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Here is an example of part of a piece of writing from an ex student, which has been "marked" by another student. You can analyse the work of other students in this way.

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Example of stuent annotation on - Student Essay.pdf

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North Korean propaganda artist Sun Mu

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A North Korean propagandist who escaped to Seoul now creates satirical art about Kim Jong Il's regime and copes with repercussions of his defection.

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Watch Netflix movies & TV shows online or stream right to your smart TV, game console, PC, Mac, mobile, tablet and more.

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Filmmaker Christopher Thompson chronicles his own efforts to restore and sell a piece of Banksy's street art lifted from an East London bridge.

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Beltracchi: The Art of Forgery | Netflix

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Artist and master forger Wolfgang Beltracchi is profiled, with insights into his life, talent and the international art world that made him millions.

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Different careers in the creative industry. An episode each.

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Watch Abstract: The Art of Design | Netflix Official Site

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Step inside the minds of the most innovative designers in a variety of disciplines and learn how design impacts every aspect of life. Watch trailers & learn more.

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Introduction to various topics

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This enlightening series from Vox digs into a wide range of topics such as the rise of cryptocurrency, why diets fail, and the wild world of K-pop. Watch trailers & learn more.

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What is Philosophy?: Crash Course Philosophy #1

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Basic Writing framework for Art essays

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Contemporary art competition. A summary of the last 30 years of the prize.

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The Turner prize, launched 30 years ago. On the eve of the 2014 Turner Prize exhibition Tate director Nicholas Serota and The Guardian's art critic Jonathan Jones consider its legacy.

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The Life and Times of Frida Kahlo Documentary

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What is art for? Alain de Botton's animated guide | Art and design

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Last Updated on February 8, 2017

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

The Personal Study is an area of uncertainty for many A Level 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, make informed judgements and write personal evaluations. With few examples of quality Personal Studies available, 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.

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 understanding of the issues discussed. Before starting the project, students should conduct thorough background research, selecting and recording information from second-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, after preliminary second-hand research has been completed (as findings from research will suggest important issues to discuss with the artist).

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

Please talk me through the process you follow when designing your paintings. Do you 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 particularly in the colours used in [insert name of painting/s]. Could you explain your thought process behind the use of colour in this work, particularly the [give example]?

I notice that your work has been described as [insert relevant comment from second-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.e. 'angular line' or 'organic form'] is a dominant feature of your work. Is this strongly connected to the ideas that you 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 apply media at different stages.

Are there any tips you 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?

2. Evaluate and interpret research findings

Conducting research is critical for creating an excellent Personal Study, however, it should be noted that submitting research on its own will not gain a student any marks. Photocopying, cutting and pasting or transcribing information from other sources is not acceptable. Examiners do not want to read long lists of facts or chronological sequences of events. They do not want long-winded technical processes or the inclusion of broad periods of art history; nor entire interviews with artists (interviews can be submitted as part 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 information which is relevant and analyse this in detail, evaluating and interpreting findings in relation to the focus of their study. 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 background knowledge to communicate an in-depth understanding of relevant issues. Evidence might also be indicated photographically, with images depicting first-hand 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 alongside images by New Zealand charcoal artist Liam Gerrard. Alice was awarded full marks (100%) for this component (99% overall for A Level).

3. Structure the Personal Study in a logical and clear manner

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

Introduction. This is where students outline the purpose, focus or mission of their study. This may include question/s they are going to answer; themes they are going to explore; issues they hope to address etc. It should set the scene for the project 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 project are clearly set out in this section, so that the remainder of the project can be structured accordingly.

Body. This is the main part of the Personal Study and will need careful thought. It is usually organised into separate sections (which may be formal chapters, or simply different areas of a visual study), usually with individual headings and sometimes sub-headings. (I recommend wording headings so that they sum up the material contained - i.e. '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 appropriate areas). The sections should be ordered logically and address the focus of the project; they should NOT ramble haphazardly from one issue to the next. High school Art students have a tendency to write without any preconceived order or structure, discussing issues spontaneously as they think of them. While this can be a suitable approach for more creative writing tasks - and can pulled off by certain students - this strategy runs the risk of creating a muddled and incoherent Personal Study.

