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WRITING ABOUT ART: PREPARING FOR THE PERSONAL STUDY

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WRITING ABOUT ART: PREPARING FOR THE PERSONAL STUDY

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WRITING ABOUT ART: PrepARING FOR THE PERSONAL STUDY

This article relates to preparing for the Personal Study, an important aspect of A level Art & Design. It has been written (and updated) with the following intentions:

To shed some light on what the Personal Study actually is (although the official line from Edexcel can be found here - other exam boards available).

To provide students with practical advice for writing their essay - developing a theme, planning, structuring, writing a bibliography etc.

But a word of caution: this is mostly my take on things - thoughts shaped over time, fuelled by experiences, errors and custard creams. In short: I'm no expert. But I am thinking hard about what may (or may not) be worth a reader's time, which is probably a fair starting point for most writing. That said, I've just finished a great book - First You Write A Sentence, by Joe Moran. I'd certainly recommend a copy for all Year 13 art rooms. The initial tips, below, have been shaped by this.

Typewriter Destruction, Jean Toche, 1966

Top Tips for students

Try to write honestly and clearly, but not coldly. This is art not science.

Read sentences aloud to hear how they flow - listen for the rhythm of your words.

Vary sentence length. A longer sentence that cascades the reader forwards, gathering momentum as it snowballs along, will resonate most when followed by a sorter one. Honestly, it's true. This is also something to do with rhythm.

When initially drafting your text, hit 'RETURN' at the end of each sentence. This obviously isn't appropriate for your final text, but in the drafting stage it can help you to see patterns in the flow of your writing.

Do not underestimate the power of a full stop. A full stop provides an important pause. Good writing should not leave the reader exhausted.

Avoid over-elaborating. Don't use three words if one does the job.

Remember your writing is a gift to the reader. Don't waste their time, reward their interest. Insightful connections; reflective moments; imaginative metaphors; thought-provoking questions; a sense of purpose - these can all make for suitable rewards.

What is the Personal Study?
Put simply it's an essay - continuous prose of at least a 1000 words, worth 12% of your overall A level. In summary the essay should:

Be no more than 3000 words (short and punchy is better than drawn out and draining).

Focus on a specific artist/photographer or art movement (or alternatively, a concept or artifact).

Be related to your own investigations and practical (course)work.

Include supporting images - from your chosen focus, your own work, and relevant wider connections.

Include a bibliography (see below).

Be informative, insightful and provide a personal perspective.

Be a well-presented labour of love; a pleasure for others to pick up and read.

Preparing for the Personal Study
Obviously writing is a very different skill to, say, drawing, painting or declaring a urinal as art. But don't underestimate the transferable skills in your creative locker. Being discerning, questioning, managing uncertainties, challenging expectations...These are all qualities that can help. And should you doubt their relevance, look below at the Personal Study descriptors for 'Exceptional Ability' (from Edexcel). These could equally describe an artwork.

But we are still dealing with words. Specifically, choosing the right ones and pinning them in the right place, and there is no quick fix for developing knowledge and literacy skills. However, there is something to be said for deliberate practice, and the Personal Study provides a great opportunity for this.

Getting started
Deciding which artist, art movement or theme to base your personal study on should not be a tricky decision. The Personal Study is related to your practical, personal investigations - your key themes and inspirations to date. Your sketchbooks and experiments should point you in the right direction. But it is okay to take a relevant sidestep and use the Personal Study as an excuse to learn more about a connected artist or theme (rather than following a line of enquiry you are already exhausted with).

Give your Personal Study a punchy title
Once decided on your focus, set this out with a concise and ambitious title. A two-part title or question might help. For example:

Liar! Jeff Wall, photography and truth

Modernism, Abstraction and the work of Barbara Hepworth

The Human Figure: Sizing up Euan Uglow

This might seem pretentious, but don't worry about it. Devise a relevant title that inspires you to then fill its boots. Exhibition titles are devised with similar intentions. For example, Pierre Bonnard: The Colour of Memory, or Fernand Léger: New Times, New Pleasures.

​Write an introduction that leaves the reader wanting to read more (but doesn't leave you wanting to write less)
Your introduction should tempt the reader in, but not at the cost of a whole week of your life shuffling around sentences. A common mistake is to throw a thesaurus at the opening paragraph until it resembles a download from artybollocks.com (yes, an actual website). Much better to start in a more straightforward way and simply get some initial thoughts down. The introduction can always be revisited and reshaped later, once you've found your writing mojo.

Your introduction might:

Explain your interest in the subject and the connection that you have to this.

Set out your intentions clearly.

Provoke a desire to read on (for example, by using intriguing yet-to-be-answered questions).

Reference relevant threshold concepts - the big ideas (or transformative knowledge) significant to your focus.

