Name

Form

GCSE Textiles

Information

Advice & Tips

2 Prendergast School - GCSE TEXTILES - Information, Advice & Tips

GCSE TEXTILES Course information.

The course is made up of two parts. Coursework 60%

and Exam 40%

Art is a real time subject – you will need good time

management skills to make sure you produce work that

develops your ideas and allows you to show your level of

skill for each assessment objective.

For each of the two units you will produce development

studies both in a sketchbook, on paper and as models and

from these create responses to your theme.

Year 10 Course Structure

The Year 10 Project is about learning the process to design

and make a garment with a specific inspiration point, such

as a fashion designer you research, an exhibition you have

attended, or from another cultural starting point.

Term 1: Technical Sewing Bootcamp, how to conduct

research and lay out sketchbooks, Print Design

Term 2: Pattern cutting – sleeves, garment design and

return to printed fabrics

Term 3: Print actual fabric for dress, begin work on final

garment in 2- day practical examination

Year 11 Course Structure

In the Autumn term, you will complete your garment.

Term 1: Embellishment techniques, garment construction,

complete sketchbook and final evaluation

Term 2: Exam paper out on 1 January, (you chose a

theme), gallery visit for research & inspiration, preparation

for 2-day practical examination

Term 3 to May half term:

Complete sketchbooks, hand in on day 1 of exam, 2-day

practical exam (work cannot be continued on garment after

this period)

Plan and execute photoshoot, produce display boards,

complete exam board paperwork

Study leave for GCSE

INTRODUCTION

CONTENTS

Introduction 2

Course Structure 2

Assessment Objectives 3

Creative Statements - Why are they needed? 4

Homework 5

Beginnings - Gathering Information 6

AO1 Contextural Understanding 7

Pinterest - A Powerful Research Tool 8

Using the Internet for Research 9

How To Make a Super Sketchbook 10

A Guide to Visiting a Gallery or Museum 12

Research Pathway 13

Engaging with Objects in a Gallery 14

How to Take a good Photograph 15

Drawing 16

Fashion Illustration 17

AO2 Creative Making 18

AO3 Reflective Recording 20

Producing Written Responses 21

Sentence starters and Reflection 22

A Critical Art/Textiles Vocabulary 23

Key Connecting Words and Phrases 24

Annotation - The Writing in Your Sketchbooks 25

AO4 Personal Presentation 27

Advice for Maximising Your Grades 28

Evaluation of Final Response 29

Assessment Objective Checklist 30

Mark Scheme for GCSE Art and Design 31

Exam Unit Preparation 32

Notes 35

This booklet will provide you with some basic information

to help you successfully complete your

Textiles GCSE.

• Keep it with your sketchbook, read it and use it.

• Bring it with you to every lesson.

• Use it to help keep up with your Art homework.

• Take it with you to all gallery and museum visits.

• Use the notes pages at the back to add any usefull

information, including: websites, ideas and reminders.

COURSE STRUCTURE

Coursework

60%

Exam

40%

Prendergast School - GCSE TEXTILES - Information, Advice & Tips 3

ASSESSEMENT OBJECTIVES

There are four Assessment Objectives are equally

important to the success of your project

As part of their studies for Textile design students

should aim to present clear evidence of addressing the

4 assessment objectives equally, as in the following

examples.

AO1

•Develop ideas that are informed by investigative,

contextual and cultural studies of historical and

contemporary textile design in their own and other

societies and other sources, for example fine art

•Explore a wide variety of work produced by textile

designers and understand the differences in their

methods, approaches, purposes and intentions, such as

ethical, cultural, aesthetic and utilitarian considerations.

•Provide evidence of analytical skills and critical and

contextual understanding by appraising, comparing and

contrasting the work of relevant textile designers and

other historical and contextual sources, using this to

inform their own work.

•investigate a wide variety of textile design processes and

outcomes and the differences between these and their

final function

This could fashion outcomes or works of art such as textile

installations

AO2

•Refine and reflect upon work as it progresses by

exploring ideas, selecting and experimenting with

appropriate breadth of textile design approaches and

processes including, where appropriate, the purposeful

manipulation of digital software.

