972945068809753458&sa=X&ei=qNrlTsP8BMjc8gPhqtnkDQ&ved=0CIsBEPMCMAc

http://www.craftscouncil.org.uk/

http://www.makersguildinwales.org.uk/

http://gallery.mcneel.com/?language=en&g=5

http://www.art-life.com/MOCA/tasman/index.html

http://www.cerhas.uc.edu/

http://www.wgsn.com/public/

http://www.craftscouncil.org.uk/photostore/index.html

http://www.makingitwork.org.uk/index.html

http://www.glassartists.org/


Title Skills Development in Contemporary Textiles

Unit No. 3t

Entry Code

Level 1/2

GLH 60


Introduction

How can I work creatively with a range of specialist materials and processes? How can I research and develop work in response to a contemporary textiles brief? How can I develop my making skills within contemporary textiles?

Designers such as Vivien Westwood and Philip Treacy are celebrated contemporary textile artists. Westwood is famous for her ‘punk’ collections and Treacy for his extraordinary hat designs and their garments are desired all over the world. They work within the fashion and accessories areas of the contemporary textile creative industies.

The contemporary textiles creative industry includes specialisms such as textiles, fashion, accessories and costume and many other areas such as interior design and cordwaining.

Contemporary textile artists and designers work either in their own studios or as part of larger organisations and design groups. This unit gives you an introduction into ways of working that are common practice within the industry and encourages you to explore your own creative ideas, giving you the tools and confidence to develop and make your own designs. Through manipulating a range of materials you will be introduced to principles such as texture, pattern, colour, and some of the processes and techniques used to create contemporary textile pieces.

In this unit, you wil learn how to work independently to develop skills in contemporary textiles. You will learn how to plan for development and use different approaches to progress the skills that you want to develop. Finally, you will learn how to present examples of the skills you have developed in a portfolio.




LO1 know strategies for skills development in contemporary textiles

AC1.1 identify techniques required for contemporary textiles skills


Drawing for contemporary textiles applications and purposes


Working to a brief

Textiles

Stitch

Embroidery

Fashion Design

Surface pattern

Interior Design

Accessories

Costume

Cordwaining

Making visual work using formal prinicples (eg. structure, form, mark-making, texture, colour, etc.)




Mixed media drawing from observation and imagination

The design process (research & development of visual ideas)

The sketchbook, diagrams, mood boards, design sheets, worksheets, contextualisation, etc.

Working to a creative brief

Microprojects within specialist workshops (e.g. test pieces, sample pieces, maquettes and models)

Specialist workshops (e.g. materials, machinery, software, techniques & processes, etc.)




AC1.2 describe approaches to skills development in contemporary textiles

Approaches to skills development Verbal instructions – exposition of materials, processes & methodologies Demonstration – workshops – manipulating materials & processes Video – research into contemporary textiles practitioners, processes &

techniques Diagrams – technical instructions, ideas generation & development Photo sequences – documenting work in progress and workshop practice,

researching ideas

AC1.3 plan strategies for skills development in contemporary textiles

Strategy





Timescales


LO2 be able to develop skills for professional practice in contemporary textiles

AC2.1 assess personal skills levels in contemporary textiles

Skills levels

Techniques








AC2.2 set success criteria for skills development in contemporary textiles

Success criteria


Standards expected

Different contexts


Timescales

Priorities

AC2.3 review skills development in contemporary textiles

Review

Monitor progress

Review process


AC2.4 experiment with techniques in contemporary textiles

Experiment




Set challenges

Innovation

AC2.5 develop skills in contemporary textiles

Develop

To success criteria




LO3 be able to present a contemporary textiles skills portfolio

AC3.1 select contemporary textiles content for portfolio inclusion

Content



AC3.2 organise contemporary textiles content for presentation

Organise



AC3.3 present contemporary textiles content in a portfolio

Present


Display techniques

First impressions


Digital portfolio

Physical portfolio



Performance bands


LO1 know strategies for skills development in contemporary textiles

AC1.1 identify techniques required for contemporary textiles skills

States techniques required for contemporary textiles

Identifies techniques required for contemporary textiles

AC1.2 describe approaches to skills development in contemporary textiles




AC1.3 plan strategies for skills development in contemporary textiles

Plan is basic, indicating how it will lead to skills development in contemporary textiles

Plan has limited detail, although it can be seen how it will lead to skills development in contemporary textiles

Plan has some detail and shows with some clarity how it will lead to skills development in contemporary textiles

Plan is detailed and clearly shows how it will lead to skills development in contemporary textiles

LO2 be able develop skills for professional practice in contemporary textiles

AC2.1 assess personal skills levels in contemporary textiles

Assessment indicates some awareness of skills levels in contemporary textiles. Limited use of specialist vocabulary

Assessment shows some awareness of skills levels in contemporary textiles, although there may be some conclusions that are not appropriate. Some use of specialist vocabulary is made.