​Before you start it might also be worth reflecting on the relationship that you want to establish with the reader. Do you have a deep understanding of the subject that you will share with confidence - an expert sharing insights? Or is this essay an investigation with conclusions yet to be fully formed? If so, how might you tempt the reader to accompany you on this journey (and keep them interested as you travel)?
Regarding matters of tone, perhaps appropriate advice is this: Be yourself with your sentences, but be the very best version of yourself that you can be. Imagine yourself in super clear communication mode - informed, honest, reflective; bossing it.

Below are two examples of Personal Study introductions. The first is more straightforward, the second a little more elaborate: ​

​INTRODUCTION EXAMPLE 1
I am fascinated with themes of identity. In particular I am interested in what 'identity' might mean to a portrait artist, and how they might set out to understand and capture a person's identity. Grayson Perry, contemporary artist, forms a main focus for this essay. His TV documentary "Who Are You?" has been a big influence on my work this year. After watching this series I found myself reflecting on how I might create a portrait that goes beyond simplistic observations to capture a stronger sense of identity.
INTRODUCTION EXAMPLE 2
There's a common perception that a person's identity is fixed - a fully-formed pearl found deep inside, resistant to change. But this perception strikes me as absurd. Identity is a far more complex, evolving matter. It can certainly be a struggle to determine one's own personal identity, let alone identify or reveal someone else's. But this is a challenge every artist faces. Grayson Perry, in his TV documentary "Who Are You?" immersed himself into the lives of his subjects. His aim: to see through cracks of façade; to delve deeper beneath the surface and into the core of a person. Perry considers identity to be a journey, a voyage in pursuit of who we are: "Our identity is an ongoing performance that is changed and adapted by our experiences and circumstances." This notion interests me. Perry clearly grasps the interchangeability of identity. His documentary sparked my enthusiasm and provoked a question I've been wrestling with ever since: How do I create a portrait that reaches beyond accurate representation to reveal the complexities of an individual identity?

​The following sentence starters seem to fit with the style of example 1, above:
I am choosing to focus on... (Artist / art movement) because.../ It astounds me how.../ I find it fascinating that.../ I found myself reflecting upon.../ I'm curious to know why.../I hope to...show, share, highlight, discover...
These provide a sound enough framework to begin with, but perhaps lack the descriptive verve of Example 2.

Example 2 uses a more elaborate style that incorporates a creative metaphor (identity as a pearl inside us all) and also a direct quote from the artist. Confident statements provide a greater sense of authority ("this strikes me as absurd", "Perry grasps the interchangeability of identity"), but also - importantly - the writer is not setting themselves up as an absolute expert. There remains a a reflective tone ("a question I've been wrestling with is...").
Consider the progression in the approaches below:

Your initial reaction - n f ormed by instinct, intuition, emotional response, existing knowledge etc.
This is appropriate when your initial reactions are justified e.g. "I'm intrigued by this because..."; "when I first encountered the work I was taken by surprise because..." But if what follows is a basic and superficial understanding of wider contexts then, well, that might just make your teacher cry. "I'm interested in Cubism because I like how Picasso's artworks are made up of cube-like shapes"; or "Pop Art appeals because it uses bright colours and film stars". Whether your teacher cries tears of despair or laughter will depend on your relationship with them, or perhaps their performance management targets. But they won't be tears of joy.

Based on a deeper understanding/complex grasp of wider contexts - demonstrating a confident stance; justified, informed opinions​; an ability to make imaginative connections etc.
Compare these improved examples to the previous tear-inducing responses:"I'm interested in Cubism, particularly how the concept of recording multiple viewpoints evolved through experimenting with - and challenging - traditional methods of depiction..."; "I'm interested in how Pop Art emerged as a response to Abstract Expressionism. It strikes me as a mischievous movement; an antidote to the excessive chin-holding culture which pervaded galleries at that time..."

From an alternative perspective - demonstrating an awareness that art is not fixed in meaning but subject to interpretation; that the opinions of others can provide alternative perspectives 0r counter-balance an argument etc.
Placing yourself in someone else's shoes can demonstrate a deeper awareness of the capacity of art to evoke various opinions and responses. For example, consider the perspective of a feminist, a modernist, or a post-modernist. "Rothko may have set out to provoke a sense of claustrophobia with his Seagram Restaurant commission, but I can imagine a dining capitalist might have been less sensitive to the colour fields on the wall, and more preoccupied with the greenbacks in hand..." ​

The meat in the sandwich
With a word limit of 3000 words (and advice to aim for less) there's good reason to be concise. Short and punchy is best. You need to move quickly to the main content of your essay - the meat in the sandwich. And this should certainly give the reader something to chew on. Frankly, on behalf of all teachers who have to digest these servings, the more flavour the better.