Conclusion. This is where students summarise key points from the project, arrive at final conclusions and make considered personal judgements about what has been learnt.

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

Taratoa's use of composition helps convey his message concerning identity construction. The arrangement 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 reflect New Zealand society. Taratoa's use of colour is vibrant and modern, 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 two artists are very different, they both communicate their own attitudes about society. Making a political statement through your paintings forces an audience to engage. Ultimately we want our art to be remembered and admired and I think if the message of a painting is clear then the viewer is more likely to go away and think about it. Paintings are a powerful tool to communicate a meaning that is deeper than the 2mm of paint on a canvas. Paintings are an artist's voice.

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

4. Write clearly and coherently

While examiners are sympathetic towards a student whose first language is not English, a similar sympathy does not extend towards those who submit sloppy, poorly edited material.

Just as it is expected that a Coursework project should contain beautiful well-composed artwork, a Personal Study 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 by an A Level English student. Poor grammar, spelling errors and 'txt' speak are inexcusable.

As with any 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 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 student, feedback from a fresh set of eyes is invaluable.

5. Use subject-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, there are a number of general Art-specific terms which students should be familiar with (these will be listed, with their definitions, in an upcoming article). Use of appropriate vocabulary helps to fulfil the 'Knowledge and critical understanding' assessment criteria.

6. Make it PERSONAL

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

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

I first 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-way glare with a slightly butch, totally intense woman, with eggs for t*ts. Ever since then I've been hooked.

It is evident that Yantra not only visited and viewed artwork in the flesh, but had a strong personal reaction to it. It could never be assumed that this segment had been reworded from a textbook: it is absolutely the words of a passionate high school Art student. Although Yantra uses coarse language within her study (something which should be emulated with caution) this project is an exceptional example of an intelligent and personal response to a topic. (More of Yantra's work, as well as the entire text of her study, can be read in full on the great Julia Stubbs' website).

Similarly, this quote from an 88% OCR A2 Art Personal Study (one of the examples given in the OCR A2 Art Exemplar Work - Personal Study document) shows a personal response integrated within the analysis of Damien Hurst 's work, illustrated below.

The glass is thick, so thick that it is intimidating. It is as if it is holding something terrible back. It makes you question the formaldehyde and query, what if the tank did break? The formaldehyde is not clear as I expected but is quite strongly coloured by a blue and green pigment. This colour is very clinical and has the connotations of a hospital...

The musings about the tank breaking and the formaldehyde differing from expectations are clearly the individual thoughts of a high school art student.

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 - as is more common - the influence of other artists is discussed, with comparisons made between artwork that has been created in similar or differing contexts.

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

The setting itself creates an intoxicating atmosphere with the rows of fluorescent light bulbs and layers of luminous signs that form an endless maze of gaudy colours. However, the setting does not overwhelm the two models who draw my eyes despite the signs above them. They create the focal point of the image through the use of the rule of thirds as they are placed off-centre and through their quirky appearance which magnetises the eye towards them. They seem to belong to a different world to the passersby behind them with their flare of red hair and audacious choice of feathered flittered clothes. Akif has further crafted the image through the use of makeup as their chalk white faces further segregates and emphasises their surreal doll-like appearances.
...Akif's pictures are reminiscent of Japanese cinema which he says he is so influenced by. "I like...its writhed and crazy stories; I feel very close to that way of looking at the world." This photograph 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 common (and completely acceptable) for students to analyse work from a combination of primary and secondary sources. In the best studies, artworks are chosen specifically to facilitate the discussion of issues which are relevant to the study.
The advice in this section is particularly important and should be read closely by students who are hoping to achieve a high grade for their Personal Study.
When analysing artwork, it is helpful to analyse the work in terms of composition, format, structure and visual elements (such as shape, line, texture, colour, space, 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, balance and connect with one another. Descriptions of important terms have been included below to aid this process:

Composition is the placement or organisation of visual elements within an artwork - the way these have been composed, combined or 'put together'. Composition may be instinctual or the result 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.e. whether a work is painted on a long, horizontal oblong 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 as being an active decision by the artist to help communicate a particular meaning or idea.