Assessment shows a realistic awareness of skills levels in contemporary textiles. Consistent and appropriate use is made of specialist vocabulary

AC2.2 set success criteria for skills development in contemporary textiles

Success criteria are set with limited clariy. Some criteria are related to identified skills and techniques





Performance bands


AC2.3 review skills development in contemporary textiles





AC2.4 experiment with techniques in contemporary textiles




AC2.5 develop skills in contemporary textiles

Some development of contemporary textiles skills towards success criteria is evident

Some development of contemporary textiles skills is evident, meeting some success criteria

Development of contemporary textiles skills has clearly taken place meeting most success criteria

Development of contemporary textiles skills clearly meets success criteria

LO3 be able to present a contemporary textiles skills portfolio

AC3.1 select contemporary textiles content for portfolio inclusion

Some contemporary textiles content is included in a portfolio

A range of contemporary textiles content is selected for inclusion, most of which are appropriate

A wide range of appropriate contemporary textiles content is selected for inclusion

AC3.2 organise contemporary textiles content for presentation




AC3.3 present contemporary textiles content in a portfolio







Arranging visits to workplaces such as studios and galleries to discuss with contemporary textile artists and designers how they develop and present their visual work for public environments or consumers. Learners could recognise the variety of ways drawing can be used to support design development and view professional portfolios.

Arranging workshop demonstrations and talks by visiting contemporary textile practitioners, for example a textile artist, could demonstrate their particular specialist techniques and explain how these are used within their work. Learners could acquire an understanding of different applications of media and gain insight into how processes are integrated into final outcomes.

Carrying out a live project set by an employer such as a local theatre requiring costumes for a forthcoming production. Learners could design drawings, test pieces and maquettes for production. Learners would present their visual ideas to the creative team, having realised the design process involved in working to a brief and by presenting their final designs in a portfolio.

The following are examples of approaches to delivery which could be used to enhance the learning and understanding of the vocational importance of developing skills in contemporary textiles Example 1 Learners could work in groups to carry out a fashion show charity event on behalf of a local children’s hospice, Learners would work to a brief, designing garments and themes for the event. Learners could investigate other examples and what form designs may take for designing, constructing garments, styling and presenting the show. Learners could carry out primary research to inform design ideas. Learners would provide the organisers with design sheets, mood board and sample pieces/maquettes to communicate their visual ideas. Finished work would be presented to the organisers before showcasing in front of a live audience. Example 2 Learners could work in groups to carry out a costume design brief for a local theatre company in their production of Tales from the Mabinogion. The brief involves research and design for costumes, set designs and props. Learners would follow the design process to orginate and develop visual ideas, for example design sheets, sample pieces, mock-ups and maquettes, and these would be presented to the theatre creative team in portfolios prior to production. Learners could set success criteria for their work by establishing timescales, standards expected and practice related to collabative work and the realisation of the artistic director’s visual concepts. Example 3 Learners could respond to a brief from a botanical garden which requires a collection of large-scale suspended textile pieces for their new offices. Learners could carry out primary research in the form of drawings from the garden collection, and develop these into visual ideas, including design sheets, samples, test pieces and mock-ups. These would be presented to the directors in a portfolio and selected work would be developed to complete the project.



