Does Introduction to Design Pltw Count as an Art

Terminal Updated on February eight, 2017

This article has been written for CIE A Level Art students who are working on their A2 Art Personal Written report. Information technology focuses purely on how to write the text of the Study; a previous article outlines how to come up upwards with a skillful topic; a future article volition address the illustrations and presentation methods.

The Personal Study is an expanse of uncertainty for many A Level Fine art students. It differs from projects that are usually completed within high school Art programmes, as it involves a substantial written component (maximum 3,500 words) – something which can intimidate students, especially if they are unfamiliar with how to critically analyse an artwork, brand informed judgements and write personal evaluations. With few examples of quality Personal Studies bachelor, it can be difficult to know what is expected and how to begin. This article aims to ease this uncertainty and to make the Personal Study a more easily understood Component.

This is the cover page of an A* Personal Study by Nikau Hindin, exploring the topic: 'Identity, Consumerism, Pop Culture: How Limerick Conveys a Message'. The project analyses artwork past New Zealand artist Kelsy Taratoa.

1. Research thoroughly

The Personal Study should be comprised of informed personal views – that is, views that are supported and shaped by an in-depth agreement of the issues discussed. Before starting the projection, students should conduct thorough background enquiry, selecting and recording information from 2d-hand sources (such as books, websites and other publications) and first-hand sources (interviews with artists, studio visits / gallery visits etc). Interviews with artists should be planned thoroughly, afterward preliminary second-hand enquiry has been completed (as findings from inquiry volition advise important issues to discuss with the creative person).

Students are ofttimes uncertain almost how to phrase questions, so sample questions have been included below (the verbal questions asked will depend on the topic and focus of the study):

• Delight talk me through the procedure you follow when designing your paintings. Practise yous work instinctively, directly onto the canvas, or are your works pre-planned, using sketches and photographs?
• What influences your choice of colour? I am interested specially in the colours used in [insert name of painting/s]. Could you explain your thought procedure behind the use of colour in this piece of work, peculiarly the [give case]?
• I notice that your work has been described as [insert relevant comment from 2nd-hand sources]. Do you agree with this statement? How do you respond to this?
• I notice that [insert an aesthetic feature of their artwork i.east. 'angular line' or 'organic form'] is a dominant feature of your work. Is this strongly connected to the ideas that you lot are exploring? Have you used these elements deliberately?
• Can you show me work in progress or semi-complete artwork? I would love to understand the process you go through and how you use media at different stages.
• Are there whatsoever tips yous would give to someone who was attempting to emulate your painting style?
• Which artists have influenced your work? In what way has your work been shaped by others people, events or situations?

ii. Evaluate and interpret research findings

Conducting inquiry is disquisitional for creating an excellent Personal Written report, all the same, it should be noted that submitting inquiry on its ain will not gain a student any marks. Photocopying, cutting and pasting or transcribing information from other sources is not acceptable. Examiners practise not want to read long lists of facts or chronological sequences of events. They exercise not want long-winded technical processes or the inclusion of broad periods of fine art history; nor entire interviews with artists (interviews can exist submitted as office of an appendix if necessary). Students should not include an extensive artist biography (only brief and relevant details are needed) nor include vast passages of text that have been regurgitated from other sources.

Instead, students must select the data which is relevant and analyse this in detail, evaluating and interpreting findings in relation to the focus of their report. Research should be used to help form intelligent, knowledgeable, personal responses: to explain, justify or support the viewpoints, judgements and conclusions that are presented.

Evidence of research might be demonstrated, for example, through the use of carefully chosen quotes (to support or contrast the student's own ideas) or through the inclusion of correct terminology and groundwork knowledge to communicate an in-depth understanding of relevant bug. Evidence might also be indicated photographically, with images depicting first-paw meetings between the student and artist/s.

This Personal Study by CIE A2 Level Art and Design student Alice Ham, from ACG Parnell College, shows a cleverly selected quote aslope images by New Zealand charcoal artist Liam Gerrard. Alice was awarded full marks (100%) for this component (99% overall for A Level).