Exercise skillful and safe application of these textile

experiments to maximise creative potential and produce

quality outcomes.

•Explore a stimulating and rich variety of resources to

initiate and develop innovative ideas.

Pay due regard to line, tone, colour, shape, texture and

other visual elements and, where appropriate, use drawing

to explore and communicate ideas. This could include

observational drawing to inform pattern, colour and texture

to inspire fabric or fashion sketches to demonstrate ideas

for final garment outcomes

•Research and experiment with a broad variety of textile

techniques

This could include: constructed textiles, digital textiles,

dyed fabrics, printed fabrics, fashion design, textile

installations and stitched, embroidered or embellished

textile techniques

•Show discrimination in reviewing ideas as work develops

and next steps to improve your work

document significant steps in your development work so

that final outcomes do not emerge without evidence of the

creative process.

AO3

•Gather, select and organise information in your

sketchbooks that is relevant to your personal interests

This research should be linked to a stimulating and rich

variety of resources.

•Record ideas, first-hand observations, insights and

judgments by any suitable means, such as sketches,

illustrations, free-arm embroidered studies, test pieces

and written notes that are relevant to personal intentions.

•Critically reflect on work as it progresses in order

to review what has been learned, acquire deeper

understanding and clarify purposes and meanings.

AO4

•Present personal, imaginative final outcomes that

effectively realise the student’s stated intentions

•Make your connections to research obvious and include

contextual, practical and written responses

presenting work that is meaningful, well-informed and in a

sequence that can be easily followed and results in quality

outcomes

•Consider different presentational formats and select the

most appropriate for the submission paying attention to

how you might engage the interest of an audience

This may be how you research a particular fashion

photographer and style your own photo shoot using your

research as inspiration

4 Prendergast School - GCSE TEXTILES - Information, Advice & Tips

CREATIVE STATEMENTS - WHY ARE THEY NEEDED?

My creative statements Why are they required?

The main purpose of requiring My Creative Statement to

be presented with each GCSE Component is to enable you

to consider and communicate the thoughts and actions

underlying your work. Moderators point out that, where

candidates have taken time and effort to carefully think

about and document their objectives and how these are to

be achieved, the work has a stronger feeling of purpose and

clearer sense of direction.

They are important for three reasons:

• First and foremost is their value to you in providing a

helpful framework with which to think about and clearly

explain your main idea for the work you are producing.

• Secondly, they are of use to your teacher in providing a

concise outline of your idea for the component, so that

guidance can be more readily provided.

• Thirdly, they can be invaluable to someone who is

assessing your work, enabling them to quickly familiarise

themselves with your intentions and progress towards

their realisation.

You should regard completion of the document as an

ongoing planning activity, undertaken for your own benefit.

It might be tackled at the start of your study, revisited during

its development, and then again at the conclusion. If it is

regarded merely as a form-filling requirement, it will be of

little benefit to you or anyone else.Why is it constructed in

three parts?The My Creative Statement document has been

designed to provide a helpful framework for you to organise

your work and explain this to others. It is presented under

the headings of ‘Main Idea’, ‘Context’ and ‘Reflect’.

Main idea

The first section enables you to explain the idea from which

your work is being developed, e.g. the way in which the

stimuli you have chosen in the Externally Set Assignment is

interpreted. In this section you can explain concisely why you

selected the subject of your study, what relevance it has for

you and how it might be of interest to others who will view it.

Context

The second section requires you to describe the context

within which you have produced your work, including the

influences upon your ideas and the way you have developed

them. It should include how the contextual sources you

have studied, such as during gallery visits, watching TV arts

programmes or information from the internet, have impacted

on the way you have approached your practical enquiries.

Reflect

The final section gives opportunity to critically reflect

on your work as it progresses and upon its completion,

such as showing how deeper understanding and clearer

meaning and purpose have been achieved. Reference to

AO3, particularly to processes of reflective learning, can be

considered and documented here.

What’s the best way to present My

Creative Statement?

