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Land, Sky, Light: New Landscapes by David Dawson – Gainsborough’s House

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Land, Sky, Light features fifteen of David Dawson’s (b. 1960) recent large-scale paintings of his native countryside in Montgomeryshire, Wales, painted en plein air. Painted outdoors during each season of...
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Duncan Grant: Worlds Through Desire: From Drawing to Cruising to DMs - Firstsite

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Explore how LGBT+ people have sought friendship, community, intimacy, and desire across changing times and technologies.

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Art is Resistence: Painting through Trauma towards Hope. New Paintings by Fayza Yousef Saed | Event

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Fayza Yousef Saed is a working artist, an art therapist, and a trained journalist. Since leaving Gaza with her three children in the wake of her husband’s death, Fayza has used…

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What we did in the Plague: A International Covid-19 Project by Phill Jupitus | Event

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An exhibition of collage artworks by Phill Jupitus. Perhaps best known to audiences as the long-standing team captain on BBC Two’s Never Mind the Buzzcocks and as a regular pane…

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John Constable: celebrating 250 years at The Minories

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John Constable: celebrating 250 years at The Minories

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John Constable: celebrating 250 years | Event

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2026 marks 250 years since the birth of Suffolk-born artist John Constable, and this exhibition joins a region-wide programme of celebrations, including a number of major shows at…

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The Top Exhibitions To See In London: July 2026

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Looking for an awesome London exhibition in July 2026? Here’s our pick of must-see shows.

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David Hockney | Exhibition | Serpentine Galleries

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David Hockney’s first exhibition at the Serpentine in London. Free to visit. Explore new works by one of the most influential artists of our time and discover the extraordinary in the everyday.

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Known for her vigorous brushwork, vivid colour and dynamic compositions, Cecily Brown presents paintings inspired by Serpentine's unique location in Kensington Gardens, a site of personal significance to the artist.

Themes of nature and park life have long shaped Brown's formal explorations. She experiments with scale, colour and recurring motifs, such as amorous couples, woodland scenes, and uncanny nature walks.

New works made specifically for the exhibition are shown alongside a selection of key paintings dating back to 2001, in addition to recent monotypes and drawings. The exhibition gestures to Brown's early memories of the English landscape, her fascination with children's book illustrations, and the darker undercurrents of cautionary tales.

Picture Making marks Brown's first major solo presentation of paintings in a UK institution since her 2005 exhibition at Modern Art Oxford and represents a homecoming for the British artist who has worked in New York for the past thirty years.

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Cecily Brown: Picture Making | Exhibition | Serpentine Galleries

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Experience Cecily Brown's powerful new paintings and drawings in a major free exhibition that celebrates the beauty and complexity of nature, memory, and desire. Book now.

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Godfried Donkor talking about his Firstsite exhibition 

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Godfried Donkor talking about his Firstsite exhibition 

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Firstsite presents: Godfried Donkor: It’s a Numbers Game | Firstsite gallery

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The technique was developed by Max Ernst in drawings made from 1925. Frottage is the French word for rubbing. Ernst was inspired by an ancient wooden floor where the grain of the planks had been accentuated by many years of scrubbing. The patterns of the graining suggested strange images to him. From 1925 he captured these by laying sheets of paper on the floor and then rubbing over them with a soft pencil. The results suggest mysterious forests peopled with bird-like creatures and Ernst published a collection of these drawings in 1926 titled Histoire Naturelle (natural history).

He went on to use a wide range of textured surfaces and quickly adapted the technique to oil painting, calling it grattage (scraping). In grattage the canvas is prepared with a layer or more of paint then laid over the textured object which is then scraped over. In Ernst's Forest and Dove the trees appear to have been created by scraping over the backbone of a fish.

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Tate glossary definition for frottage: A surrealist and 'automatic' method of creative production that involves creating a rubbing of a textured surface using a pencil or other drawing material

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Godfried Donkor: It's a Numbers Game - Firstsite Gallery

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Godfried Donkor: It's a Numbers Game - Firstsite Gallery

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Godfried Donkor: It’s a Numbers Game - Firstsite

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Step into a boxing ring. Stand face-to-face with the leaders and resisters who shaped history. Walk through waves of figures rising from the pages of the Financial Times.

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Boxing is a very interesting sport. It has its history in social practices - in America [it links] to slavery because the slave owners would get their biggest slaves to fight. Plantation owners would have a competition among themselves around who has the biggest slave. Sometimes, if one opponent got really good or won so many fights, then they could never gain their freedom. You had some characters like Tom Molyneux in the 18th century who came over here from America. He was a friend of Lord Byron's. He fought here, was a pugilist, a bare-knuckle fighter. I came across these guys and their stories and I started to make paintings about them because they fascinated me. From Jack Johnson, then up to Mohammed Ali, to Mike Tyson and onwards. But I'm not making boxing pictures to talk about slavery. Boxing is an art in itself. Boxers are like ballerinas. I love the skill, the art of self-defence, the art of not being hit. You're constantly moving to and fro.
Boxers are quite vulnerable in these moments, though, aren't they?
That's another point which is really important. One of the other things I discovered about all the boxers, from Tyson to Ali to Johnson, it's all about male vulnerability. Because the bigger and stronger you're supposed to be, everyone's afraid of you. And often you hear them say that they go into the ring terrified. But they don't show it. You know, you're supposed to be the fiercest man in the world, the strongest man in the world, the most powerful man in the world. But you're scared. So how are you hiding that? Where do you show your vulnerability? And then often, I think psychologically, mentally, they often tend to go beyond their best days. That's because of the fear of not fighting. The fear of not being powerful and not being strong.
How do you try to capture this vulnerability in your paintings?
That's why I decided to make them almost like a saintly figure, in the style of that religious iconography, because the saints are martyrs to their belief and faith and similarly, the boxers put their lives on the line. So, ultimately, that's where your vulnerability is, the fact that you could die each time you're in the ring.
Would you say you're mythologising the sports figures?
Absolutely. Because mythology is part of that religious experience, it's myth-making.
What's going through my head at the moment is how the modern celebrity is its own form of modern myth-making.
Especially now that we have this [pointing at phone], you can myth-make as you walk on the street, what you're eating, what you're doing. You can create your own mythologies instantly. We're in a cult of mythology. Before, you had to go into a church or a wealthy person's house to see a painting, then we had museums and galleries and now we have this [gestures at phone] that's the new space.
You were really good friends with Koyo Kouoh, the curator of this year's Venice Biennale, who sadly passed last year.
Most of my work wouldn't have been here without my relationship with Koyo. In fact, the last time she was in my studio, I was making works, some were for a show in New York. She sent me a text after she left my studio saying, 'Oh G, those were some amazing works I saw, they were compellingly beautiful.' Subsequently, when I finished the work, the commercial gallery in New York cancelled the show. I don't know if it was too politically charged for the gallery. I was devastated. Koyo called me afterwards, and she just said, 'Don't worry about it.' She gave me advice on what to do. 'You've done it. You move on. Don't worry, the work is fine.' And lo and behold, three of them [the cancelled paintings] were selected for Venice. But I don't think she made the selection because she didn't talk to me about Venice. So I don't know whether that's serendipity? Is that spiritual? Is that her? Is that her energy coming through? Or is that my mythology that I'm creating?