Flavour might come in the form of:

Revealing insights to specific artwork(s) - descriptive writing incorporating lesser-known facts; wider contextual connections; personal insights - perhaps in relation to your own practical work and experiences. But don't dismiss how an artwork makes you feel or impacts upon your senses. (Refer to Threshold Concept #6). Be sensitive to your intuition and honest in accounting this.

Imaginative leaps and connections - this might include linking an artwork or idea to another work or idea, or perhaps a significant moment in time. Connections might be made between styles, techniques or ideologies; moments of personal, historical or cultural significance can be linked with thoughtful insights or questions. (Refer to Threshold Concept #7).

Narrowing your focus - when the possibilities seem endless, narrowing your focus might help. For example, if referencing a particular artwork, consider focusing on one of these 4 aspects: TECHNICAL, VISUAL, CONTEXTUAL and CONCEPTUAL. Do you want to provide technical insights (the type of materials used, the technical skills involved etc.), or perhaps a visual analysis is more fitting (of subject matter, composition etc.)? All essays should demonstrate contextual understanding, and reveal concepts and ideas, but this might not be necessary for every artwork referenced. (Refer to Threshold Concept #3).

Accompanying images/illustrations - Your Personal Study should be accompanied with relevant images/illustrations, but there is no set way to do this. Most students opt to embed these alongside their writing for ease of reference. Alternatively, they might be included as an appendix - a page at the end of the essay. Either way, think carefully about the relevance, order, scale and placement of images, and reference them consistently within your text. You can do this in a couple of ways, e.g:

" An example of this expressive technique can be seen in Figure 1."

​or

" This technique was very expressive (Figure 1) and... "

The images should then be captioned accordingly. E.g. Figure 1 Artist name, title, date
​
Writing your thoughts
Personal thoughts should be carefully considered, honest and insightful. Be wary of superficial or obvious statements.

There is need to cover all of these though. Identify the insights that resonate most, and don't let your hard work whimper out in these final stages.Cotton, Charlotte, 'The Photograph as Contemporary Art', Thames & Hudson, 2009. Concluding your essay
This is an opportunity to summarise your study and reward the reader for staying with you. You might:

Revisit the aims or investigative questions set out at the start. You do not need to have definitive answers though. Sensitive and honest reflections, or even new, increasingly complex questions are fine.

Summarise key thoughts that have arisen from your study.

Offer reflective, personal opinions on your research, and how this has shaped - or will shape - your own practical work.

Share thoughts on potential opportunities for future exploration, if given more time.

Include a short reflection on the process of the study itself - the research and thinking skills that you've developed along the way.

​
Including a bibliography
A bibliography is an essential requirement. This lists the resources that you have used for your essay (books, websites, articles, videos etc.). Try to keep track as you go, rather than having to revisit once the essay is completed. Set it out like this:

Author - put the last name first.

Title - this should be underlined or in quotation marks.

Publisher - in a book this is usually located on one of the first few pages.

Date - the date/year the book/article was published.

For example:

For websites the format is similar, and the author should be included if known. For example: Jonathan Jones, 'Feeding Fury', The Guardian (December 20o2), https://www.theguardian.com/culture/2002/dec/07/artsfeatures

Shall I put a bow on it? How best to present your essay

word-processed and double-spaced.

All imagery should be clearly referenced within the text, as detailed above.

The bibliography should be on its own page at the end of the essay.

With an appropriate cover, thoughtfully designed, including the essay title and your name*

Ring bound with acetate cover and a card back*

*These are not set requirements but do make the final presentation more formal.

Additional resources
For there are plenty of fantastic resources available on the PhotoPedagogy website.
These include: And here are further reading suggestions:

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This article relates to preparing for the Personal Study, an important aspect of A level Art & Design. It has been written (and updated) with the following intentions: To shed some light on what the Personal Study actually is (although the official line from Edexcel can be found here - other exam boards available).

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What does research really look like for artists? How to Research offers creative strategies to support a broad range of Art and Design curriculum at GCSE, BTEC, AS and A Level. Developed in conversation with artists and teachers, these resources invite consideration of the meaning and value of research within art practice.

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How can I enter?

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Each student can submit one artwork and there is no theme. When you enter, we'll ask for an image of your artwork plus some information about the piece such as title, size, and a little text about the artwork and why you made it. Your artwork will be seen by our panel of judges and the selected pieces will be shown in our online exhibition. Some of the artworks will also be shown at the Royal Academy of Arts.

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Submitting artwork is completely free and is done online. First, a teacher needs to register your school. Once the school is registered, your artwork can be submitted. If you're 12 or under, a teacher or parent/guardian will need to enter for you; if you're 13 or over you can submit artwork yourself.