The structure of an artwork is the organisation of basic 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 direct a viewer's gaze and create a visual path. These can direct attention to a focal point and create depth through perspective or horizon lines. Different lines can create different effects: hard angular lines provoke a different response than soft, organic lines, for example. Repetition of lines can create a sense of movement or rhythm.

Shape is a visual element that is created by the junction of lines or changes in tone: the perceived boundaries of form. Larger shapes can become dominant focal points within an artwork; similar shapes can be repeated to create balance and create unity / visual harmony. Shapes can be symbolic, i.e. they can represent more complex forms and carry meaning. As with lines, the types of shapes used can communicate certain 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, perhaps helping to draw viewers from the foreground / middle-ground to background.

Space - the absence of form - is an often overlooked visual element. Described as being 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 cluttered a painting is. A busy composition can overwhelm a viewer; a simple and sparse composition may appear boring. Careful integration of space is fundamental to any artwork.

Form is a visual element that is usually discussed more easily in relation to three dimensional objects (as three-dimensional forms are usually described within 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 light or dark a colour appears). Colour can affect the mood of an artwork due to colour associations - i.e. blue might indicate sadness. Tone can help to communicate a sense of distance (items that are further away generally appear lighter - due to 'atmospheric perspective'). Both tone and colour can be used to create contrast within an artwork, attracting the viewer's attention 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 also 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. As with the other visual elements, texture should be integrated so that it balances and becomes an aesthetically pleasing addition 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 be noted here that students should not submit reams of text explaining how certain visual elements affect artworks in general, but 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 by 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 called 'leading lines' and direct us to the focal point of this painting, which is a portrait of Taratoa. They also lead our eyes past him and make us look at the background. This helps to convey Taratoa's message that one's identity is linked to social circumstance, upbringing (background) and popular culture. Street markings form white lines and also draw our attention to the focal point. Street markings represent paths and therefore they may be paths to finding and constructing ones identity. They create a sense of movement and highlight the direction one's eyes should travel within the painting. The street markings in 'Episode 007' are curvaceous which creates movement. 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 background of the painting to unite separate parts of the painting.

As well as the aesthetic qualities discussed above, most students also 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 way an artist has applied paint to a canvas (mark-making, brush strokes), the sequence of building up layers of paint over a prepared ground, or the sequence of events involved in creating a graphic design: from conceptual sketches, development of ideas, construction in Photoshop, through to proofing, paper selection and final printing. It might involve discussion about the way a composition is planned and designed and then the various processes that are undertaken in its completion. It 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 important to note (as mentioned above) that the examiners do not want the regurgitation of long, technical processes, but rather would like to see personal observations about how processes effect and influence the artwork that has been created.

In all analysis of artwork, whether this involves discussion of composition, aesthetic qualities, cultural contexts, use of media, or approach to a theme, it is important that students move beyond simple observations and add perceptive, personal insight. For example, 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 case: for example, perhaps the contrast was created deliberately to draw attention to a focal point in the artwork, helping the artist to help convey thematic ideas. These personal insights could be backed up by earlier research, confirmed or suggested by the artist, or might be educated assumptions made by the student, based upon their own responses and personal interaction with the artwork.

Some final recommendations are included below:

'Analysis of artwork' does not mean 'description of artwork'. Analysis means taking an artwork apart (thinking about it in terms of individual elements, such as line, or colour or technique), analysing these individually and/or in terms of how they relate to one another, and making personal observations and judgements, connecting this to the theme or focus of the assignment.