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Meet the south London painter putting boxers on the wall of the Venice Biennale 2026

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Godfried Donkor has a coveted spot in the main exhibition in Venice this year, and he'll open his first solo retrospective in Colchester in a few weeks. We spoke to the 62-year-old artist about why his body-centric works are hitting the zeitgeist right now.

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Planning your final piece

What has your chosen artist inspired you to do?

What can you do to extend or develop the drawings/paintings/prints you have produced so far?

Draw out different compositions

Consider background, foreground and middle ground

Consider materials and size.

What can you get done in the time available?

A double page of planning it out from the research you have done so far

More ideas

Thumbnail Sketches & Variations – Create multiple small sketches to explore different layouts, focal points, and arrangements before committing to a final composition. Consider balance, movement, and how the eye will travel across the piece.

Golden Ratio & Rule of Thirds – Use these compositional guidelines to create a visually pleasing and dynamic arrangement. Avoid centring everything unless it’s a deliberate choice for impact.

Foreground, Midground & Background – Ensure depth and perspective by layering elements within your composition. Consider how light, shadow, and overlap can enhance the sense of space.

Testing with a Viewfinder – Use a cut-out frame or phone camera to crop and refine your composition. This helps you identify the most engaging layout and remove unnecessary elements.

Experiment with Media & Colour – Plan colour schemes and materials in advance. Test how different textures, contrasts, or limited palettes can enhance your composition’s mood and message.

The Personal Investigation

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Top left is Avigdor Arikha/ top right is student response. Bottom left is a student response to Edward Hopper

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Now that you have analysed an image and transcribed/copied it, do your own response

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art teacher (fineartresource) - Profile | Pinterest

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art teacher | An online resource for students and teachers of art and design…

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oil painting with Chris Fornataro AKA 'paint coach' https://youtu.be/if6Z4BaqDSU@FORZA43

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-write up some notes on what you are learning about painting in oils
- stick some process photos into your sketchbook

Use any new vocab you have learnt in the video and information gleaned from extended research.

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Oil Painting Process Broken Down: How To Paint Anything

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Elsa James' previous works at the National Maritime Museum, London Docklands Museum and Tate Britain have unflinchingly challenged the histories we think we know about Britain, moving between past and present to reveal stories of rupture and resilience that force us to reconsider the dominant narratives. James's current exhibition at Firstsite, It Should Not Be Forgotten, (until July 6th) for example, brings various historical figures, drawn from archival research to the fore. They include Phibbah and Molia, the two enslaved women mentioned in the diaries of the notorious enslaver Thomas Thistlewood. Brought to life, bold and undeniable, in James's works, they are in part a way to dispel Britain's collective "amnesia" about its role in the trafficking of enslaved peoples across the Atlantic.

Through photographs, performances, films and installations James' work is "deeply rooted in the Black British experience, shaped by the collective voices that emerge from it" she told The Wick. Alongside historical figures depicted in her Firstsite exhibition are those representing the "contemporary Black voice, which reflects the lived realities of Black women, Black students, Black men, African refugees and asylum seekers, and my own experience growing up in 1970s Britain with Caribbean parents."

James's Champion for The Wick is Sally Shaw, Director of Firstsite, where James was an artist in residence prior to her current solo exhibition. "I was introduced to Elsa James by another amazing artist - Harold Offeh. I was speaking at an Arts Council event in Cambridge and I was early days finding my feet at Firstsite. Harold said, in a nutshell, you need each other. He was right. Working with Elsa over the last seven years has been an amazing privilege. Elsa has supercharged energy and dedication to her work and the voices and people she is tenderly, respectfully and unequivocally sharing her platform with. In many ways, she has intensified my own creative spirit through our conversations, just as much as I hope I have made a small contribution to empowering Elsa on her own journey. Working with Elsa is a reminder of why being creative - every day - and talking and thinking about the big subjects is critical to building a better future for everyone. Nothing should be shied away from. Everything should be questioned. Life is to be re-collaged continually - and especially in collaboration with those who occupy our past, present and future."

James has also constructed a studio space as part of the exhibition, where on selected days through the show's run she has been making Afro Dada works - "a recent development and project in my practice that merges Afrocentric culture with the whimsical, disruptive spirit of Dadaism", she explains. Allowing visitors to be fully immersed in her process, Afro Dada "explores rupture, erasure, fragmentation, and displacement within Black British, Caribbean, and West African identities, shaped by the British Empire and colonial legacies. Through experimental methods like mark-making, sculpture, and collage, I interrogate these speculative and shifting identities."

These experiments with techniques resonate with a constellation of Black artists who have influenced James, including Wangechi Mutu, Glenn Ligon and Jeanette Ehlers, to name a few. James also notes music as "another vital force in my process-musicians like Jill Scott, Solange, Miles Davis, and, more recently, Little Simz help shape the emotional and sonic textures of my work." Sound often appears directly with James work too, either in performances such as Free to Flourish, (at Tate Britain) or in the sound installation that forms part of Beyond the Hold, a new work presented at Firstsite, filling the space and creating a fully immersive environment that dynamically reimagines the archival and shows how the past still shapes us today.

About the champion

Sally Shaw MBE is Director of Firstsite, Colchester where she has been for nine years. Sally's focus on exceptional quality contemporary art, in synergy with place-based audience generation grounded in community-led co-design has led Firstsite to be recognised nationally and internationally for the gallery's response to the COVID-19 pandemic and to win Art Fund Museum of the Year in 2021. Along with major exhibitions by leading artists such as Sarah Lucas, Grayson Perry, Everton Wright and Elsa James, Firstsite's agile and creative projects have included free digital art packs for families across the nation during COVID-19 - accessed by more than 100,000 families. Firstsite's innovative Holiday Fun programme has now provided more than 27,000 free meals to children and families in need during school holidays and as a result has engaged thousands of children in art and creativity at Firstsite for the first time. These initiatives saw Sally recognised with an MBE in the Queen's Birthday Honours list for Services to the Arts during the COVID-19 Pandemic. Sally has also been invited to be a Fellow of the University of Essex Human Rights and Law Centre and was the University of Essex Honorary Fellow 2023. Sally is Chair of Arts Council England South East Area Council and National Council member for Arts Council England. Previously Sally was Head of Programme at Modern Art Oxford, Deputy Head of Culture for the Mayor of London, Boris Johnson, Chief Curator for London Underground, Director of Media Art - Bath and Residency Programme Manager at Spike Island, Bristol. She has also established several independent projects and programmes including an artist residency programme in an open prison in Gloucestershire.