Crafts council

Craft centres

Galleries

Arts council


Local practitioners

Industry experts








Reading

Writing

ICT Use ICT systems





















Resources Books The Textile Book (Berg) Gail Baugh, The Creative Use of Fabrics in Design (Thames & Hudson) Artwear, Fashion and Anti-Fashion (Thames & Hudson) Maggie Grey and Val Campbell-Harding, Stitch, Dissolve, Distort with Machine Embroidery (Artvango) Alyson Midgelow-Marsden,This Lustr'ed Cloth (Artvango) Gillow,J.& Sentance,B, World Textiles: A Visual Guide to Traditional Techniques (Thames & Hudson) The Costume Design Handbook (Heinneman) Websites www.vam.ac.uk Victoria and Albert Museum www.nieg.org.uk/links.html www.museumofcostume.co.uk/ www.ftmlondon.org Fashion and Textile Museum www.selvedge.org/ www.phoenixcontemporarytextiles.com/ www.wai.org.uk/index/publications/form/textiles www.ccskills.org.uk/

http://www.thamesandhudson.com/9780500285374.html

http://www.vam.ac.uk/

http://www.nieg.org.uk/links.html

http://www.museumofcostume.co.uk/

http://www.ftmlondon.org/

http://www.ftmlondon.org/

http://www.selvedge.org/

http://www.phoenixcontemporarytextiles.com/

http://www.wai.org.uk/index/publications/form/textiles

http://www.ccskills.org.uk/


Title Skills Development in Digital and Lens-based Media

Unit No. 3u

Entry Code

Level 1/2

GLH 60


Introduction

How can I work creatively with a range of digital and lens-based media and processes? How can I research and develop work in response to a digital and lens-based media brief? How can I appreciate the range of Digital and Lens-based specialisms within the creative industries?

Digital and lens-based art and design is all around us – in the films we watch, the magazines we read and much of the advertising and imagery we see all around us. This part of the creative industry is hugely diverse and includes specialists in film, photography, digital imaging, website design, computer generated imagery and computer generated animation. The photographer Annie Leibovitz’s work is shown all over the world – her photographs include celebrity portraits for fashion shoots and magazine covers. This genre of photography is just one example in this spectrum of the creative industries.

This unit gives you an introduction into ways of working that are common practice within the industry. You will learn to draw in a variety of media for a variety of applications and purposes, in traditional and digital formats. Through manipulating a range of digital and lens-based materials you will be introduced to principles such as composition, colour, lighting and some of the processes and techniques that are used to create the digital and lens-based media we see around us every day.

In this unit, you will learn how to work independently to develop skills in digital and lens-based media. You will learn how to plan for development and use different approaches to progress the skills that you want to develop. Finally, you will learn how to present examples of the skills you have developed in a portfolio.




LO1 know strategies for skills development in digital and lens-based media

AC1.1 identify techniques required for in digital and lens-based media skills


Drawing for digital and lens-based media applications and purposes

Working to a brief


Photography

Digital imaging

Film

Art direction

Web design

Computer generated imagery

Computer generated animation

Making visual work using formal principles – e.g. composition, colour, tone




Drawing (e.g. thumbnail sketches, diagrams, storyboards etc.)

The design process (e.g. research & development of visual idea etc.)

The sketchbook (e.g. visuals, proofs etc.)

Specialist workshops (e.g. photography, digital software, techniques & processes, printing work, archiving digital work, etc.)




AC1.2 describe approaches to skills development in digital and lens-based media

Approaches to skills development Verbal instructions exposition of materials, processes, methodologies Workshop demonstration (e.g. manipulating materials & processes in digital

and lens-based media) Video (e.g. research into digital/Lens-based practitioners, processes &

techniques) Diagrams (e.g. technical instructions, ideas generation & development) Photo sequences (e.g. documenting work in progress and workshop

practice, researching ideas)

AC1.3 plan strategies for skills development in digital and lens-based media

Strategy





Timescales


LO2 be able to develop skills for professional practice in digital and lens-based media

AC2.1 assess personal skills levels in digital and lens-based media

Skills levels

Techniques








AC2.2 set success criteria for skills development in digital and lens-based media

Success criteria


Standards expected

Different contexts


Timescales

Priorities

AC2.3 review skills development in digital and lens-based media

Review

Monitor progress

Review process


AC2.4 experiment with techniques in digital and lens-based media

Experiment




Set challenges

Innovation

AC2.5 develop skills in digital and lens-based media

Develop

To success criteria




LO3 be able to present a digital and lens-based media skills portfolio

AC3.1 select digital and lens-based media content for portfolio inclusion

Content



AC3.2 organise digital and lens-based media content for presentation

Organise

Collate content: o by skill o by type of style/genre or medium o by skill level o chronologically