A carefully composed Personal Written report page for 9704 CIE Art and Design

3. Construction the Personal Report in a logical and articulate mode

Before writing the Personal Written report, students should plan the content, order and structure of their study thoroughly (often in conjunction with planning the layout of their project – this volition discussed in more detail in a subsequent post). This should include headings and subheadings of textile discussed and rough diagrams indicating how this will be supported by images. The proposed structure should so exist checked and canonical by a teacher, with recommendations and clear guidance given. While the structure of each Personal Report will differ, depending on the topic called, every report should follow the basic format outlined below:

• Introduction. This is where students outline the purpose, focus or mission of their report. This may include question/s they are going to reply; themes they are going to explore; issues they promise to address etc. It should gear up the scene for the projection and may include reasons for selecting a topic and an indication of how / why the topic is of personal relevance or interest to the student. It is important that the intentions of the projection are clearly gear up out in this section, and so that the remainder of the project tin can exist structured accordingly.
• Body. This is the main part of the Personal Study and volition need careful idea. It is usually organised into carve up sections (which may be formal capacity, or simply different areas of a visual study), ordinarily with individual headings and sometimes sub-headings. (I recommend wording headings so that they sum upward the cloth independent – i.east. 'Analysis of Composition: [artwork title]' rather than 'Chapter 3'. This means that the examiner is able to see immediately that the student has covered a range of advisable areas). The sections should be ordered logically and accost the focus of the project; they should NOT constitutional haphazardly from one issue to the next. High school Art students have a tendency to write without whatsoever preconceived social club or structure, discussing issues spontaneously as they recall of them. While this tin can be a suitable approach for more creative writing tasks – and can pulled off past certain students – this strategy runs the run a risk of creating a muddled and incoherent Personal Written report.
• Conclusion. This is where students summarise cardinal points from the project, arrive at final conclusions and make considered personal judgements near what has been learnt.

This is ane of the concluding paragraphs in a Personal Study by Nikau Hindin (who accomplished 98% for CIE A Level Art while studying at ACG Parnell Higher), entitled 'Identity, Consumerism & Popular Culture: How composition conveys a message'. The project was focused upon the analysis of artwork past New Zealand artist Kelcy Taratoa, with comparisons made with the piece of work of American artist Beak Barminski:

Taratoa'southward use of composition helps convey his bulletin apropos identity construction. The organization of elements is symbolic of an unconscious hierarchy within his paintings that forces the viewer to question and analyse them. The contents of the paintings can be identified, as they reverberate New Zealand lodge. Taratoa's apply of colour is vibrant and mod, echoing the technological era we live in. Barminski has a more dynamic and humorous approach to conveying his message. He mocks consumerism with his witty and blunt slogans and replications of consumer products. While these 2 artists are very different, they both communicate their own attitudes almost society. Making a political statement through your paintings forces an audience to engage. Ultimately we want our fine art to be remembered and admired and I think if the message of a painting is clear then the viewer is more probable to go away and call back nigh information technology. Paintings are a powerful tool to communicate a meaning that is deeper than the 2mm of paint on a sail. Paintings are an artist's vocalization.

• Bibliography / References / Acknowledgements. This should listing whatsoever resource that students have used in their projection, including books, websites, articles and videos. It might also include sources of first-hand information, such equally museums, galleries or websites, as well as acknowledgements, thanking the artist for their time.

four. Write conspicuously and coherently

While examiners are sympathetic towards a educatee whose first language is not English, a like sympathy does not extend towards those who submit sloppy, poorly edited cloth.

Only as it is expected that a Coursework project should contain beautiful well-composed artwork, a Personal Report is expected to contain well-structured, well-edited material. Even if a student has chosen to produce a largely visual project, submitting a sequence of annotated images, the text should communicate with intention and the writing quality should match that achieved past an A Level English language student. Poor grammer, spelling errors and 'txt' speak are inexcusable.

