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Your homework and prep time is updated on go4schools. Please reference the work there.

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Our manifesto and answers to commonly asked questions.

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Our manifesto and answers to commonly asked questions.

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Discussing your subject questions - Copy

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Welcome one and all to the Samuel Ward Padlet Prep site.

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Welcome one and all to the Samuel Ward Padlet Prep site.

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You will find on this platform every policy, work exemplar, support method and inspiration needed to achieve the very best of your creative talents. Please take time to work your way through it, and email us if you want other things included. Enjoy!

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This is a more in-depth version of the choices you were given earlier in the term. Either link yours to the updated titles or rename it.

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Subject survey on motivation and improvement

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Subject survey on motivation and improvement

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A summery of comments from year nine and year twelve on their access to independent /motivational learning and quality assurance.

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The mock up of our "EVOLVE" passport to log your skills and achievements.

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The mock up of our "EVOLVE" passport to log your skills and achievements.

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Presently being developed by Mr Field-Williams and his year ten groups.

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How important are your ideas? Take the opportunity to have your say.

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HOW TO NAIL COMPOSITION + SPECIFIC LANGUAGE USE

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HOW TO NAIL COMPOSITION + SPECIFIC LANGUAGE USE

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THIS WILL BE OF GREAT HELP

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🏞 How To Nail Composition with Bill Perkins

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Posibly after making your work the artist statement is the most important preperation for sharing your work.

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What Are Great Examples of Artist Statements?

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Video from the Ideas World Cup Day held at the University of Paris

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Video from the Ideas World Cup Day held at the University of Paris

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Mr Williams speaking at the Paris conference.

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The Queen Street Gates were designed by our students and Mr. Field-Williams. They were constructed by Metcraft and Mr. Field-Williams.

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All you need and more!

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An introduction to the art barn and a collection of exemplar journals.

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Designed by our students, Mr. Field-Williams and Mr. Harwood. Built by Metcraft and Mr. Field- Williams.

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A short video explaining how prep-learning works and how you can access the platform.

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Prep Learning Ks3 Art & Design Samuel Ward

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Hatch - creative solutions international

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Hatch - creative solutions international

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Sharing ideas from around the creative planet.

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CONNECT CATALYSTS

HATCH is a community of innovators pursuing a more beautiful, sustainable, and just world. Our members cover a wide swath of humanity - Oscar Winning-filmmakers, Grammy-winning Musicians, CEOs and Founders of diverse companies and nonprofits, designers from IDEO, NASA, Google, and a wide range of hackers, inventors, educators, disruptors, and mavericks.

CULTIVATE LEADERS

In short, HATCH helps people reach their potential. Connecting with others - be they peers or mentors - is a critical part of this leadership journey. These structured programs make it easy for students (of all ages) to learn.

ACCELERATE CHANGE

HATCH Labs are SDG focused experiences packed full of conversations, installations, interactive exercises, and insights that will leave teams expanded, engaged, and excited to see the world, and their work, differently. Intel, Google, Ernst & Young, Hasbro and more have seen their top management permanently changed and inspired by the HATCH Labs process.

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HATCH is a community of innovators pursuing a more beautiful, sustainable, and just world. Our members cover a wide swath of humanity - Oscar Winning-filmmakers, Grammy-winning Musicians, CEOs and Founders of diverse companies and nonprofits, designers from IDEO, NASA, Google, and a wide range of hackers, inventors, educators, disruptors, and mavericks.

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Support from the careers advisory centre.

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There is a link to a subject specific 'My Learning, My Future' Inspiration Guide with key tools, resource and inspiration to support you in highlighting the relevance of your subject to future careers and opportunities and in helping students to identify pathways from your subject.

The guide links you to bespoke information and to key resource links including, National Careers Service, BBC Bitesize, icould, UCAS, T-Levels, Amazing Apprenticeships, LMI for All and much, much more!

My Learning, My Future PowerPoint slide deck

There is also a link below to a bespoke PowerPoint slide deck for your subject with guidance notes, which will support you in highlighting the relevance of your subject by focusing on:

Potential pathways from your subject at 16 & 18

Roles/Careers linked to your subject with resource and suggested activities

Essential Skills focus, linked to your subject with links to activities from the Skills Builder Framework and links to a range of other resources.