Navigation: o cross-referencing o links o menu/index

AC3.3 present digital and lens-based media content in a portfolio

Present


Display techniques

First impressions


Digital portfolio

Physical portfolio



Performance bands


LO1 know strategies for skills development in digital and lens-based media

AC1.1 identify techniques required for digital and lens-based media skills

States techniques required for digital and lens-based media skills

Identify techniques required for digital and lens-based media skills

AC1.2 describe approaches to skills development in digital and lens-based media

Outlines approaches to skills development that has some relevance to identified skills and techniques



AC1.3 plan strategies for skills development in digital and lens-based media

Plan is basic indicating how it will lead to skills development in digital and lens-based media

Plan has limited detail although it can be seen how it will lead to skills development in digital and lens-based media

Plan has some detail and shows with some clarity how it will lead to skills development in digital and lens-based media

Plan is detailed and clearly shows how it will lead to skills development in digital and lens-based media

LO2 be able develop skills for professional practice in digital and lens-based media

AC2.1 assess personal skills levels in digital and lens-based media

Assessment indicates some awareness of skills levels in digital and lens-based media Limited use of specialist vocabulary

Assessment shows some awareness of skills levels in digital and lens-based media although there may be some conclusions that are not appropriate. Some use of specialist vocabulary is made

Assessment shows a realistic awareness of skills levels in digital and lens-based media. Consistent and appropriate use is made of specialist vocabulary

AC2.2 set success criteria for skills development in digital and lens-based media


Success criteria are set although they may lack some clarity. Criteria are mainly related to identified skills and techniques. Some criteria are achievable

Success criteria are set which are mainly clear. Some criteria are challenging and ambitious but most criteria are achievable and related to identified skills and techniques



Performance bands


AC2.3 review skills development in digital and lens-based media



Skills development is clearly monitored throughout. Valid conclusions are drawn, some of which are drawn from evidence and well reasoned


AC2.4 experiment with techniques in digital and lens-based media




AC2.5 develop skills in digital and lens-based media

Some development of digital and lens-based media skills towards success criteria is evident

Some development of digital and lens-based media skills is evident, meeting some success criteria

Development of digital and lens-based media skills has clearly taken place meeting most success criteria

Development of digital and lens-based media skills clearly meets success criteria

LO3 be able to present a digital and lens-based media skills portfolio

AC3.1 select digital and lens-based media content for portfolio inclusion

Some digital and lens-based media content is included in a portfolio

A range of digital and lens-based media content is selected for inclusion, most of which are appropriate

A wide range of appropriate digital and lens-based media content is selected for inclusion

AC3.2 organise digital and lens-based media content for presentation




AC3.3 present digital and lens-based media content in a portfolio






Assessment Requirements for centres This unit is internally assessed and externally moderated. All assessment must be conducted under controlled assessment conditions and controls have been determined for each stage of the assessment process: task setting, task taking and task marking. Task setting: To assist centres in the assessment of this unit, WJEC has provided a model assignment along with guidance and criteria related to using it. The model assignment consists of tasks that are applied and holistic in their approach. Model assignments are designed so that they can be used or adapted by centres to fit with the local sector needs and allow the usage of local resources available to the centre. The model assignment includes information on which aspects of the assignment can be adapted. Task taking: Under the process of task taking, controls are set for the key aspects of time, resources, supervision and collaboration.









Arranging visits to workplaces such as studios and galleries to discuss with specialist practitioners their perspective on digital and lens-based media issues relating to film, photography, digital imaging, website design and computer generated imagery/animation and the breadth of opportunities for progression within the sector

Arranging visits to workplaces such as film & television studios to discuss with creative teams how they create and present their visual work

Arranging talks and workshop demonstrations by visiting digital and lens-based practitioners, for example a video editor could present his/her portfolio and show learners how he/she edits images using specialist software

Carrying out a live brief set by an employer such as a local business requiring ideas for a television advertising commercial. Learners would provide storyboards and a short moving image sequence to the employer for development