Every bit with whatsoever important written project, drafts should be rewritten and refined several times: chapters re-arranged; paragraphs and annotation reorganised; repetitive material, waffle and unnecessary regurgitation eliminated. Teachers, parents and friends tin can all be recruited to read through drafts, highlighting spelling errors and identifying areas where the writing is muddled. While the work must of course remain entirely that of the educatee, feedback from a fresh fix of eyes is invaluable.

5. Use discipline-specific vocabulary

A Personal Study should include an appropriate range of Art related terms and vocabulary. While the exact words used will be dependent upon the nature and focus of the study, at that place are a number of general Fine art-specific terms which students should be familiar with (these volition exist listed, with their definitions, in an upcoming commodity). Use of appropriate vocabulary helps to fulfil the 'Knowledge and critical understanding' assessment criteria.

half dozen. Make it PERSONAL

Equally the championship indicates, a Personal Study must communicate distinctly personal opinions, insights, judgements and responses, demonstrating a clear engagement with the artwork studied.

This extract from an 100% OCR A Level Art Personal Study past Yantra Scott entitled 'An investigation into gender roles in gimmicky art' illustrates this:

I starting time encountered Sarah Lucas whist briskly strolling through the crowded rooms of the Tate. Amongst oils and finely crafted sculpture my eyes were transfixed in a two-manner glare with a slightly butch, totally intense woman, with eggs for t*ts. E'er since then I've been hooked.

It is evident that Yantra non but visited and viewed artwork in the flesh, but had a stiff personal reaction to it. It could never be causeless that this segment had been reworded from a textbook: it is admittedly the words of a passionate high school Art pupil. Although Yantra uses coarse language within her study (something which should be emulated with caution) this project is an infrequent instance of an intelligent and personal response to a topic. (More than of Yantra'southward work, as well every bit the entire text of her written report, can exist read in full on the corking Julia Stubbs' website).

Similarly, this quote from an 88% OCR A2 Art Personal Study (i of the examples given in the OCR A2 Art Exemplar Work – Personal Written report certificate) shows a personal response integrated inside the assay of Damien Hurst'due south work, illustrated below.

The glass is thick, so thick that it is intimidating. It is as if information technology is property something terrible back. Information technology makes you question the formaldehyde and query, what if the tank did break? The formaldehyde is not clear as I expected simply is quite strongly coloured past a blue and greenish paint. This colour is very clinical and has the connotations of a hospital…

The musings nearly the tank breaking and the formaldehyde differing from expectations are clearly the private thoughts of a high schoolhouse art educatee.

Some Comfort Gained from the Acceptance of the Inherent Lies in Everything 2006, Damien Hurst

7. Understand 'cultural context'

Within the Personal Study, students must demonstrate an understanding of cultural context –an understanding that an artist does not create work in isolation, but rather creates work that is shaped and influenced by the circumstance/s they finds themselves in. This might mean that discussion of the influence of natural, social, political or cultural environments is appropriate, or that – equally is more than common – the influence of other artists is discussed, with comparisons made between artwork that has been created in like or differing contexts.

'One night in Mong Kok' by Akif Hakan Celebi

The excerpt below is from a CIE A Level Art and Blueprint Personal Study past Tirion Jenkins, of YMCA of Hong Kong Christian College. Titled 'Alternative Fashion Photography', her Personal Written report was awarded All-time in Hong Kong (2012) and includes analysis of 'I night in Mong Kok' by lensman Akif Hakan Celebi. Tirion demonstrates a clear understanding of the interrelationship between a photographer's piece of work and the setting in which it was created.

The setting itself creates an intoxicating temper with the rows of fluorescent light bulbs and layers of luminous signs that class an endless maze of gaudy colours. Even so, the setting does not overwhelm the 2 models who depict my eyes despite the signs above them. They create the focal point of the image through the utilize of the rule of thirds every bit they are placed off-centre and through their quirky advent which magnetises the heart towards them. They seem to belong to a different globe to the passersby behind them with their flare of blood-red hair and audacious choice of feathered flittered clothes. Akif has farther crafted the image through the utilize of makeup as their chalk white faces further segregates and emphasises their surreal doll-similar appearances.
…Akif'southward pictures are reminiscent of Japanese cinema which he says he is and then influenced by. "I similar…its writhed and crazy stories; I experience very close to that way of looking at the earth." This photo is particularly mystical due to the vibrant and decorative bokeh of Hong Kong's street lights in the background.