Saying "I like this" or "I don't like 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 Year 13 student at ACG Parnell College (awarded 100% for her Personal Study) has produced some excellent analysis of artwork by Liam Gerrard:

In most works (the exception usually applies to those done in commission) the focus of the piece is centred, surrounded by empty space and never grounded through shadow or the like. This is another way in which Gerrard plays with commonly held opinions. Typically, a most aesthetically pleasing composition will follow the rule of thirds - a well known 'rule' that correlates to the focus of artworks being offset within the composition, and the entire image being visually divided into 3 sections. Liam has little care for this standardised rule, yet 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. I also think this space is played upon in the display of the artwork. Galleries in general will have white or very light coloured walls so as not to distract from what is on display. By placing these white canvases on the white walls, hung without obvious framing, the artwork is allowed to 'flow' into the viewer's world, there is no line of separation. This forces the viewer to study Gerrard's pieces, and perhaps consider the personal message they address for the viewer in everyday life.

Some of the text above has been reproduced here to aid ease of reading:

The expression on the pig's face is perhaps what would draw the viewer into this picture the most. It directly contradicts the gruesome depiction of decapitation and appears almost to be laughing. This work like most of Gerrard's others is a single object centred on a stark white background. The amount of empty space in this picture is very eye catching 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 not allow the audience to be caught up in what is 'pretty' but forces them to take in every details in it's highly realistic, and perhaps disturbing, state. The shock factor of this piece is emphasised ten- fold by the sheer size. It cannot be realised until you view this piece in reality, but being dwarfed looking up into a pig's head captured mid laugh brings upon you a bizarre sense of fascination.

9. Explain the relationship to Coursework (if appropriate)

As explained in the previous post about topic selection, it is no longer necessary that the Personal Study relate to a student's Coursework project. If there is a strong 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 3,500 words. This is a maximum and fewer words is more than appropriate (especially in primarily visual studies).

If a student is slightly over the word count, this is unlikely to be an issue (it is rare that examiners would know your exact word count, as no-one is likely to count every word in a project from start to finish); however, if a student is significantly over the word limit, this is obvious and a problem, running the risk 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 have attempted to bulk up their study with unnecessary information from second-hand sources. If you are encroaching the word limit, you should immediately ensure that you have not included supplementary research material or unnecessary information summarised from textbooks. If you are still battling with the word count and inclusion of material from second-hand sources is not an issue, you should re-edit your project, eliminating waffle, and ensuring you communicate succinctly.

Final 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' password 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 high 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 found this information helpful, you may wish to read the previous article in this series: How to select a great A2 Art Personal Study Topic or our overview of the CIE A Level Art: Personal Study.

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Writing the A2 Art Personal Study: Examples, Help and Guidance

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Last Updated on February 8, 2017 This article has been written for CIE A Level Art students who are working on their A2 Art Personal Study. It focuses purely on how to write the text of the Study; a previous article outlines how to come up with a good topic; a future article will address the illustrations and presentation methods.

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Student art guide

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Last Updated on February 8, 2017

This is the first in a series of articles aimed at helping A Level Art students with their Personal Study (a project which is required as part of CIE A2 Art & Design). This article outlines twelve guidelines for selecting a good topic. The recommendations are based on my own experience with the teaching of this component, discussions with examiners during CIE training days and the feedback given within Examiner Reports.

1. The topic must relate to Art or Design

This sounds obvious and something that should not need saying, but, absurdly, it does. For some, inexplicable reason, students continue to submit projects that are completely unrelated to Art or Design. This is a quote from a recent CIE Examiner Report:

There were numerous inappropriate submissions which were not concerned with any aspect of Art and Design. These included such topics as 'Giving up smoking', 'The biology of the senses', 'Growing tea on a plantation', as well as aspects of tourism, green issues and political themes.

2. The topic should be something that you are genuinely interested in

The ultimate purpose of your Personal Study is to teach you something: to help you develop as an artist and to strengthen your understanding of art-related issues. The most successful Personal Studies communicate ' a strong sense of involvement through personal enthusiasm and a commitment to sustain the investigation '.

Simply speaking, when you are passionate about a topic, you are more likely to do well.

3. The focus of your Personal Study should be process and materials (the way an artist or group of artists use/s media) or subject or theme (the way an artist approaches a topic, usually with reference to composition and technique)

In other words, your Personal Study should involve the analysis of specific pieces of art; it should NOT be the life story of an artist or the documentation of a broad period of Art history (unless this somehow includes sufficient focus upon specific artworks).