My Creative Statement can be accessed as an online

document which will allow you to type in or cut and paste

your responses, making them legible and enabling you to

check spelling and grammar. Using the online document

also makes it easy to add to the text as your study

progresses. You are advised not to complete it only at the

conclusion of your study, because this defeats its main

purpose of using it as a planning device. The document can

also be presented in handwritten form, but make sure that it

can be easily read, especially if it is to be submitted as part

of a digital portfolio.

Your project should illustrate the journey

GCSE Level – project equation for both units.

+ +

Your project should illustrate the journey

Refine ideas

• Experiment

• Explore

• Expand

-----------------------------------

Playing with…

Ideas

Concepts

Materials

Techniques

Processes

Media

Resources

Tools

Taking risks

Record ideas

• Draw

• Document

• Develop

-----------------------------------

Documenting…

Drawings

Written ideas

Photographs

Collecting

Observations

Annotating

Information

Insights

Inspiration

Create

• Present

• Personal

• Practise

-----------------------------------

Making…

Connections

Meaningful work

Combining ideas

Constructions

Imaginative work

Informed choices

Reflect

Refine

Evaluate

+

1 2 3 4

Develop Ideas

• Research

• Respond

• Record

-----------------------------------

Looking at…

Artists

Photographers

Film makers

Designers

Illustrators

Crafts people

Object & Artefacts

Galleries & Museums

Different Cultures

25% 25% 25% 25%

Prendergast School - GCSE TEXTILES - Information, Advice & Tips 5

HOMEWORK

Sketchbook evidence:

The most successful students work on their sketchbooks

every night they have a lesson to keep them up to date.

Avoid letting sketchbook organisation build up – it can feel

like huge burden if you allow this to happen, then you just

keep putting it off.

Written or research homeworks:

These will be set with enough time to complete the task

successfully. Do not wait until the night before hand-in

to start.

• Work in Double Page Spreads in your sketchbook – two

pages facing each other

• You have homework every lesson. If you are absent, it is

your responsibility to make sure this gets done

• Homework may be sticking practical work in and

annotating it, but this must be done every night

• Some homeworks are Flipped Learning – you need it to

complete the next practical lesson

• Homeworks must be printed out and stuck in to qualify as

“being completed”

• All homeworks must be printed in colour where

appropriate - get organised, print in school – it is

expensive to print at home

• No valuable lesson time can be used for printing

homework - just a detention

• Do not waste time on fancy titles or double mounting work

– it does not get you any extra marks

• Type titles and stick in – keep to the same font

• Anything over 50 words must be typed – size 14 pt please

Students who achieve

the highest grades are

the ones who sustain

a sound work ethic

and produce

purposeful homework

of a high quality.

To print in colour:

• Send stuff to print from any laptop or desktop in the

school to Staff Print queue

• Select options “colour printing” and “single sided printing”

• The only colour printer is on the top floor of building 1

outside the Art rooms

STIBAH: acronym

STI - Stick your practical work/photos taken in class etc into

Books

A - annotate and analyse

H - use Sentence Starter Helpsheets to guide your writing

6 Prendergast School - GCSE TEXTILES - Information, Advice & Tips

BEGINNINGS - GATHERING VISUAL AND CONTEXTUAL

INFORMATION TO GET YOU STARTED

Visual information

• Make a mind map – make it visual by including colour

and diagrams/drawings.

• Collect images inspired by the mind map.

• Do a Photoshoot.

• Sketch objects – look at the whole thing and

look at details.

• Make detailed drawings

Contextual information

• Read books/newspapers/ magazines linking to

your theme.

• Listen to the radio and watch TV.

• Visit Galleries and museums either in person or on

line.

• Look at art works that link to your theme, create visual

and written analysis of the work

• Make a practical response.

Planning your work

The planning process is important at each stage of your

project:

• It is especially valuable in helping you stay on track,

• It is a measure of where you are in the process, and

helps you to evaluate the outcomes so you can answer

the all-important question …

“where to now?”

Planning pages are just as valuable in your book as

finished drawings as they help us to see that you are

thinking and responding to your work. They help you to

move forward.

Things to consider

Concept – What is my idea? What shall I explore?