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Elsa James' photographs, performances, films, and installations is "deeply rooted in the Black British experience."

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The latest advice from Norwich University of the Arts

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Jenny Saville : The Anatomy of Painting 

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Jenny Saville : The Anatomy of Painting 

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Jenny Saville: The Anatomy of Painting | Exhibition Trailer

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Studio Visit | Graham Crowley | Walker Art Gallery

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When Painting Becomes Alive: Pam Evelyn on Her Latest Body of Work

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Nick Bodimeade

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The rule of thirds

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Whether you're just learning how to draw and paint or are a pro composing a new piece, by following basic drawing and painting techniques and guidelines, such as the Golden Ratio, you'll be able to improve your art and design.

The rule of thirds - used frequently by photographers - states that if you divide any composition into thirds, vertically and horizontally, then place the key elements of your image either along these lines or at the junctions of them, you'll achieve a more pleasing arrangement and more interesting and dynamic compositions.

Painters and artists use the rule of thirds mostly for landscapes, but it also works for any subject matter, including still lifes, figures and even portraits.

The rule of thirds gives you a guide for placing focal points. If you design your focal points according to the intersections of any of the nine rectangles, your picture will have the counterbalance needed to make the composition more interesting and more compelling.

You can also design other elements in the picture to lead the eye from one of the focal points to the other, and use the corners to bring the viewer into the picture or keep the eyes moving back into picture again. This kind of eyeflow adds movement and life to any composition.

On this page, we'll look at how artists have used the rule of thirds to create dynamic compositions.

01. Origins of the rule of thirds

The rule of thirds is a compositional guideline. Its origins go back to classical and Renaissance paintings, but it is mostly known as a compositional tool used by photographers. This painting by Valentin de Boulogne shows how the main characters are all placed on the upper dividing line, creating a dynamic arrangement of figures.

02. The rule of thirds in landscapes

The rule of thirds is mostly known as a tool for composing landscapes. In this painting by Pierre Henri de Valenciennes, the horizon is placed in the lower thirds, and the large mass of mountains and scenery is placed in the left section, to create a more dynamic scene.

03. The rule of thirds for asymmetric compositions

The main function of the rule of thirds is to help create asymmetric compositions. If the elements in a picture are centred and too balanced, it becomes boring. If the images are offset using the rule of thirds, the asymmetry and counterbalance of elements creates a much more dynamic picture.

04. Place focal points with the rule of thirds

Another great way to use rule of thirds is to help place focal points. In this portrait painting, the eyes fall on the upper horizontal line and leads to the second focal point in the ear. Other points of interest such as the warm triangle of light also fall on an intersection of guidelines.

05. Guide eyeflow with the rule of thirds

Eyeflow is another great use of the rule of thirds. In this painting by Rubens, the main focal point of the boar is placed at an intersection. Secondary points of interest fall on intersections as well and the action of the poses lead the eye from one focal point or intersection to another.
Next page: How to use the rule of thirds in your artworks (in three quick demonstrations)

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Whether you're just learning how to draw and paint or are a pro composing a new piece, by following basic drawing and painting techniques and guidelines, such as the Golden Ratio, you'll be able to improve your art and design.

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Do further larger studies - this time consider the background as well

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Do further larger studies - this time consider the background as well

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Work across two pages in your sketchbook

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Enoch's double self portrait in chalk and charcoal inspired by Barbara Walker

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What has your chosen artist inspired you to do?

What can you do to extend or develop the drawings/paintings/prints you have produced so far?

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Last Updated on April 2, 2023

Students taking high school photography qualifications such as A Level Photography or NCEA Level 3 Photography often search the internet looking for tips, ideas and inspiration. This article contains over 100 creative techniques and mixed media approaches that Fine Art / Photography students may wish to use within their work. It showcases student and artist examples along with brief descriptions of the techniques that have been used. Approaches relate specifically to mixed media photography techniques, technical / trick photography ideas and interesting, fun or unique compositional strategies.

Note: The creative photography ideas listed in this article should not be explored haphazardly within a photography course, but rather selected purposefully, if appropriate for your topic or theme. These approaches may or may not be relevant for your own photography project and should be chosen only in conjunction with advice from your teacher. The techniques listed here are created using a range of different cameras and devices, such as a digital SLR/DSLR camera, traditional camera, pinhole camera and/or camera phone.

Wrap torn plastic or other materials around the edge of your camera to create hazy edges, as in the photographs of Jesse David McGrady (via PetaPixel):

Use a hand-held glass lens or prism, to create blurred, abstract forms, like this photograph by Sam Hurd:

Deliberately unfocus lights to create 'bokeh', as in this beautiful landscape by Takashi Kitajima:

Photograph scenes through visible hand-held lenses, as in this A Level Photography work by Freya Dumasia:

Abstract an image completely through three mirrors, creating a vortograph, like Alvin Langdon Coburn:

Fold a photograph and make a installation, still life or sculpture, as in this example by Joseph Parra:

Collage mixed media materials onto images, as in Vasilisa Forbes' photography:

Splash, smear or throw mixed media upon photographs, as in this A Level Photography sketchbook example by Jemma Kelly:

Simulate the effect of the wet collodion process used by Sally Mann via Edwynn Houk Gallery:

Paint developer sporadically onto photo paper to expose only parts of the work, as in these portraits by Timothy Pakron:

Paint directly onto photographs, as in these works by Gerhard Richter:

Combine paint and photographs digitally, like Fabienne Rivory 's LaBokoff project:

Redraw part of a scene with paint, as in these works by Aliza Razell:

Paint onto objects and then photograph them, as in this IGCSE Photography piece by Rachel Ecclestone:

Mark or scratch negatives or photos, as in this 100 year old vintage print by Frank Eugene:

Use a CNC or Laser Engraving Machine to etch a photographic image onto glass, wood, aluminium or another similar material:

As technology progresses, it is possible for digital images to be engraved upon various surfaces (such as stone, timber, fabric or leather); on or within glass, as in a 3D crystal engraving; or around cylindrical items, such as a rotating bottle. A laser is used like a pencil, with a controlled beam moving in different directions, intensities and speeds, delivering energy to the surface, heating up and vaporises areas or causing small pieces to fracture and flake away. Although the majority of laser photo engraving examples online seem to be uninspiring commercial shots, laser engraving offers new possibilities for high school Photography students - not just in terms of printing images onto exciting materials, but as a way of creating a textured plate which can then be printed from. It should be noted that although most high school Art Departments are not in a position to purchase a 3D laser engraving machine to experiment with (although this may change in the future) some Design and Technology Departments are beginning to. Many companies also offer a custom laser engraving service that students may make use of. Remember that those who must post work away for assessment are not able to submit heavy, bulky or fragile pieces (such as laser wood engraving or laser engraving on glass).
Use an ink transfer method to print photograph images onto other materials, as in this video by Crystal Hethcote:

This video shows a simple image transfer technique using gel medium, which could be useful for applying a digital image to any number of creative surfaces.
Add sculptural elements that protrude from the photograph, as in this example by Carmen Freudenthal & Elle Verhagen:

Take photos using a scanner, like Evilsabeth Schmitz-Garcia:

Place objects on top of a photograph and scan it, like this example by Rosanna Jones:

Put objects on top of photographs and rephotograph them, like these images by Arnaud Jarsaillon and Remy Poncet of Brest Brest:

Project images onto textured surfaces and rephotograph them, as in these experimental images by Pete Ashton:

Project images onto people or scenes, as in these examples by freelance photographer Lee Kirby:

Create a photogram, as in this example by Joanne Keen:

Create pinhole photography, making your own pinhole camera from scratch like Matt Bigwood (via The Phoblographer):

Note: some teachers purchase a make-at-home pinhole camera set for their students, such as this one from Amazon US or Amazon UK (affiliate links). Matt Bigwood 's DIY pinhole cameras are made from ordinary aluminium drink cans:

Deliberately overexpose a shot, creating 'high-key' photography, like this portrait by Gabi Lukacs:

Experiment with underwater photography like Elena Kalis:

Use a homemade light box to create uncluttered backdrops for photography, as in this YouTube video by Auctiva:

Art teachers and students frequently take photographs upon cluttered classroom tabletops, often with less than optimal lighting conditions. Light box photography can be especially useful in this situation, helping those who wish to create professional product shots (Graphic Design students creating promotional material, for instance) or those who want to photograph sculptural or design pieces, create composite works from several elements or just to have a simple backdrop for their images. Tabletop photography becomes infinitely easier when you can light a subject well, and capture true colour and details, in a reliable, uniform way. If you are looking for other less time-intensive tabletop photography ideas or backdrop ideas, it is possible to purchase inexpensive light box kits and light tents from Amazon.com and Amazon UK (affiliate links).
Experiment with camera filters, like the neutral density filter that was used to photograph this beautiful seascape by Salim Al-Harthy:

Use specialised photography lighting to achieve dramatic contrasts, as in this portrait of two brothers by dankos-unlmtd:

Use a transportable photography reflector (i.e. this one from Amazon.com or Amazom UK - affiliate links) to create better lighting within your shots, such as in this outdoor portrait by Toni Lynn:

Take unfocused shots and create semi-abstract photographs, like those by Bill Armstrong:

Create 360 degree 3D panoramic photography, as in this image by Nemo Nikt:

Use kites to create aerial photography, as in this image by Pierre Lesage:

Produce High Dynamic Range Imaging (HDR Photography), as in this example by Karim Nafatni:

Use tilt-shift photography to make real things look miniature, as in this example by Nicolas:

Use a tilt-shift effect to make paintings or drawings appear real, as in these photographs of Vincent van Gogh artworks by Serena Malyon:

Photograph things with extreme macro lenses, like these photos of water drops by Andrew Osokin:

Photograph things without contextual information, so objects become almost unrecognisable, as in this example by Peter Lik:

Take photos from uncommon or unexpected viewpoints, like these birds eye view photographs commissioned by the human rights organization Society for Community Organization:

Use frames within frames to create intriguing compositions, such as these photographs by Chen Po-I:

Emphasise reflections, rather than the objects themselves, as in the urban landscape photography of Yafiq Yusman:

Play with shadows, like Russ and Reyn Photography:

Create illusions using forced perspective, like these photographs by Laurent Laveder:

Arrange compositions as if they were a beautiful still life painting, such as these food photographs styled by Maggie Ruggiero and photographed by Martyn Thompson (left) and Marcus Nilsson (right):

Create candid documentary photography, like these emotion-filled black and white football fan shots by Christopher Klettermayer:

Capture the same scene at different times, as in this photography series by Clarisse d'Arcimoles:

Use mirrors to create illusions, as in this self-portrait by 18 year old photographer Laura Williams:

Create a complex 'unrealistic' setting and photograph it, as in this composition by Cerise Doucède:

Collect many similar items and produce typology photography, like Sam Oster 's apparatus series:

Organise subject matter into patterns, like Jim Golden:

Digitally create patterns, as in this artwork by Misha Gordin:

Overlay multiple photos from slightly different angles, like these experimental photographs by Stephanie Jung:

Digitally erase parts of objects, as in this A Level Photography work by Leigh Drinkwater:

Colour select areas, as in this example by Locopelli:

Apply a digital filter to create an illustrative effect, as shown in this Adobe Photoshop tutorial:

Digitally overlay textures onto photos, as illustrated in this tutorial by PhotoshopStar:

Digitally draw over photographs, as in these portraits by May Xiong:

Digitally superimpose photographs onto other products, as in these watches by John Rankin Waddell:

Digitally merge images to play with scale and create fantasy scenes like Lorna Freytag:

Combine objects in unexpected ways, to create something new, as in Carl Warner's foodscapes:

Overlay tracing paper, obscuring parts of an image, like this photograph by Gemma Schiebe:

Cut through photographs to expose other layers of photographs below, as in these images by Lucas Simões:
Note: If you are interested in laser cut work, you may wish to see the excellent A Level Art project by Lucy Feng, which has been featured on the Student Art Guide.
Create layered handmade collages, like these works by Damien Blottière:

Cut out shapes and insert coloured paper, as in these photographs by Micah Danges:

Collage photographs and found materials together, creating mixed media art like Jelle Martens:

Make a photomontage, as in these examples by David Hockney:

Make a photographic assemblage combining foreground, middleground and background, as in this example by Matthew Chase-Daniel:

Photograph a single scene over time and join the pieces in sequence, like these composite photographs by Fong Qi Wei:

Cut and Overlap a sequence of photos to create a sense of movement, as in this A Level Photography project by Harriet James-Weed:

Combine multiple exposures to create the illusion of repeated objects, like these creative compositions by Lera:

Superimpose two different but related scenes over the top of each other, like in this photograph by Adam Goldberg:

Photograph an artwork within a scene to create illusions, as in these images by Gregory Scott via Catherine Edelman Gallery:

Add photography cuttings to real life situations, like the surrealist scenes created by Yorch Miranda:

Inset scenes within other scenes, as in these photographs by Richard Koenig:

Poke or cut holes in photos and shine light through, like Amy Friend:

Photograph scenes through small gaps or holes, as in these photographs by Reina Takahashi:

Experiment with night photography and create a light painting or drawing, as in A Level Photography example by Georgia Shattky:
Note: If you are interested in light painting you may also wish to view this high school NCEA Photography project by Jessica Louise. Jessica uses a range of night photography techniques, including using a laser to paint with light.
Use a fast shutter speed to freeze motion, like the action photography of Justin Grant:

Move the camera horizontally, so a moving subject is in focus but the background is blurred, as in the panning photography of Mr Bones (via My Modern Met):

Use slow shutter speeds to create blurred movement, as in this beautiful water photo by Antti Viitala:

Zoom in while shooting with a slow shutter speed, like A Level Photography student Freya Dumasia:

Experiment with slow shutter speeds at night, blurring lights, as in the abstract 'Sightseeing Tunnel' series by Jakob Wagner:

Photograph slow moving objects over a long period of time, as in this photograph by Paul Schneggenburger:

Swing the camera while taking photos to achieve a swirling effect, as in this photo by Lucasbenc:

Shake or jiggle the camera to create an impressionist effect, like these examples by Gerald Sanders (via Apogee Photo Magazine):

This collection is a work in progress. It is continually updated with creative photography ideas and examples. If you are looking instead for photography theme ideas or project ideas for your entire high school or college photography course, please read our article about how to select a great subject or theme for your Art project.

You may also wish to view our collection of Featured Photography Projects by high school students from around the world.

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A collection of photography ideas, mixed media techniques and creative compositions to inspire photography students.

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My Successful Illustration Portfolio for Applying to University + Advice

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Artist Simon Carter talks us about his art and life

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In the Studio: Michael Armitage | White Cube

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 pages in any media that explore your subject matter 

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 pages in any media that explore your subject matter 

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Work over different surfaces; washes of ink or paint, different papers (sugar paper, tissue paper, scrap papers). See exemplar student material for examples

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mixed media - different surfaces/grounds - 

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mixed media - different surfaces/grounds - 

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Keep drawing in your sketchbook to build up ideas towards your first project outcome. Use boxes to force yourself to consider the negative space and backgound

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Drawing in ink

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100 Lino printing ideas in 2025 | linocut, woodcut, linocut prints

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Apr 22, 2025 - Explore art teacher’s board “lino printing” on Pinterest. See more ideas about linocut, woodcut, linocut prints.

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The Art and Design Foundation UAL Diploma offers a transition from general education to specialist art and design education, enabling you to make an informed decision when applying to art and design higher education. You will be introduced to a range of art and design disciplines, contexts and processes and supported to build a strong specialist portfolio for application to degree level study.

The foundation year was an excellent way to determine what subject specialism I wanted to study further. The tutors were always supportive of my ideas and decisions, enabling me in my creative approach.

Projects are characterised by experiential, experimental and multidisciplinary learning and challenge you to broaden both your technical and conceptual understanding. We introduce the programme by exploring the core skills of drawing, media experimentation, research and critical reflection. You will be supported to identify personal strengths and affinities and to develop specialist skills and knowledge in a particular discipline such as fine art, textiles, fashion design, 3D design, craft or lens media. During stage one and two a series of talks, visits and workshops provide learners with detailed information about progression opportunities in higher education and beyond. Through organised presentation and critique activities the programme enables you to develop strong communication skills so that you feel fully prepared for Higher Education interviews.

Stage three takes the form of a self-initiated project. It is the culmination of the knowledge, technical and creative skills that you will have developed during the programme, and results in a final End of year Exhibition - a fantastic opportunity to showcase your work to fellow students, industry professionals, and the general public.

What Will I Learn?

This course is delivered through a combination of studio and workshop practice, guided assignments, tutorials, seminars and lectures. A considerable amount of personal study and research will be required. By taking responsibility for independent learning and managing time effectively, this course will provide an excellent springboard to future study and progress towards careers objectives or further study.

The course begins with a visit to a museum/art gallery that provides artwork for the first two units. There is also an educational visit abroad that provides students with the inspiration to enhance their portfolio material.

The Art and Design Foundation Diploma UAL Level 3 - Course Content

Ideas Development

Materials and Methods

Evaluation and Reflection

Preparation for Progression in Art and Design

Project Proposal and Realisation in Art and Design

In addition to this course and depending on your current qualifications, you will also engage in GEM and GAP activities to develop your English, maths and employability skills.

5 GCSEs (grades A*-C) including English and Maths (grades 9-4), and satisfactory results in a relevant Level 3 qualification (Merit/Distinction) or 1 A Level, at grade C or above, in an art and design subject. You will also complete an interview with a portfolio of artwork. All equivalent international qualifications are welcome, as are applications from mature students with alternative qualifications and/or work experience. . All applicants will be invited to attend an interview and asked to present a portfolio of their art and design work which should demonstrate their aptitude and enthusiasm for the subject.

After completing the Foundation Diploma in Art and Design in 2006, James Allen and Elliott Hammer went on to study Typography at degree level at the London College of Communication. Since graduating they have set up their own London-based design studio Birch, working with clients such as Salvatore Ferragamo and Black Box Press. They both share their experience with current Foundation students as visiting lecturers.

On successful completion of the Art and Design Foundation Diploma you will have the opportunity to progress on to various art and design related fields at junior or technician level.

If you decide to pursue a degree course, you will have the opportunity to enter employment in fields such as; graphic design, fashion/textiles, fine art practices, photography/moving image, digital design, film, interior design, furniture design, product design or teaching.

On successful completion of this course you will have the opportunity to progress onto a wide range of art and design related degree courses, some of which are taught at University Centre Colchester.