8. Critically analyse artworks

The core of the A2 Art Personal Study is the in-depth analysis of selected artist works. Some of these artworks must be viewed in person, however it is mutual (and completely acceptable) for students to analyse work from a combination of principal and secondary sources.  In the all-time studies, artworks are called specifically to facilitate the discussion of bug which are relevant to the written report.

The advice in this section is particularly of import and should exist read closely by students who are hoping to achieve a high grade for their Personal Report.

When analysing artwork, it is helpful to analyse the work in terms of composition, format, structure and visual elements (such as shape, line, texture, color, infinite, tone). Students might de-construct an artwork and view it in terms of a single visual element and/or discuss how the visual elements interact, relate, contrast, residuum and connect with 1 another. Descriptions of of import terms have been included below to help this process:

• Composition is the placement or arrangement of visual elements within an artwork – the way these take been composed, combined or 'put together'. Limerick may be instinctual or the event of elaborate planning (or a combination of both). A 'compositional device' is an aspect of a composition which has a certain effect (such as the use of frames within frames, which might help create a sense of distance or space within an artwork).
• Format is the overall shape, size and orientation (portrait or landscape) of an artwork, i.eastward. whether a work is painted on a long, horizontal ellipsoidal canvas, or upon a vertically orientated A4 portrait board. Format can be influenced by practical considerations (i.e. the nature and shape of the object or scene depicted) as well equally beingness an active decision by the creative person to help communicate a particular pregnant or idea.
• The construction of an artwork is the organisation of bones forms within a composition (this will be illustrated in more detail in the subsequent post focusing on imagery).
• Lines are a visual element that can straight a viewer's gaze and create a visual path. These can direct attention to a focal bespeak and create depth through perspective or horizon lines. Different lines tin can create different effects: difficult angular lines provoke a different response than soft, organic lines, for example. Repetition of lines can create a sense of move or rhythm.
• Shape is a visual chemical element that is created by the junction of lines or changes in tone: the perceived boundaries of form. Larger shapes can become ascendant focal points inside an artwork; similar shapes tin be repeated to create rest and create unity / visual harmony. Shapes can be symbolic, i.e. they can represent more circuitous forms and carry meaning. Every bit with lines, the types of shapes used tin communicate sure feelings – rigorous ordered shapes tend to create a different mood than irregular, free-flowing shapes. Shapes might also be used to create borders / frames and boundaries that connect, overlap or intersect, mayhap helping to draw viewers from the foreground / middle-footing to background.
• Infinite – the absence of course – is an frequently overlooked visual element. Described every bit beingness either positive (the space contained within the boundary of an object) or negative (the background space in and around an object), space can determine how busy and chaotic a painting is. A busy composition can overwhelm a viewer; a simple and thin limerick may appear boring. Careful integration of infinite is fundamental to any artwork.
• Form is a visual chemical element that is normally discussed more easily in relation to three dimensional objects (as iii-dimensional forms are usually described inside two dimensional works in terms of shape, tone and line).
• Colour (or hue) is a visual element that is often discussed in combination with tone(how calorie-free or night a colour appears). Colour can affect the mood of an artwork due to colour associations – i.e. bluish might indicate sadness. Tone tin help to communicate a sense of altitude (items that are further away generally announced lighter – due to 'atmospheric perspective'). Both tone and colour can exist used to create contrast inside an artwork, attracting the viewer'southward attending and helping to create focal areas. Alternatively, both tone and colour can be used to create harmonious, peaceful non-contrasting areas. Use of light and shadow or warm and cool might besides be an important area to discuss.
• Texture can be real (the result of brush strokes, irregularities in materials, and the application of a range of materials) or implied…i.e. a surface that is made to looktextured. Equally with the other visual elements, texture should exist integrated and so that information technology balances and becomes an aesthetically pleasing add-on to an artwork. Surface qualities – along with other detailed areas and intricate patterns – are only able to be appreciated fully when viewed in person.