Contexts/Influences – Who/What is going to be an

inspiration for me?

Techniques – How shall I explore my idea, which

materials and methods should I start with?

Developing the Designs – What constitutes a body

of samples? What considerations do I need to employ?

Contexts – What are the possible outcomes for

my idea?

Evaluation – What are my criteria for judging

my success?

Result – Where do I hope this will lead?

Planning for the next stage..

State your starting point, you could use these

sentence starters:

“I was inspired by the work of ................... to .....................”

or

“As a result of my investigations into .............. I am ...........”

• Leave space for small photos of the work you are

referring to.

• List aspects of the work you are interested in

developing – make a mind map to help you make a

decision about which ones to follow up. The mind map

could be lots of words or a work of art in its own right.

The most important thing about a mind map is that it

helps you to make some decisions and helps us to see

what you are thinking.

• Remember to keep linking back to your starting point

theme and artists

• Make sketches or diagrams or a maquette (model) to

help you “see” or visualise what the idea might look like

if you made it.

• Make at least Three composition ideas – use “post its”

– to help you refine your ideas and choose the

best one.

• List materials and techniques you could use to make

and express, find them and try them out.

• Comment on how suitable they are and which ones you

will use.

• Decide which direction you are going to in and

say why.

GET MAKING and TEST YOUR IDEA

– remember to document the process with drawings for

purpose, diagrams, photographs and annotations

Prendergast School - GCSE TEXTILES - Information, Advice & Tips 7

AO1 CONTEXTURAL UNDERSTANDING

Develop ideas through investigations, demonstrating

critical understanding of sources.Helpful definition: Critical

understanding can mean understanding that is the result of

making careful judgements.

What’s the purpose of this AO?

In the same way that you develop writing abilities by studying

novels, poems and other kinds of written material, the

purpose of this AO requires that you study different visual

sources to promote your art & design abilities.

This should help to:

• increase your knowledge and understanding of works of

art & design produced in different times and places

• raise awareness of the methods and approaches used by

artists and designers

• reflect on their intentions (why they produced their work)

and purposes (what it was made for)

• enable close analysis of selected works of art and design.

This can:

• provide starting points for generating creative ideas and

inform further development

• start a search for connections between contextual sources

and your own work

• allow comparisons and contrasts to be made

• prompt research and development of more refined

approaches.

What sources should be explored?

These can be artefacts, images and other visual and written

references. There are lots of examples that you can access

on the internet and through TV programmes, but the best

sources are found in museums, galleries, craft and design

workshops and even specialist shops. Whenever possible,

try to explore sources at first hand because this will make

it easier to make authentic personal observations in

developing your critical skills.

What are critical skills?

These are sometimes mistakenly thought to be about

making negative observations. Critical skills are used to ask

the right questions and probe deeply to find answers. It also

means considering different kinds of information, such as

those that are biographical, descriptive and evaluative, in

order to reach well informed judgements. These skills are

also developed in other subjects, such as in your language

lessons and by asking and responding to higher order

questions.

Tip: Practise your critical skills by reviewing the work

of a past student, trying to arrive at fair and balanced

judgements, giving reasons for your decisions. Apply to your

own work what you learn from doing this.

Achieving your best in this AO

This is best shown by:

• thoughtfully using images and words together to

demonstrate that you have understood, in some depth,

relevant works of art and design

• investigating why and how they were produced

• analysing selected examples, using methods such as

Content, Form, Process and Mood

• making evident why you chose to study selected examples

and how they inform your own approach.

8 Prendergast School - GCSE TEXTILES - Information, Advice & Tips

Here is a link to my Pinterest boards and a selection of the

ones you might use regularly.

https://www.pinterest.co.uk/morrisony/

Pinterest is only useful if you curate your boards carefully...

PINTEREST - A POWERFUL RESEARCH TOOL

Prendergast School - GCSE TEXTILES - Information, Advice & Tips 9

USING THE INTERNET FOR RESEARCH

The internet is a fantastic research tool but there are

some pitfalls.

Note:

The Internet should not be used instead of visiting a

gallery but used to further deepen your research.