The following are examples of approaches to delivery which could be used to enhance the learning and understanding of the vocational importance of developing skills in digital and lens-based media. Example 1 Learners could work in groups to respond to a local government live brief for a ‘Drive Safe’ marketing campaign. Learners would develop research and produce visual ideas for a television commercial in drawn and digital forms and present these in a portfolio for selection. Learners could set success criteria for their work by establishing timescales, standards expected and practice and resources related to production. Example 2 Learners could respond to a local gallery who are seeking submissions for a documentary photography exhibition in celebration of the area and its inhabitants. Learners would create their own images and provide these in digital portfolio format to the gallery for selection. Example 3 Learners could carry out a digital imaging project brief for a publisher. Learners would scan and digitally edit photographs, documents and illustrations to professional standards. Learners would archive digital images in chronological order and present these to the publisher along with hard copy printouts in portfolio. Making contacts Examples of organisations that may be approached to provide help include:

Galleries

Film & Television Studios


Local practitioners


Industry experts








Reading

Writing

ICT Use ICT systems













PLTS This unit provides opportunities for learners to develop the following Personal, Learning and Thinking Skills (PLTS).








Resources Books Clarke, G., The Photograph (Oxford University Press: 1997) Greene, R., Internet Art (Thames & Hudson: 2004) Jeffrey, I., The Photography Book (Phaidon: 1997) Mifelbeck, R., et al, 20th Century Photography - Museum Ludwig Cologne (Taschen: 2005) Parkinson, D., History of Film (Thames & Hudson: 1995) Scott Kelby, Digital Photography (Peachpit Press Publications: 2009) Scott Kelby, The Adobe Photoshop CS5 Book for Digital Photographers (New Riders Publishing: 2010) Matt Kloskowski , Layers: The Complete Guide to Photoshop's Most Powerful Feature (Peachpit Press Publications: 2010) Paul, C., Digital Art (Thames & Hudson: 2003) Rickliff, R., Special Effects: The History and Technique (Aurum: 2006) Rush, M., New Media in Late 20th Century Art (Thames & Hudson: 1999) Tribe, M. & Reena, J., New Media Art (Taschen: 2006)

Websites www.artesmundi.org www.artphotowales.com/ www.momawales.org.uk/ www.museumwales.ac.uk/en/art http://pub.exeter.gov.uk/asp/animatedexeter2006/default.asp www.anim8ed.org.uk www.bbc.co.uk/blast/ www.luxonline.org.uk www.photoguild.co.uk/ www.ffotogallery.org/ www.skillset.org/

http://www.bookdepository.co.uk/search/advanced?searchPublisher=Peachpit+Press+Publications

http://www.bookdepository.co.uk/search/advanced?searchPublisher=New+Riders+Publishing

http://www.bookdepository.co.uk/search/advanced?searchPublisher=New+Riders+Publishing

http://www.bookdepository.co.uk/search/advanced?searchAuthor=Matt+Kloskowski

http://www.bookdepository.co.uk/search/advanced?searchPublisher=Peachpit+Press+Publications

http://www.artesmundi.org/

http://www.artphotowales.com/

http://www.momawales.org.uk/

http://www.museumwales.ac.uk/en/art

http://pub.exeter.gov.uk/asp/animatedexeter2006/default.asp

http://www.anim8ed.org.uk/

http://www.bbc.co.uk/blast/

http://www.luxonline.org.uk/

http://www.photoguild.co.uk/

http://www.ffotogallery.org/



Appendix A: Mapping to National Occupational Standards The grid below indicates where learning covered in the WJEC Level 1/2 Vocational Qualifications in Creative and Media may builds towards National Occupations Standards.

WJEC Level 1/2 Vocational Qualifications in Creative and Media provide the basis of learning from which to build towards National Occupational Standards (NOS) in the following suites:

WJEC Level 1/2 Vocational Qualifications in

Creative and Media

NOS Suites 1 2 3

Broadcasting and film

Community arts

Craft

Design

Technical theatre

Publishing, journalism and advertising


Appendix B: Skills Mapping

Personal, Learning and Thinking Skills (PLTS)

PLTS Unit 1 Unit 2 Unit 3


Creative thinkers

Reflective learners

Team workers

Self managers

Effective Participators

Improving Own Learning and Performance

Unit 1 Unit 2 Unit 3




Problem Solving


Explore a problem and identify ways of tackling it




Working with Others

Unit 1 Unit 2 Unit 3 Plan work with others



Application of Number


Understand numerical data



Communication

Unit 1 Unit 2 Unit 3 Speaking and listening

Reading

Writing

ICT

Unit 1 Unit 2 Unit 3 Use ICT systems

Find, select and exchange information, using ICT

Develop and present information, using ICT


Appendix: C Glossary

A3.1 Knowledge Learning Outcomes

Knowledge learning outcomes are effectively assessed through the learner giving the ‘facts’ of a situation.

