'Development’ is the means by which a student works systematically towards better
artwork: trialing, refining and exploring compositional devices and technique. It is also the means by which a student demonstrates to the examiners that they have gone through a learning process and arrived at a successful final piece.
A level art students (whether at AS or A2 Level) must
present a Coursework 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.
Select an original, personally relevant, visually complex,
readily-available A Level subject or theme that can sustain your
interest for a year.
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.
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.
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;
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.
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%.
Notes taken from www.studentartguide.com
present a Coursework 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.
Select an original, personally relevant, visually complex,
readily-available A Level subject or theme that can sustain your
interest for a year.
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.
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.
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;
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.
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%.
Notes taken from www.studentartguide.com