My Learning, My Future KS3 Homework Task
This resource is featured in the relevant staff slide decks and is a PDF resource for students to engage in a reflection and research activity linked to your subject.
Careers in the curriculum resources
There are also subject specific Careers in the curriculum resources. These include links to a suite of resources developed in collaboration with the following trusts;

AET - English, History, Mathematics, MFL, Science and Geography

Causeway and STAR Academies (Y7 & Y9) - English, Mathematics, Science, Art and Design, Citizenship, Computing, Design and Technology, Geography, History, Languages, Music and Physical Education

Causeways and STAR Academies (GCSE) - Mathematics, English Language, English Literature, Biology, Chemistry, Physics, History, Geography, Religious Studies, French, Spanish, Art and Design

The Co-op Academies Trust - Design Technology (sustainability)

Case Studies are also featured and tailored for each subject to provide inspiration around careers across the curriculum, employer engagement and potential experiences of workplaces linked to subjects.

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My Learning, My Future Inspiration Guide There is a link to a subject specific 'My Learning, My Future' Inspiration Guide with key tools, resource and inspiration to support you in highlighting the relevance of your subject to future careers and opportunities and in helping students to identify pathways from your subject.

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careers visit from NEACO presented by fine art professor from Suffolk University.

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careers visit from NEACO presented by fine art professor from Suffolk University.

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KS3 and 4 took a practical lesson in drawing presented by the university of Suffolk.

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Thank you for registering your interest in booking a University of Suffolk Lesson in a box. Depending on the availability of your chosen box(es), we will either contact you to confirm your selected date(s), along with delivery and collection details, or, if necessary, provide you with some alternative date(s) to choose from.

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Support and opportunity from NEACO

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Arts Design & Media - Menu of Activities 2022-23

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KS4/5 checklist and extension support for sustained projects.

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Full marks across all assessment objectives.
Use this as a guide to how every page links and develops the students creative ideas.

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Another highly crafted portfolio developed by the pupils interest medical processes.

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This portfolio investigates SHE identity and how it is portrayed in the commercial world and advertising/media

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Aida making the most of  technologies to create a narrative in drawing and Graphics.

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Aida making the most of  technologies to create a narrative in drawing and Graphics.

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Focusing ideas around technologies that can even be generated on your mobile phones!

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https://www.youtube.com/watch?v=z35Rb2Iz_cE&t=7s

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A brilliant and in-depth portfolio for GCSE Fine Art award

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This can be converted using our digit converter to dyslexia fonts.

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Anniversary Back to School Bar & Bat Mitzvah Birthday Breast Cancer Awareness Congratulations Friends Get Well Graduation Housewarming Love & Romance New Baby Sorry Sympathy & Funeral Thank You Thinking of You Wedding

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level 9 outcome.

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lillianna badenoch contolled project (3)

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This column displays exemplar portfolios from both KS4 and 5

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This column displays exemplar portfolios from both KS4 and 5

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This collection is designed to support you both in terms of productivity and display.

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A complete one term project.

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Common sentence starters for discussing art.

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Useful support for writing your artist statement.

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Important specialist words for communicating your ideas on colour analysis.

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How to critique yours/others work

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Emily Studied at Samuel Ward and now is a full time Embroidery artist.

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BEHIND THE SCENES | Emillie Ferris | Domestika

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A concise A-Z booklet of Art terminology.

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Glossary of Art Terms - The Taft Read more about artists, visual, images, composition, contemporary and opposed.

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A useful template for presenting your work on a PowerPoint/

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Bullet points to enable building an outcome.

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Short video celebrating the positive aspects of being a Creative.

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Take a look into our future.

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How This Guy Uses A.I. to Create Art | Obsessed | WIRED

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Great combination of film and painting.

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Changing approaches to independent learning focus.

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Exhibiting the diverse range of creative work displayed to onlookers.

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ALL of the art exhibitions I've seen in 2020

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Information about this global think tank

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WHY SHOULD I PARTICIPATE? https://www.youtube.com/watch?v=B3csp1ls8Zs&t=23s join the biggest brainstorming in the WORLD Kickoff event world creativity day april 21 come celebrate with us! Ideas World Cup is a celebration of human creativity. A competition of ideas where everyone wins. We reward divergence: the most creative city and convergence: the most creative ideas.