Some tips:

Join Pinterest. This is especially useful for sketchbook

ideas and use of materials.

Use the internet to investigate work you have seen in a

gallery or look up the history of a movement or artist

Some well-known e-galleries

www.tate.org.uk

www.royalacademy.org.uk

www.nationalgallery.org.uk

www.saatchi-gallery.co.uk

www.vam.ac.uk

Google collaborations

Google have collaborated with some galleries to produce

digital files of Artworks which can be seen in fantastic detail.

Research

When researching a particular art movement not everything

on a search will be relevant.

So...

• Check the dates of the artwork produced especially if you

are researching a movement or style of art.

• Look at more than one site, this will help you to check

that the information is correct.

For example, not all impressionist paintings are from the

19th century Impressionist Movement.

• Try to find out where there are examples of the artists’

work and go to see them if possible.

• Never copy or paraphrase information from the internet.

This is called PLAGIARISM and is a form of stealing

somebody else’s hard work. You will lose marks and

maybe get your work and grade cancelled.

V&A · Explore The Collections (vam.ac.uk)

TEXTURE

A TATE RESOURCE

Explore textures in

art Explore textures

in art from woven

textures and textured

fabrics and materials

to gestural marks and

patterns from woven

textures and textured

fabrics and materials

to gestural marks and

patterns

TEXTURES:

PREPARATORY

PHOTOGRAPHIC

WORK

Portfolios | The Brett

Weston Archive

MARK MAKING

A TATE RESOURCE

www.tate.org.uk/art/

student-resource/

exam-help/markmaking

10 Prendergast School - GCSE TEXTILES - Information, Advice & Tips

Gutters

Try to keep the gutters similar sizes

and align they across the double page

spread

Headings

Type headings and stick in – no

Sharpie headings or elaborately drawn

titles/headings

Choose one simple font and stick to it

HOW TO MAKE A SUPER SKETCHBOOK

Prendergast School - GCSE TEXTILES - Information, Advice & Tips 11

HOW TO MAKE A SUPER SKETCHBOOK Cont.

12 Prendergast School - GCSE TEXTILES - Information, Advice & Tips

Some London galleries and museums

If you go to a paying gallery take proof

of age so you can get in at a cheaper

ticket/entry.

Free:

Tate Modern

Tate Britain

The National Gallery

The National Portrait Gallery

The Saatchi Gallery

The British Museum

The V&A

The Horniman Museum

White Cube.

Entry fee:

The Whitechapel

The Royal Academy

The Courtauld Institute

The Serpentine. The ICA

A GUIDE TO VISITING A GALLERY OR MUSEUM

Galleries can be overwhelming at times so here

are some tips.

How to select work in a gallery or museum

When you arrive either:

• Decide which period/genre you want to look at first. In

which case you will need to find a gallery map.

or

• if you don’t know until you see it…

Wander round the gallery at a good pace and scan

(in your head) the work that grabs your attention.

then

• Select three works that you are interested in.

Note:

Never touch a piece of artwork unless it says you can.

Be aware of others

Be courteous of other visitors by not blocking the work

from other viewers.

Once you have selected a piece of work

• Write the title of the work, artist’s name, the medium

and the date it was made. If this is a fashion or a

historic garment, include the designer, collection, year

it was made and the materials or processes used to

make it

• Sketch it and complete a visual analysis page (support

sheet in this booklet)

• Complete a written analysis (Support sheet on the next

page of this booklet).

• Take a photo if possible

• Back at school you will use all of this gathered

information to make a practical response to the artwork.

Prendergast School - GCSE TEXTILES - Information, Advice & Tips 13

RESEARCH PATHWAY

Begin at Africa Fashion exhibition

Draw, photograph, make notes,

discuss, watch

Head up to the

Ceramics galleries

for more drawing:

This collection has

a lot of objects from

all around the world

with amazing

patterns, form

and colour to draw

and photograph,

including Africa

Return to Room 40,

the Fashion Gallery

Draw and

photograph more

items here: look for

embellishment ideas

such as embroidery

and beading for

ideas: draw detail

Back at school:

Secondary Research.