Foundation Diploma in Art and Design Level 3

Qualification: UAL Level 3 Diploma in Art and Design - Foundation Studies

Level

Level 3

Location

Colchester

Duration

One year

Study Mode

Full-Time

Campus

Colchester Institute

Start Date

September 2020

Fee(s)

16-18 year olds: Free
19+: £5,421

Disclaimer

All Fees and prices shown on the website are for courses starting in the 2019-20 academic year unless stated otherwise, and are correct at the time of entering/printing information, however these may be subject to change. The College cannot accept legal or financial liability as a result of any such changes.

The course information describes programmes offered by Colchester Institute. The College takes all reasonable steps to provide courses as described, but cannot guarantee provision. The information is for guidance and does not form any part of a contract.

The College reserves the right to update and amend information as and when necessary. Colchester Institute will do its best to provide the courses shown, but may have to modify or withdraw a course depending on customer demand and other factors.

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Foundation Diploma in Art and Design Level 3 - Colchester Institute

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The Art and Design Foundation UAL Diploma offers a transition from general education to specialist art and design education, enabling you to make an informed decision when applying to art and design higher education. You will be introduced to a range of art and design disciplines, contexts and processes and supported to build a strong specialist portfolio for application to degree level study.

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Bibliography

In order to avoid ‘plagiarism’ list all the books or websites you have used. Make a note of the author and title of the book, the publisher and the year it was published and/or the website address for your bibliography. Do it as you go along in order to avoid plagiarism.

Example of a bibliography for a book or article:

Author. “Title of book or article”. Publisher. Date published

Wood, G. Surreal Things, Surrealism and Design. V&A Publications. 2007

Example for a website:
Author. "Title of Article." Title of Website. Date written. Date accessed. <URL>.

Finnegan, Sally. "The Klondike Gold Rush." HistoryNet. October 24, 1998. January 5, 2009. <http://www.historynet.com/gold_rush/hgy30900tl/klondike.html >.

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How to do visual (formal) analysis in art history

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Beth is an award winning children's book author and illustrator

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working over different papers....using bleach and ink

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see this powerpoint on colour theory

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Useful help here on the Art UK website - you can also enter a competition

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1. Head over to the Art UK website to browse artworks - you'll find paintings, sculpture, prints and more. From the artworks page, you can use the filter on the search bar to look at artworks in museums and galleries near to where you live

2. You can also filter Art UK artworks by topic or keyword. Pick a topic that is of interest to you or search by keywords - try something like 'queen', 'sport', 'moustache', 'aeroplane' or 'ghost'. See what catches your eye - the site is full of surprises

3. Pick a style of art! Try searching for Abstract art, or Impressionism or Pop Art using the Style filter

4. Visit a local gallery and find inspiration

5. Check out the Stories section on Art UK, where different artists, artworks and themes are explored. Your essay might be here too, one day!

6. Still not sure? Try the artwork shuffle on the Art UK website and see six works selected at random

You can find further inspiration in our Write on Art learning resource.

If you are in England and Wales Year 10 or 11, Scotland S4 and S5, or Northern Ireland Years 11 (4th) and 12 (5th):

Your essay should be 400 words maximum

​We'd like you to focus on describing what you see in your chosen artwork

If you are in England and Wales Year 12 or 13, Scotland S6, or Northern Ireland Years 13 (L6th) and 14 (L6th):

Your essay should be 600 words maximum (excluding footnotes)

We'd like you to include citations to your references, either as footnotes at the end of the essay or as hyperlinked words and phrases in the text of your essay

Demonstrate to the judges that you've done some research about the work you have chosen

Write on Art 2019 winners

Start by describing what you see. Use a range of vocabulary to describe the work you have chosen. Think about how to describe the style, subject matter and atmosphere of the work you have chosen. Izzy Ajani reflects on the sitter's 'wise and knowing aura in her eyes' in Standing Figure with African Masks by Claudette Johnson, in her second place winning essay in the Year 10 & 11 category for 2020.

Is there a person in the painting? Are they sitting or standing? What are they wearing? What are they doing? What's the main colour in the painting? Is the painting dark or light? Take a look at Ruby Langan-Hughes's winning 2020 essay for Year 12 & 13, written from the perspective of the subject in Jean-Baptiste Greuze's The Broken Mirror.

You don't have to write about everything represented in the picture. It's fine to focus on a particular aspect or detail.

Read this story on how to write about art, and how to enter the Write on Art competition.
Vocabulary
Not sure about what vocabulary to use? Check out the Art History Lexicon on the Art History Archive website.
Make connections
Analyse what you see and try to make connections. Why do you think the person in the painting is doing that action? Does it mean anything to the artist? Does it mean anything to the time period the artwork was painted in?

Imogen Hodgkins - second-place winner of Write on Art 2020, Year 12 & 13 - describes how Jack Simcock's gloomy style in Cottage and Figure I is a gritty representation of reality in the Midlands and northern England in the 1960s.

​You might want to tell your reader something about the life and society of the artist in order to contextualise the painting. Or you might tell your reader something about the history of the work after it was made.
Do your research
If you're not sure about how to research an artwork, artist or time period, there are plenty of places online you could start with - including Wikipedia, the Khan Academy, the BBC or Heni Talks. You could also visit a library and ask a librarian to help, or even go directly to the source by contacting the artwork's gallery or museum.
Make it personal
You might want to tell your reader something about your particular connection to this work, such as why it appeals to you or what you find particularly interesting about it.

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Art UK | Learn Write on Art | Tips for writing

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Head over to the Art UK website to browse artworks - you'll find paintings, sculpture, prints and more. From the artworks page, you can use the filter on the search bar to look at artworks in museums and galleries near to where you live You can also filter Art UK artworks by topic or keyword.

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Another set of work from the exam board (Eduqas) - not a college student

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Another set of work from the exam board (Eduqas) - not a college student

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How to Create an excellent Observational Drawing: 11 Tips for High School Art Students

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This article contains list of tips for high school art students who are looking to improve the realism of their drawings.

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Jean-Michel Basquiat

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a set of second year work from a college student - the theme was Fluted

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a set of second year work from a college student - the theme was Fluted

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Responding to an artist - adding some annotation to explain your thinking

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Responding to an artist - adding some annotation to explain your thinking

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working over different papers, including an old black and white photo

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Painting on Grounds: Inventive uses of Media for Painting Students (Part 2)

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This article shows you how to integrate a ‘ground’ within your paintings or drawings and illustrates just how beneficial this technique can be.

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Last Updated on April 2, 2023

Starting a new unit of work or responding to an exam question can be a daunting prospect for even the most confident of high school Art students. It is often difficult to ensure your work is totally original, especially if you have picked a theme that may already have been responded to lots of times before. It should be an exciting challenge to try and make work that is innovative and individual, but sometimes avoiding cliché can be difficult.