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How to develop your ideas in an Art project

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Many high school Art students (such as those studying AS or A2 Level Art & Design) must present a Coursework or Exam portfolio that shows development. Students are sometimes confused about what the term 'development' means in this context, and are uncertain about how they should go about achieving this. This article endeavours to answer these questions and provides a process by which students can ensure their work develops sufficiently. This is intended as a broad guide only, and should be used only in conjunction with advice from your teacher.

If you are told that your work must show development, your teacher is telling you that your work must change a little (both in use of media and composition) from one piece to the next. In other words, an A Level Art Coursework portfolio must tell a visual story: with a starting point, a conclusion, and a journey in between. It is not acceptable, for example, to show the same things drawn or painted from different angles over and over again, or to execute the same composition first in pastel, then in paint, then in charcoal and so on...or to submit paintings of many different items that have no visual or thematic connection to each other.

'Development' means systematically working towards better artwork: trialing, refining and exploring compositional devices and technique, demonstrating to the examiners that you have gone through a learning process and arrived at a successful final piece.

As an example, the following process was undertaken by my A Level Painting students (this process could be easily modified for Graphic Design, Photography or Sculpture) during the course of the year:

1. Select an original, personally relevant, visually complex, readily-available A Level subject or theme that can sustain your interest for a year (see the accompanying guide: how to select a good A Level Art theme);

2. Complete 4-10 drawings of your chosen topic in your A Level Art Sketchbook, using a range of black and white and coloured mediums such as graphite pencil, Indian ink, acrylic, coloured pencil, watercolours, oil. The level of realism achieved in these drawings will be dependent on your own drawing style and preferences. Mix and layer mediums as appropriate. Include photographs if desired. The drawings may be semi-incomplete and can merge into each other. At this point, do not worry so much about what you are achieving in terms of composition. You are merely conducting visual research and exploring your topic.

3. Fill gaps around the drawings with notes discussing your theme / issue / message...why this is personally relevant to you; what appeals to you visually about the subject; how the subject matter might be composed in order to support or convey your ideas. Look carefully at what you have drawn and make notes about how the visual elements (line, tone, texture, space, colour etc) interact... For example, are there strong contrasts between highly detailed areas and sparse areas? Are the negative spaces as interesting as the objects themselves? Are there repetitions of certain shapes and colours? Are you exploring frames within frames? ...In essence, establish what you are dealing with visually.

4. Select an artist model whose work relates to your subject matter and inspires you. Research this artist. Complete several pages in your A Level Art Sketchbook, including composition studies, imitations and pastiches of their artwork, using a range of mediums. Fill spaces around the illustrations with notes explaining/discussing their technique/s (mark-making methods); use of media / materials; style; composition (i.e. the relationship between the visual elements: line, shape, colour, tone, texture and space. Discuss how these elements form 'visual devices' that 'draw attention', 'emphasise', 'balance', 'link' or 'direct the viewer through the artwork' and so on). Write notes about the ideas, moods and subjects explored within the drawings and how all of the above relates to your topic or theme. Your comments should show evidence that you have researched your artist (using proper terminology) and should also contain your own thoughts and responses. Under no circumstances should it appear as if you are just regurgitating information from a textbook. Learn from this artist and establish how this artist is relevant / useful for your own project.

5. Complete 10 - 15 drawings and paintings that show a smooth transition from your original artworks to images that are influenced by your first artist model.

Do not leap in and copy everything the artist does. It may be, for example, that you simply copy the way a particular artist uses foreground, mid-ground and background, or the way in which they apply paint onto a scratched, irregular surface. The purpose of this exercise is to learn particular techniques or compositional strategies - not to copy their work in its entirety. The result should be a series of paintings which show gradual changes and exploration. After each one you should have a discussion with your teacher about what you can do next to help convey your ideas more successfully.

6. When you have learned all that you need to from the first artist, select another artist and repeat the process. Once you have learned from this artist, repeat again. The intention is that by the time you get to your final piece, your work is a beautiful combination of your own ideas and the influence of several others. Your work should look absolutely original - a beautiful mixture of wisdom gained from a multitude of sources. It can be good practice to choose a range of artist models - ie. national / international, contemporary / historical etc...but this is not always necessary. The best outcomes occur when students choose artists whose work really moves them. It can be typical for an AS student to have 2-4 artist models and A2 students to have 3-10 artist models.

Here is a well-developed A Level (A2) Painting portfolio by Nikau Hindin, a talented A Level Art student from ACG Parnell College. Her A2 Coursework portfolio achieved 98%.

Still unsure? Viewing our Featured Art Projects will also help you understand how to develop your ideas within your work.

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How to develop your ideas: A Level Art Coursework development

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Many high school Art students (such as those studying AS or A2 Level Art & Design) must present a Coursework or Exam portfolio that shows development. Students are sometimes confused about what the term 'development' means in this context, and are uncertain about how they should go about achieving this.