Use Pinterest to conduct

more research into

designers

Back at school:

Watch.

Search for In the

Black Fantastic

exhibition on

Youtube: In the

Black Fantastic

| A virtual tour

with curator Ekow

Eshun | Hayward

Gallery | BSL

Back at school:

Watch: Nick

Cave Textile

artist

Nick Cave:

Exploring

Identity through

the Arts

Back at School: Contemporary

Fashion research

Use Google or Pinterest to

research this

Back at school: More secondary

research: Pinterest

Contemporary prints,

Embellishment research,

Embroidery and Beading

Think back to your gallery

visit – could you explore any

of the pattern and detail using

these methods?

Conduct your own research in the

gallery using the V&A Spotlight

on Africa leaflet and gallery map

Tip: use the V&A Search the

collections to identify objects

before you go

ROOM

40

V&A

14 Prendergast School - GCSE TEXTILES - Information, Advice & Tips

ENGAGING WITH OBJECTS IN A GALLERY:

FASHION GALLERY AT V&A OR SPECIFIC EXHIBITIONS

This example uses the Africa Fashion exhibition as a starting

point, but you can apply the same structure with any

exhibition, starting point or theme.

Draw, Photograph, Think…..

The purpose of your drawings and photos is to show you

are using visual research as inspiration for your own design

work. So, do not draw or photograph things which are not

related to your theme. Be thinking all the time – “how could

I use this research as inspiration back at school?”

•Draw - use a double page spread and overlap drawing so

• In the exhibition: textile objects/garments which you

like elements of

•a garment from the Fashion Gallery or other gallery

which interests you/relates to your theme and

has interesting form, construction or detail, print,

embellishment

•you do not have to draw complete garments, you could

draw an outline and focus on the collar, for example

•Make notes - these can be dotted around your drawings

•Write down the T number or museum number and who

made it/its title

•Pay attention to construction details/embellishment/

pattern

•A few words why it interests you, relates etc

•What it is made of, materials, techniques etc

•Think: How you could appropriate design ideas for your

own garment?

• Photographic Experiments/Recording - There is a

mixture of styles here:

1. Basic recording – well lit, nothing chopped off etc

2. Photographic experiments which could inform your

design for print etc

•Look for and photograph interesting and

unusual angles

•Look for unusual and dynamic composition in

your photo

•Look through one object to another, capture

reflections etc

• Think - Read the Blurb….Then produce a voice recorded

response to objects which particularly inspire you or you

have an emotional response to – Describe it using subjectspecific technical language which relates to art, design,

textiles, fashion etc.

• Key words - Colour, pattern, design movement, maker,

texture, form, composition, shade, tone, line, reflection

symmetry, materials, when it was made, fashion genre,

year it was made, historic significance? etc.

Prendergast School - GCSE TEXTILES - Information, Advice & Tips 15

Photography is a great way to record what you see. There are

a few key things to consider to get good results.

Key elements to getting a good photograph

• Time – take your time. Plan your photoshoot.

Be organised with your props/people or plan your

journey/visit carefully.

• Look – spend time looking all around you. Move closer to

or further back from your view, scene, object or person.

• Background – consider what is in the background. Does

it complement or is it distracting? Move or change the

background if necessary.

• Light – consider what the light is like. Do you want

artificial (lamp, torch, room light) or natural (sunlight).

The weather and time of day can dramatically change the

colour and quality of the light.

• Viewpoint – experiment with different viewpoints. Look

up, down, through, behind, in-between objects, buildings,

and people.

• Composition – look closely at how ‘things’ are arranged

in the frame of your photograph. Do you want the main

focus to be in the middle, side, top, bottom of your photo.

• Framing – before you take the photo, check the whole

frame. Look all around the edges. Do you have everything

in that you want? Is there anything there you don’t want?

• The seven basic elements of photography – line,

shape, form, texture, pattern, colour and space – all refer

to the way you set up your photo. Composition helps you

represent any of these elements in the way you choose.