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Big thanks to Mia in year ten for finding this gem

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Big thanks to Mia in year ten for finding this gem

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A really cool piece of software to re-create artists work.

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Time Warp Scan TikTok Funny Video || Try Not To Laugh

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Useful collection of ideas created using found layered surfaces and lots of photocopying!

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Recently assessed and rewarded outcomes.

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collection of Ks5 outcomes.

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Autumn term Year 7 - pioneers of: LINE; TONE; TEXTURE; SPACE; SHAPE/FORM; PATTERN.

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Autumn term Year 7 - pioneers of: LINE; TONE; TEXTURE; SPACE; SHAPE/FORM; PATTERN.

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Focus on Stephen Wiltshire.
Giorgio Morandi.
Anselm Kiefer
Piet Mondrian
Barbara Hepworth.
Islamic Tiles.

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World view. An exciting journey around the continents and there links to your contemporary art world and culture.

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An overview of the homework's for the Autumn term.

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Exemplars of outcomes and portfolios at level 9 for your interest and management of personal portfolios

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To give you an incite into how meetings are ran internationally.

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Broaden your knowledge of American art.

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Note taker Jim - presently working for NASA in the USA.

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CONVERT ALL TEXT INTO DYSLEXIE FONT

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Jardine studied at Samuel Ward and now works as a freelance animator. Jardine has been awarded eight BAFTA
awards for his work.

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Animator/Designer/Illustrator currently working for the CITV Channel in the UK, Manchester. All my current animation works are on my vimeo page.

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A short film demonstrating how to use the Prep site

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Prep-learning - a guide to personal learning programs.

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Prep-learning - a guide to personal learning programs.

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Motivate yourself to guide and run your own programs of study.

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Prep Learning Ks3 Art & Design Samuel Ward

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How to talk about your art in a critique, interview or job opportunity

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How to talk about your art in a critique, interview or job opportunity

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Learn to be confident when expressing yourself about your own art.

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How to Talk About Your Art with Greater IMPACT with Sergio Gomez

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Supporting Year 8 art history critiques.

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Year 8 Analysis of an Artwork via Virtual Tours of Museums

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Recent work by your instructors.

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Jardine Sage wins tv and film award 2022

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Jardine Sage wins tv and film award 2022

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This is added to the five Baftas previously won.

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Give yourself permission to unlock your potential.

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Give yourself permission to unlock your potential.

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Brilliant TED video.

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The surprising habits of original thinkers | Adam Grant | TED

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Annual Exhibition held at UNITY gallery.

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Annual Exhibition held at UNITY gallery.

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A selection of work from all K stages that has been marked and moderated. Work which hasn't been moderated unfortunately can not be displayed.

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Writing an essay to support your fine art studies guidance.

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Writing an essay to support your fine art studies guidance.

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Note- this is guidance only - only one page examples are shown from different artists, and no full essays are on display.

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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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This homework aside your own prep work is for all years. Big yourselves up, you are great!

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This homework aside your own prep work is for all years. Big yourselves up, you are great!

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Homework is to prepare for your next lesson, but what this first.

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Free online resource for student/teacher courses.

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Our department has many links to research groups and our staff regularly present CPDs and contribute to significant groups both locally and internationally.

Present involvement includes:

Mr  N. D. Field - Williams:

BIC C-COP.

Mr Field- Williams is a board member and collective founding member of C-COP, an international collective group of consultants, CEOs and academics from international universities including The university of Paris, Harvard, New York Education department and NASA.

He is also producing a research paper and working with primary heads and subject leads as an Arts Broker for Festival Bridge and UNITY partnership.

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An insightful report on creativity in East Anglia.

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Leading the way - a report on creativity East Anglia

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Leading the way - a report on creativity East Anglia

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How teaming up with an audio-visual creative can transform your artwork into an immersive experience. Collaborating with an artist who works in a different medium can add an exciting and fresh dimension to your art exhibition. Here's how photographer Tim Platt worked with audio-visual installation artist Benedict Braund, of Global Overground, to create a spectacular and innovative Botanical Opticals show...