4. A topic should provide you sufficient material to write about, while not being so vast that your project becomes all-encompassing, disjointed or surface-deep

In order to produce a high quality Personal Study, you need to have a clear, well-articulated focus. This gives you something to organise your project around and encourages you to write with coherence and structure (a lack direction is a common weakness in low achieving Personal Studies). Completing an entire project around the analysis of one or two artwork, for example, is limiting, while attempting to analyse Abstract Art in all of its entirety (without any connection to a specific artist) sets up an enormous, daunting task which cannot be given justice in the time given.

5. The study should be about someone else's art (not your own)

This is an area where CIE Art & Design students are often confused. There is an incorrect belief that students are expected to submit a body of original creative work as part of the Personal Study, similar to that produced for the Coursework project (some students even go so far as submitting only original practical work or additional Coursework pieces for this component - often with no annotation or explanation - which does not satisfy the requirements of the Personal Study at all). While the Personal Study certainly can - and in the majority of cases should - include beautiful practical work completed by the student, the Personal Study is about analysing, studying and learning from other artists: it is NOT about producing original artwork on your own topic (more information about the images used in a Personal Study will be given in a subsequent article). This quote from CIE helps to clarify this:

The main aim of the Personal Study is to encourage candidates to focus on selected examples of existing works of art or design from established contemporary or historical practitioners, seen at first hand, by making critical judgements and personal evaluations.

Note that this article has been written for CIE A2 Art Personal Studies: Personal Studies required for other examination boards differ in some respects.

6. A link to your Coursework can be advantageous

Although it is not necessary for CIE Art & Design students to select a Personal Study topic which relates to their A2 Coursework project, the examiners comment that ' good practice might suggest that a link between the two is advisable '. This is because a selecting a related topic allows you to acquire knowledge, skills and understanding that may help you to complete your Coursework to a higher standard. (Remember that if you refer to your Coursework project within your Personal Study you should include photos to help explain what you are saying. Each component is assessed individually and examiners do not have access to your Coursework project while they are assessing your Personal Study).

7. Choose a topic that allows you to view artwork first-hand

This is not a guideline: it is imperative. In my experience, the best CIE A2 Art Personal Studies are produced when students not only view artwork in the flesh (in a gallery or museum exhibition, for example), but are able to meet and interview the artist or designer and see their methods of working. This gives opportunity for the work to be understood in great detail (seeing true colours, textural surface qualities and the real scale of the piece) and encourages truly personal responses. It also means that students can take beautiful photographs of the artist or designer working in their studio and see all of the processes and various stages of completion. Examiners frequently report that lower grade Personal Studies ignore this requirement and depend more heavily on secondary sources: lifeless reproductions from books and the internet.

8. Contrasting and comparing the work of artists can be helpful

Studying the work of a mainstream or critically acclaimed artist alongside a local artist can be beneficial, especially if the local artist is less established. This gives you the best of both worlds (the enthusiasm and first-hand contact from a local artist, plus the insight that comes from studying historical, contemporary and/or international artists who work in another cultural context). You may, for example, choose to focus upon two artists who paint the same subject in a different way, or to discuss the influence of a famous artist upon a local painter. It should be noted that the examiners understand that many students will not be able to see all of the artworks they study in the flesh, so supporting first-hand study with those viewed in reproduction is absolutely acceptable.

9. Select a topic that is supported by quality reference material

While the Personal Study is centred around your own personal responses, drawing on the opinions of educated critics can provide insight and a depth of understanding: grounding, validating and/or challenging your own views. Before finalising upon a Personal Study topic for A2 Art, check to see if there are existing articles, books or online reviews about the artists in question. This also helps to verify that the artist you have selected has some standing in the art community and is thus likely to be an appropriate and valuable person to study. It should be noted, of course, that in many cases, the more well-known an artist is, the less time they have to accommodate visits from eager high school students; sometimes relatively unknown artists can be very skilled and have much to teach a high school Art student.