It should exist noted here that students should not submit reams of text explaining how certain visual elements touch on artworks in full general, simply rather use this knowledge to write informed analysis about the artworks in question.

Here is another example by Nikau Hindin, discussing the use of line in paintings past Kelcy Taratoa. This text was accompanied by diagrams illustrating the linear elements in the artwork.

…Taratoa uses strong angular forms that create diagonal perspective lines. These lines are chosen 'leading lines' and direct united states to the focal point of this painting, which is a portrait of Taratoa. They as well atomic number 82 our eyes past him and make united states look at the background. This helps to convey Taratoa's message that one's identity is linked to social circumstance, upbringing (groundwork) and pop culture. Street markings grade white lines and too draw our attention to the focal betoken. Street markings stand for paths and therefore they may be paths to finding and constructing ones identity. They create a sense of movement and highlight the direction 1'due south eyes should travel inside the painting. The street markings in 'Episode 007' are curvaceous which creates move. The curvy lines mirror the organic forms of the superhero's muscular body, creating a visual link. In 'Episode 0010' the repetition of line of the zebra crossing creates a sense of rhythm and leads us to the portrait of Taratoa in the left corner. Horizontal lines are repeated in the groundwork of the painting to unite divide parts of the painting.

As well equally the artful qualities discussed above, well-nigh students as well include sections where they analyse artwork in terms of materials, processes, stylistic influences, techniques (use of media). For some, this is the primary focus of the Personal Study. This might include analysis of the fashion an artist has applied paint to a canvas (mark-making, castor strokes), the sequence of building upwards layers of pigment over a prepared basis, or the sequence of events involved in creating a graphic design: from conceptual sketches, development of ideas, structure in Photoshop, through to proofing, paper selection and final press. It might involve discussion about the way a composition is planned and designed and and so the various processes that are undertaken in its completion. Information technology might include cultural contexts and stylistic influences from other artists. In any sections of the Personal Study which are dedicated to process and technique, it is of import to note (equally mentioned above) that the examiners do non want the regurgitation of long, technical processes, merely rather would similar to see personal observations well-nigh how processes result and influence the artwork that has been created.

In all analysis of artwork, whether this involves word of limerick, aesthetic qualities, cultural contexts, utilize of media, or approach to a theme, it is of import that students move beyond simple observations and add perceptive, personal insight. For case, if a student notices that colour has been used to create strong contrast in certain areas of an artwork, they might follow this with a detailed and thoughtful assumption about why this is the instance: for case, possibly the contrast was created deliberately to draw attention to a focal indicate in the artwork, helping the artist to help convey thematic ideas. These personal insights could be backed up past before research, confirmed or suggested by the artist, or might be educated assumptions made by the student, based upon their ain responses and personal interaction with the artwork.

Some terminal recommendations are included below:

• 'Analysis of artwork' does not hateful 'clarification of artwork'. Analysis means taking an artwork apart (thinking almost it in terms of private elements, such equally line, or colour or technique), analysing these individually and/or in terms of how they relate to one some other, and making personal observations and judgements, connecting this to the theme or focus of the assignment.
• Proverb "I similar this" or "I don't similar this" without any further explanation or justification is not analysis.
• Writing should be carefully integrated with the images, so that it is clear which text relates to which images (this will be discussed more in the subsequent post).