Differentiators Differentiators in performance are often given using the following terms: Accuracy Is what they are claiming as fact actually correct? Breadth/range Is there an expectation of breadth rather than depth i.e. they should have superficial knowledge of a lot of facts rather than in-depth knowledge of a few. Clarity This is often related to communication skills, but you can anticipate that someone who really knows something knows how to organise what they are saying and doesn’t include information that is incorrect or irrelevant. Depth/detail Have they given sufficient detail to confirm that they really do know something? Relevance /application Do the facts have to be relevant to the situation? Is it simply pure theory or do you want them to show knowledge through their discarding of what they consider is not relevant.

Command Verbs A consideration of the command verbs used in the AC, can help determine which differentiators could be used. Below are definitions of knowledge related command verbs. Describe – paint a picture in words, provide information with detail. Using this analogy, you would expect there to be some detail in what they know. Describe could be extended to merit and/or distinction, but could also be pass only. If it is to be extended to distinction, then there will probably need to be a number of qualifiers. Define – state the meaning of a term. It is unlikely this could be extended to merit or distinction level. Identify – recognise, distinguish and establish what something is. It is unlikely that this could be extended to distinction level. Differentiation is likely to be about relevance and accuracy. Illustrate – exemplify, describe with reference to examples. This could be extended to merit and distinction level. Outline – gives a sketch of the situation, gives an overall impression. This is unlikely to be extended to merit and distinction level. A good outline becomes a description! State – make an assertion. This would not extend beyond pass.


A3.2 Understand Learning Outcomes

Understanding learning outcomes are effectively assessed through the learner showing how

they have applied their knowledge through effective reasoning.

Differentiators

Clarity Is the reasoning explicit or implicit. Where reasoning is implicit the level of

understanding has to be interpreted. Explicit reasoning shows the understanding clearly

exists.

Depth How detailed is the reasoning?

Justification Are you persuaded of their argument and reasoning?

Substantiation Has the learner drawn on evidence to support any conclusions made.

Validity Is the reasoning valid? Is it accurate? Is it based on the context of the situation? Is it

based on theory?

Command Verbs

Below are definitions of understanding related command verbs.

Analyse – examine in detail, break into component parts, examine relationships.

Assess – make a judgement about the quality or value of something

Compare – explain similarities and differences

Evaluate – make judgements against criteria, usually based on analysis and data

Explain – give reasons

Justify – persuade someone of the validity of an argument, to validate a proposal

A3.3 ‘Be able to’ Learning Outcomes ‘Be able to’ learning outcomes focus on learners’ development of skills. They involve practical, hands on activities. Related AC are often assessed through the production of ephemeral evidence, such as witness testimonies and observation records.

Differentiators Accuracy Were they able to elicit accurate information by using the skills? Adaptation Can they use the skill in different contexts?


Appropriate Was the skill used appropriately, taking account of the situation/location? Confidence Very difficult to assess as it is an intrinsic feeling so assessors will find this challenging to determine. It is sometimes used, however. Consider hesitance as a sign of a lack of confidence, so fluidity and consistency can be aspects of confidence. Effectiveness Did the use of the skill produce the expected outcomes? Independence Were the learners able to demonstrate the skill without support or guidance from others?

Command Verbs Below are definitions of ‘be able to’ related command verbs. Collaborate – make a contribution to the work of a team, supporting team members as required Communicate – ensure information is received effectively Display – organise and present information diagrammatically Handle – manipulate a tool/equipment to a desired effect Monitor – observe and record activity, could also include ensuring expected progress is maintained Maintain - to keep in an appropriate condition Plan – organise a range of components into a logical sequence. This could also include timings. It could also include how this organisation is presented. Present – organise and communicate in a way that can be clearly followed and understood. Often refers to oral communication skills and may include use of supporting information. Process – use a series of actions to elicit results Record – obtain and store data and information Use – employ something for a purpose WJEC Levels 1-2 Creative and Media Specification A/ED/LG 9 January 2017

wjec level 1-2 qualification in creative and media ... · craft design technical theatre...

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