HOW TO TAKE A GOOD PHOTOGRAPH

Shadow and pattern

Photography can have many purposes in your

Art project:

• Document information, as a reminder, to look at later

• Record what you have seen when out and about, on a

journey or planned photoshoot

• Inspiration for a project, looking at colour, details, shapes,

textures etc...

• Response to an artist

To take a photograph you can use:

• your phone

• digital camera

• film camera

• polaroid camera

• Lomo camera

• or any other image capturing device like an ipad

or android tablet

Styles of photograph

Worm’s eye view Bird’s eye view

Capturing movement Detail and texture

Close-up

16 Prendergast School - GCSE TEXTILES - Information, Advice & Tips

The GCSE specification requires you to use drawing skills for

different needs and purposes, appropriate to the context in

which these skills are used. All students must use drawing

in order to support the process of development within each

chosen area of study. However, this does not necessarily

require you to show technical mastery of drawing skills

unless this is relevant to your area of study.

Why the requirement for drawing?

Drawing uniquely increases our ability to see and

understand the visual and tactile world. Importantly,

it enables us to think visually and communicate these

thoughts to others. In assessing GCSE work, moderators

often comment that reluctance to visualise ideas through

drawing seems to limit the vitality and scope of a student’s

creativity.The following quotations may help explain this

more fully:

• Too often the aim of drawing is ‘to make a drawing’ rather

than to use it as a means for communication and thinking

or for the expression of ideas and feelings. Bob Clements

• I may live in an age of photography and films, but what

I do could not be photographed because I don’t in fact

copy objects. Instead, I observe an object and then

regurgitate it. It has passed through the ‘sausage mincer’

of my consciousness. If that is interesting, then it acquires

interest. Erich Bauer

• In learning to draw, you learn to look. You teach yourself to

see and to feel what you see. David Hockney

We draw for many different purposes, just as we write for

different reasons. One important purpose for drawing is to

record from first-hand observation or experience. This is

not the same as drawing from photographs or from images

produced by other people. Drawing from direct experience

is not simply an act of recording what is seen with technical

accuracy. It requires, from the person drawing, a personal

response and an element of interpretation of the subject

being studied. The central purpose of this kind of drawing

is concerned with observing, investigating, reflecting and

seeing. We draw then in order to visualise ideas, research

and develop possibilities, such as in problem-solving,

designing or composing, and to explore and express

emotions and feelings.

Where is drawing to be included in my work?

Even if you have only a basic level of ability, you can still

make purposeful use of drawing. There is need to develop

competence in forms of drawing that are appropriate to the

option you are studying. There are many different uses for

drawing that are appropriate to areas that range from fine

art through to animation and photography.

What forms can drawings take?

Drawing may take the form of sketches, analytical

observational studies, storyboards, thumbnail sketches,

layouts and roughs, experimental or expressive studies, 2D

or 3D modelling, detailed designs and elevations. It can be

undertaken with the use of digital tools such as a stylus

and software program, or with traditional media such as

charcoal or pen. It can be particularly effective when digital

technologies are integrated with more traditional processes.

These can be presented on loose or mounted sheets.

Sketchbooks or craft/design workbooks provide, particularly

effectively, the means to: record (through drawing and

annotation) interesting snippets of information, try out new

possibilities and explore materials and techniques.

DRAWING

Prendergast School - GCSE TEXTILES - Information, Advice & Tips 17

FASHION ILLUSTRATION

It is important that you develop your own style. It could be

simple drawings, working with collage, developing repeating

patterns and collage work in Powerpoint or using more

sophisticated digital collages in Photoshop.

Make sure you include a range of ethnicities, cultures and

hair styles/hijab in your work.

Here is some

excellent Year 10

Collage work using

a repeating pattern

developed from

the student’s own

fabric samples.

This is the illustrative

work of Johanna

Goodman, whose body

of work is called The

Catalogue of Imaginary

Beings.

18 Prendergast School - GCSE TEXTILES - Information, Advice & Tips

AO2 CREATIVE MAKING

Creative making:

Refine work by exploring ideas, selecting and experimenting

with appropriate media, materials techniques and

processes.Helpful definition: Refine can mean to perfect,

clarify or improve.

What’s the purpose of this AO?