Alice Ham, a Yr 13 student at ACG Parnell College (awarded 100% for her Personal Study) has produced some excellent analysis of artwork by Liam Gerrard:

In near works (the exception normally applies to those done in commission) the focus of the slice is centred, surrounded past empty space and never grounded through shadow or the like. This is another fashion in which Gerrard plays with commonly held opinions. Typically, a most aesthetically pleasing limerick will follow the dominion of thirds – a well known 'rule' that correlates to the focus of artworks being offset inside the composition, and the entire image being visually divided into three sections. Liam has little care for this standardised dominion, nonetheless his compositions are visually pleasing all the same. I believe this could be because of the negative space, there is no overcrowding and it allows the viewer to focus on the subject field. I also think this infinite is played upon in the display of the artwork. Galleries in general will accept white or very light coloured walls then as not to distract from what is on display. Past placing these white canvases on the white walls, hung without obvious framing, the artwork is allowed to 'menstruation' into the viewer's world, there is no line of separation. This forces the viewer to written report Gerrard's pieces, and perchance consider the personal message they address for the viewer in everyday life.

Assay of artwork within an A Level Art Personal Report by Alice Ham

Some of the text above has been reproduced hither to assist ease of reading:

The expression on the pig'due south face is possibly what would draw the viewer into this pic the most. Information technology direct contradicts the gruesome delineation of decapitation and appears almost to be laughing. This work similar about of Gerrard's others is a single object centred on a stark white groundwork. The amount of empty space in this pic is very center communicable and directs the viewer's vision inwards, there is no chance of distraction by details in a menial part of the work. Once again Gerrard uses charcoal in his personal style, leaving the artwork in black and white. This lack of colour is cold, it presents the reality of the grisly scene without the embellishment of colours. This does non allow the audience to be caught up in what is 'pretty' only forces them to take in every details in information technology's highly realistic, and perchance disturbing, state. The shock factor of this piece is emphasised ten- fold by the sheer size. It cannot be realised until you lot view this piece in reality, simply being dwarfed looking up into a pig'south head captured mid laugh brings upon you a bizarre sense of fascination.

9. Explicate the relationship to Coursework (if appropriate)

As explained in the previous post about topic selection, information technology is no longer necessary that the Personal Written report chronicle to a student's Coursework project. If there is a strong human relationship, however, students may wish to include a section in their Personal Study where relevant comparisons are made with their Coursework project.

10. Don't exceed the word count

The maximum word count for CIE Art & Design Personal Studies is iii,500 words. This is a maximum and fewer words is more than advisable (particularly in primarily visual studies).

If a student is slightly over the word count, this is unlikely to be an effect (it is rare that examiners would know your exact give-and-take count, as no-one is likely to count every give-and-take in a projection from start to finish); however, if a student is significantly over the word limit, this is obvious and a problem, running the chance that the examiners will run out of time (or enthusiasm) to read your project in its entirety. Almost all cases of word count breaches come from students who take attempted to bulk upwards their written report with unnecessary information from second-hand sources. If you are encroaching the word limit, you lot should immediately ensure that you have non included supplementary research material or unnecessary data summarised from textbooks. If you are yet battling with the give-and-take count and inclusion of fabric from second-hand sources is not an result, you should re-edit your project, eliminating waffle, and ensuring you communicate succinctly.

Concluding Notes

I encourage teachers to locate and print the excerpts from Personal Studies that are included in the 9704 Standards booklet on the CIE Teachers' countersign protected site, which can be downloaded as a PDF document from the A Level Art & Design page. This document is invaluable.

Finally, we are actively looking for more examples of loftier achieving Personal Studies to share on the Student Art Guide. If you or someone you know someone who excelled in this Component, please read our submission guidelines for more information.

If you lot found this information helpful, you lot may wish to read the previous article in this serial: How to select a bang-up A2 Fine art Personal Study Topic or our overview of the CIE A Level Art: Personal Study.

Amiria has been an Fine art & Design teacher and a Curriculum Co-ordinator for seven years, responsible for the course design and assessment of educatee work in two high-achieving Auckland schools. She has a Available of Architectural Studies, Available of Compages (Showtime Class Honours) and a Graduate Diploma of Didactics. Amiria is a CIE Accredited Art & Design Coursework Assessor.

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Source: https://www.studentartguide.com/articles/writing-the-a2-art-personal-study

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