When your work is assessed, there isn't a box to tick that says you need to avoid the cliché in order to be successful. However, arts-based students should be aware that markers, assessors and university/college interviewers are likely to have seen countless portfolios containing similarly themed work. Those assessing your portfolio often become oversaturated seeing huge amounts of work, so it is important to stand out from the crowd. Your portfolio has to prove that you are skilled, alongside showing that you are an originator and innovator of ideas.

To help you avoid making cliché responses to a theme or exam question, this article looks at the artwork of A Level Photography student Ella Kasperowicz from Thomas Alleyne's High School. Her response to the 'Built Environment' question from the A2 AQA A Level exam paper was innovative, creative and meaningful. Ella was awarded full marks ( 100%) for both AS and A2 Photography and gained an A* grade overall.

The Built Environment is a theme that has been used exhaustively in the past. Students often think they have to interpret a theme in a million different ways and draw / photograph one unrelated thing after another, however this can result in disconnected and incoherent outcomes. The key to success in responding to any theme/question is to ensure that you experiment in lots of different ways, but spend time making important, discernible decisions about which ideas and techniques will be the best to develop into successful and meaningful outcomes. Ella's work has a lot of experimentation and, crucially, a confident and clear progression of development that answers the exam question while creating a personal response. Ella's work is made more individual through her incorporation and development of textiles with photography. The combination of creative disciplines enables Ella to make unusual responses to her ideas and convey meanings and messages that are sophisticated and individual.

Ella's initial photographs taken in response to the Built Environment (examples shown below) were shot in New York. The photographs, which were a logical and conventional start to the unit, changed entirely by the end of her project and were used as a means to carry challenging ideas and meanings concerning the changes in the built environment in New York post 9/11.

It can be difficult to create work that references serious global issues without being too blatant. Ella's headscarf/hijab and patchwork quilt (shown below) create a subtle and intriguing way of challenging the viewer to respond to the varying views surrounding 9/11 without directly using images that are too suggestive or offensive.

The patchwork quilt wasn't only selected as a means to incorporate textiles - it was relevant for its cultural significance. In many cultures, a patchwork quilt is used as an object/device for sharing stories and social history. By using the idea and symbol of the quilt, Ella was able to create an object of greater context and interest that was as much a document of social history as it was a piece of artwork to resolve her ideas.

In the images above and below, Ella recreated images of built environments out of photographs of hands layered into different positions. The handscapes form new environments which create a new potential and possibility for the viewer.

If you are starting a new high school Art project or want to avoid the cliché in your own artwork, the 9 steps below may help you avoid the obvious and create something original.

9 steps for avoiding the cliché in an Art project

1. Research common and cliché responses to the theme you intend to explore, so you know what to avoid in your own work.

2. Create an extensive moodboard and plan of different artist ideas and imagery to refer to as you develop your ideas. This is an essential part of the planning process and allows you to creatively combine research, inspiration images and annotated ideas together. Your moodboard and initial plan are also an effective way of showing examiners your initial ideas and thoughts.

3. Make the time to explore current artist work as well as traditional artist responses to a theme.

4. Have a broad research base and look on sites other than relying on Google to be your sole source of influence. Sites like Behance, Flickr and Carbonmade, Talenthouse, ArtServed etc are all continually updated and full of creative inspiration to get you inspired.

5. Look for successes in places that might be overlooked. Take the time to review your work by yourself and with others to target areas of development that you may have missed.

6. Don't just stop at one outcome. Think about how you can redevelop your work in other ways, which could push your ideas further and create a more individual response.

7. Keep an open mind when you develop your work - don`t try to force yourself too much in one direction. Be open-minded to new ideas and exploit these in your work. You will always be more personal and innovative if you can be free to develop your ideas on other tangents.

8. Remember that you can develop ideas in many different ways using unexpected mediums and processes. For example, photography students may approach image-making without a camera and think beyond the conventional photography. In Ella's case, textiles and craft skills were just as essential to the development of ideas as her initial photographs.

9. Be experimental... but always take the time to select the best media and techniques to further develop your work into the most meaningful outcomes.

An Interview with Ella Kasperowicz about her A Level Photography work
Were you concerned about making cliché work?
Ella: In a way yes; I like to be original and combine different elements of design in each project I do. Often I aim for my outcomes to be quirky and alternative so that there is little to compare them to, which I hope makes my work more interesting to look at.
What steps did you take to avoid making work on a theme that had already been done?
Ella: I was initially worried that the New York and 9/11 theme for my photography work had been overused, so instead of just focussing on the study trip I looked at how it affected me, linking my experience in America to home. My project thus is a reflection of my journey, making it personal to me. I also wanted to address how the 9/11 disaster predominantly led to unity of cultures, using Islamic, Japanese and Western components in my collage work. It was inspiring to me how people managed to still find hope in a time where a nation was broken. As well as conceptual originality, a combination of materials and unusual processes like waxed teabags, fabric printing and origami made my work a completely fresh interpretation of the theme.
What were you most pleased with?
Ella: Overall I was pleased with the connections that make seemingly completely different images fit together in the same theme - ideas like hope, repetition, architecture and comfort. Specifically I enjoyed the collage work and invention of the 'handscape' the most, and the way I was able to combine photography with applied art.

What did you do to finalise your project?

Ella: At the end of the project, I swapped all of the images and artist research in my mood board for my own images and analysis. It felt an adequate way to conclude the journey by showing the start point and end point in the same form.

What tips would you give to students before they respond to a unit of work?

Ella: I would say that you should go into a project with an open mind. If you know exactly what you want the outcome to look like before you start, then you don't give yourself the chance to explore and experiment with lots of different materials and techniques. I would also advise them to stock up on double sided sticky tape and befriend the suppliers of it!
Would you change anything differently if you had the chance to respond to the theme again?
Ella: In an ideal world I would have loved to have gone back to New York to take more photos! I used the trip as inspiration for the project and if I would have known I was going to take the approach I did I would have photographed paper cranes around the memorial, visited the memorial at night and asked people's opinions on the disaster whilst I was there.
A talented and driven student, Ella's portfolio was strong enough to allow her to gain direct entry to university, rather than taking a Foundation course first (this is a one year course taken by most Art students in the UK, prior to beginning a university degree). Ella is now studying an Illustration degree at one of the top universities in the UK for Photography and Illustration.

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How to Avoid the Cliché in a High School Art Project

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Starting a new unit of work can be a daunting prospect for even the most confident of high school Art students. Read how to avoid producing cliché artwork!