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The Art in East Anglia website is a community based directory website that allows artists from multiple disciplines to showcase their art for free with a free listing on the site. There is also a paid listing which allows for larger images and more of them, plus some extra features.

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Todd studied at Yale and now works for Paris University. He Supports the art department as a member of the C-COP group and is working closely with Mr Williams on creative motivation techniques.

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Additional information

Notes on contributors

Suzanna E. Henshon
Dr. Suzanna E. Henshon graduated from The College of William & Mary and teaches creative writing at Florida Gulf Coast University. She is the author of seven published books, including Spiders on the Ceiling, King Arthur's Academy: Descriptive and Narrative Exercises, and Andy Lightfoot and the Time Warp. E-mail: shenshon@fgcu.edu,

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A New Vision of Creativity: An Interview With Todd Lubart

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Suzanna E. Henshon Dr. Suzanna E. Henshon graduated from The College of William & Mary and teaches creative writing at Florida Gulf Coast University. She is the author of seven published books, including Spiders on the Ceiling, King Arthur's Academy: Descriptive and Narrative Exercises, and Andy Lightfoot and the Time Warp.

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SUPPORT FOR USING SIGN LANGUAGE

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THE BRITISH SIGN LANGUAGE ALPHABET! How to sign your name in sign language!!!

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IMPORTANT FACTS ABOUT OUR SUBJECT

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A well produced sketchbook

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Welcome to your creative prep-learning platform, the number one Go-to for planning and mindfulness.

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Welcome to your creative prep-learning platform, the number one Go-to for planning and mindfulness.

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What do you need to get the answer to? Everything you have thought about relating to your course WILL be found here!

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Supporting research board of directors for BIC C-COP, international creativity in education think tank.

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Supporting research board of directors for BIC C-COP, international creativity in education think tank.

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Samuel Ward art department is supported by researchers, CEOs, professors, writers and educators from the international group C-COP as well as Festival Bridge, Whole Education Research, UNITY Schools Partnership, IRIS Connect and CALSA.
Mr Field-Williams sits on the board of directors with C-COP and is presently working with OECD and The United Nations.

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Mr. Field-Williams is the head of the department and an Arts Broker with Norfolk & Norwich Festival and also a member of their creative arts steering board. He also sits on the board of directors for BIC C-COP (international creative education think tank), is a consultant, artist and author. He is presently working with TAK TAK TAK designing educational console games based in Mexico, and building an international youth UN board with the United Nations, Moleskin foundation, ENACTUS and the OECD.
Most recently Mr. Field- Williams has set up a not for profit company called THE FOURTH DIMENTION which will provide our students and creative people across the globe a platform to share and exhibit their work in a virtual omni verse. Presently their is a connection with over fifty global groups and one hundred and fifty two countries connected.

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Mrs. Hanagan is a practicing film/animation maker and teacher.

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Mr. Harwood teacher of Art and Head of Photography

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Mr. Harwood teacher of Art and Head of Photography

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Mr Harwood is both head of photography and a teacher of art. He is also a practicing illustrator and has taught at the House of Commons.

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Mr. Guinivan Head of Visual Arts, art and photography teacher.

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Mr. Guinivan Head of Visual Arts, art and photography teacher.

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Mr. Guinivan is a practicing printmaker and painter, who works both in the photography department and as a teacher of art.

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Studio one is where Mr. Field-Williams is based.

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Studio two is where Mr. Harwood and Mr. Guinivan teach.

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Studio three is a sixth form studio where all coach/teachers are based.

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Studio four is a specialist Key stage three studio. Mrs. Hanigan is based here.

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2022/3 timetable for all visual arts teachers

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2022/3 timetable for all visual arts teachers

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The departments time tables for this academic year.

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Shared studio displaying extra sixth form spaces.

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Shared studio displaying extra sixth form spaces.

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Slowly but with determination we will build a library of words with phonic markers attached to support your reading.

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Getting every student reading and writing 

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Getting every student reading and writing 

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Support for parents/staff and students

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Getting every student reading - Sessions 1[19701]

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Sorrell Mason exhibiting with Banksy and many other contempory street artists