10. Word your title so that it captures the essence of your Personal Study and indicates a well-chosen focus

For example: ' The Portraiture of [artist name]: An Appreciation of Light and Colour' is more appropriate than ' Portraiture in Art'. ' The use of Symbolism in Traditional and Contemporary Weaving' (an example given in the CIE 9704 Art & Design syllabus) is more appropriate than ' The Art of Weaving'. ' Landscapes of the Idurah Valley' (another example given in the syllabus) is more appropriate than ' Landscape Paintings'. ' An Investigation into Gender Roles in Contemporary Art' is better than ' Contemporary Art'. In the former examples, the title helps to clarify the focus of the study; the latter suggest an enormously broad study that would be difficult to complete well. Similarly, it is also beneficial to avoid overly simplistic titles that convey little information, such as '[artist name] Personal Study' or ' Fish '. Ideally, the examiner a clear idea about what your study is about (and be impressed) from the first moment they encounter your project.

11. Select your Personal Study topic near the start of the A2 Art Course

The Personal Study is a large and comprehensive project. It is impossible to complete in its entirety (and achieve a good grade) at the last minute. It can be good practise to start thinking about your topic selection at the conclusion of the AS Course. High achieving students often use the winter or summer break, seeking out artists who are available for interview locally. This leaves them in a strong position to start the A2 year (it can be wise to touch base with teachers prior to making contact with an artist, however, to avoid wasting anyone's time). Regardless of whether the vacation period is utilised, it is essential that the Personal Study receives regular attention (ideally within scheduled class time as well as in homework sessions) so that students can plan, research and complete the project in a systematic, organised way.

12. Submit an Outline Proposal Form to CIE before you begin

While this is not a requirement, all students should be encouraged to do this. Any concern about the suitability of a topic can be overcome by making use of the Outline Proposal Forms (OPF). This is a free way of gaining invaluable feedback from the official CIE Senior Moderator before you begin. Blank forms are available on the password protected Teachers' Support Site and can be submitted electronically to CIE for approval. It is important to note that the brief feedback given should be read with great care and always adhered to. This form should then be retained and submitted along with the finished Personal Study.
An example of the CIE Examiner Reports quoted in this article can be found on the publicly accessible Art & Design section of the CIE website. Further reports are available from the password protected Teachers' Support Site.
The next article in this series discusses how to write a Personal Study. A subsequent post will focus on the images. You may also be interested in reading our overview of the CIE A2 Art Personal Study.

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How to select a great A2 Art Personal Study Topic

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Last Updated on February 8, 2017 This is the first in a series of articles aimed at helping A Level Art students with their Personal Study (a project which is required as part of CIE A2 Art & Design). This article outlines twelve guidelines for selecting a good topic.

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What I believe to be, one of the best art documentaries on the internet.

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Turning The Art World Inside Out (HD, eng/ru subs)

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Watch this! It's old but still relevant.

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You have all seen the work of this artist first hand.

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Jean Michel Basquiat Documentary - The Radiant Chil

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Some information about Jean Michel Basquiat

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Your powerpoint slides from the composition session.

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Presentation1   Photography Key Concept  'COMPOSITION'

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This is for art and photography students. Entire specification for your qualification available to download.

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find out how to remove them More information Accept Accept

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Mr Piggott's Photography Pinterest Board

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Mr Piggott's Photography Pinterest Board

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Follow this board to request collaboration. Share ideas and artists.

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Explore Mr Piggott's board "Photography" on Pinterest. | See more ideas about Photography, Creative photography and Digital photography.

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Explore Mr Piggott's board "Graphic Communication" on Pinterest. | See more ideas about Graph design, Corporate design and Corporate identity.

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Explore Mr Piggott's board "Fine Art" on Pinterest. | See more ideas about Anatomy, Anatomy art and Angles.

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Outstanding collection of student work from Photography A Level. Experiments with film and digital photography.

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Last Updated on May 27, 2021

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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Last Updated on May 27, 2021 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.

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Your powerpoint slides from line lesson one workshops, year 12- a reminder of how to record ideas in visual form.