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A set of second year work - by a college student. The theme was Local colour

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A set of second year work - by a college student. The theme was Local colour

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If you're starting your final year at school or college and want to study art and design at uni, then no doubt you will already be thinking about preparing your portfolio. So, what are the key things to keep in mind and how do you crack the formula for a winning portfolio?

It all depends on what you want to study. An animation student may spend all year on a 30-second film, whereas a fine artist will have an array of work, from sketches and paintings to sculptures and text-based pieces.

But every portfolio is trying to do the same thing - secure your place on that perfect course.

After you've narrowed down the courses and institutions you'd like to study at, the next step is to begin thinking about how to display your work for submission. The purpose of a portfolio is to give potential tutors an overview of your ideas, concepts, practices and potential.

It's an insight into your work intended to demonstrate your capabilities and personal style.

Lee Paton, HND course leader at School for the Arts Wigan, suggests showing a diversity of creative talent, media exploration and development of skills within your specialist area.

Depending on the university, a portfolio is either sent off prior to interview or is to be brought along with you. Either way, it should be a body of work that speaks for itself, because chances are you won't get the opportunity to explain most of it.

Ed Jpjm, a BA architecture graduate from Westminster University, says that tutors "never give you the chance to stand and explain your entire portfolio".

This means the work should read clearly, with any explanations, references or clarifications visibly demonstrated through out. Annotations, in sketchbooks or attached to the actual work itself, should state clearly the medium, scale (if it's a copy or photograph), the date it was created and any additional notes.

For example, if you include a timed life drawing done with your left hand, make sure it's clearly labelled. It demonstrates a good understanding of your practice and the ability to record the development of your work.

Before selecting pieces, it's best to check the requirements for each course. This can usually be found on the university's website. If you do have any queries, you can always phone to double check.

Depending on the time of year, course inquiries can be inundated with questions, but they're usually pretty efficient at answering queries. Ask for specifics like size, medium and quantity as well as checking that all-important deadline.

The amount of work varies. 20 pieces is the average, with A3 being the most common size. That doesn't mean all your work must be one size though. Smaller work can be mounted on plain paper and larger work can also be photographed and printed out; the last thing a university wants is a 4ftx8ft oil painting delivered outside its admissions office.

If you are sending your work in, be warned that you might not get it back. On the University of the Arts website it clearly states that if you send in your portfolio by post, you should not include originals. Universities receive a vast quantity of submissions and they cannot always guarantee their safe return.

The most recent work is seen as the most important - tutors want to see your current ideas, practices, methodologies and lines of interest. Your work doesn't have to be displayed in chronological order, however. It's best to start with your strongest piece. After all, first impressions do count.

BA fashion graduate from Kingston University, Holly Thompson, says you have to make a decision about what represents your best work: "If you have two or three projects that show the same skills or discipline, choose the strongest."

It's important to be decisive and keep your portfolio tight and concise, a point reiterated by graduate Chris Bethall, who studied BA photography at Staffordshire University.

"When applying, you want to demonstrate both your technical ability and creativity, so bear this in mind when putting together the work - only include pieces if there is a reason for it."

Keeping the arrangement crisp stops the work becoming clouded by unnecessary clutter. Lauren Miller, BA fine art graduate from Central Saint Martins, suggests a simple layout without elaborate framing.

"Keeping the material as raw as possible ensures the page is kept clear," she says.

Narrative is an important element to consider when preparing a portfolio. How work is laid out and displayed changes how it is read, meaning the placement of pieces is vital to showing tutors your best ability in the shortest amount of time.

Not all the work included has to be done while at college and tutors will be looking for a range of interests. Matthew Shenton, a BA graduate in sound art at the London College of Communication, says that during his portfolio preparation he wanted to "showcase an interest in the subject that went beyond the usual".

As well as submitting essays to prove he could engage with texts at a degree level, he mainly focused on his personal interests.

"It's a very subjective thing; you have to discuss your work and yourself as if they are one," he says.

At last year's Ucas fair in Manchester, course advisers and former tutors all gave similar advice. If you have a strong interest or hobby, from music and politics to stamp collections and fishing, make it stand out in either your personal statement or portfolio. It tells the tutor you have initiative and a critical creative interest.

Working closely with your current teachers is important. Not only do they know your strengths but they can also give you a fresh perspective.

That's not to say you have to comply with every bit of advice. Work will be chopped and changed around; it's the nature of finding a good balance. So don't worry if your finished portfolio looks nothing like what you began with.

Tutors are not expecting work of a level that could be hung in the Tate - they're looking for potential. You may not be certain on your definite style but the whole purpose of art school is to experiment.

Idelle Weber, an American pop artist who taught drawing and painting at Harvard and New York University, and also assisted teachers at the University of California, Los Angeles, says the joy of teaching is engaging with clever and astute students.

When she selected students from the admissions process, she looked for interesting work. Pieces didn't have to be fully formed - if the seed of an idea was there, it didn't matter if it wasn't executed to the highest ideal.

When lecturing, she often made up outrageous assignments, to which students always came back with original and thoughtful outcomes.

Tutors will be looking for this ability when going through your work, so make it obvious. Every course is looking for different qualities; for example, life drawing is more important in fashion that in sound design. But every portfolio should be well edited, dynamic and strong.

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How to prepare an art portfolio for university

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Many arts courses require students to submit a portfolio: here's how to make yours stand out

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looking at plants in different contexts and environments

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 pages of drawings  that explore your subject matter 

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 pages of drawings  that explore your subject matter 

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Jess's mood board of initial ideas for Unit 4 | ASFC A'level Graphic Design | Gcse art sketchbook, Sketchbook layout, A level art sketchbook

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Sep 6, 2022 - Jess's mood board of initial ideas for Unit 4 | ASFC A'level Graphic Design

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In preparation for handing in your sketchbook plus large work on 20th May for the May assessment grade do two more pages of observational drawing.

Aim to use a range of media if you have recently only used pencil. Create more contrast in your drawings. Use colour if you want.

How to create excellent observational drawings - 11 tips (studentartguide.com)

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You have art coursework and need to research artworks for it. Where do you start? How do you find relevant inspiration? How have other artists approached the themes?Our thematic coursework guides provide ideas and inspiration to get you started. Try our 'Have A Go!' section at the bottom of our guides for activities to keep you motivated!

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You have art coursework and need to research artworks for it. Where do you start? How do you find relevant inspiration? How have other artists approached the themes?Our thematic coursework guides provide ideas and inspiration to get you started. Try our 'Have A Go!'

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Homework due in Tuesday 11th June

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develop ideas for your final composition

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develop ideas for your final composition

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Develop ideas for your final composition