This AO is meant to enable you to refine your ideas and

practical abilites in the creative processes of making art,

craft and design.

This should help you to:

• iexplore promising ideas and make them clearer

• idevelop the knowledge, understanding and practical skills

needed to experiment with media and processes, showing

a sense of purpose

• iimprove your control of manual and digital techniques

• iselect appropriately from these to further refine your

responses

• imake effective use of the elements of visual language,

such as line, tone, colour and texture.

What is involved in creative making?

Creative making can first involve exploring:

• stimulating sources, that can include new or previously

overlooked locations or subjects

• topics that you are interested in and may feel

strongly about

• existing ideas, including from contextual sources,

and reinterpreting or combining them in unexpected,

‘risky’ ways.

There is then a phase of initial drafting or visualising to

give ideas a broad shape or outline.This is followed by a

process of development involving exploration of appropriate

resources, media, materials, techniques and processes

Tip: Evidence of creative processes is as important as

final outcomes.

What is the most important stage?

One of the most important phases of development is the

last but one stage where:

• a range of possible outcomes should be considered much

more critically, with a sharper focus

• good judgement should be evident in selecting aspects

such as the media and technique to be used for the final

outcome; its scale, composition, colour, etc.

• due account should be made of the refined control

required to produce outcomes of quality.

Achieving your best in this AO

Explore a sufficient, but not excessive, breadth of media and

techniques to make informed choices from these.Balance

this with depth of study in some, enabling you to develop

high levels of skilful control to show your best abilities. Make

clear the process of reviewing and refining the development

of your work, showing rigour, discrimination and imagination.

Have a positive attitude towards your work, building realistic

self-belief in your abilities and promoting confidence to take

calculated risks.

Prendergast School - GCSE TEXTILES - Information, Advice & Tips 19

AO2 CREATIVE MAKING Cont.

20 Prendergast School - GCSE TEXTILES - Information, Advice & Tips

AO3 REFLECTIVE RECORDING

Record ideas, observations and insights relevant to

intentions as work progresses.Helpful definitions:Insight is

the ability to discern the true nature of something.Relevant

means having practical application.Intentions are aims that

guide actions or a course of action that you plan to follow.

What’s the purpose of this AO?

Reflective recording is intended to:

• sharpen your observation, so that you become more

visually perceptive

• increase discernment to gain insight into the underlying

nature of what you are studying

• develop competence in selecting, interpreting and

recording what you know, see, feel and think

• reflect on your recording to consolidate what you have

learned, leading to a fuller understanding of it and making

intentions clearer.

What is involved in reflective recording?

You need to show that you can:

• gather, select, organise and communicate visual and

other information

• record your ideas, observations and insights using suitable

forms of drawing, photography and writing, making sure

they are linked to your intentions

• reflect on your recording as it progresses as part of

reflective learning, pausing to think about your work and

reviewing what you have learned in producing it

• use reflection in your research and enquiry to delve for

deeper meaning and purpose in what you are doing.

What is a good way of showing reflective

recording abilities?

Although sketchbooks or design notebooks are not

specifically required for either of the GCSE components,

they can be a good way of showing reflective recording

abilities and of documenting the progression of your creative

enquiry. They are particularly effective for recording, using

images and words, interesting snippets of information, trying

out possibilities and exploring materials and techniques.

They are sometimes called visual diaries that, as such,

will contain rough ideas and unfinished visual notes.

Recording abilities can be demonstrated using other means

of documentation such as in digital folders but, whatever

format is used, recording should be seen as a process rather

than as an outcome.

What must you consider to achieve your best

in this AO?

A range of recording methods should be used, such as

annotated or extended forms of writing, photography and

especially the many kinds of drawing. You should select

which of these is most appropriate for recording different

ideas, observations and insights. Ensure that what you

record informs your enquiry and shows a sense of purpose.

You could look at artists’ sketchbooks and designers’

notebooks to see how they employ their recording skills and

use these sources to inspire, extend and refine your own

methods of recording.

Prendergast School - GCSE TEXTILES - Information, Advice & Tips 21

PRODUCING WRITTEN RESPONSES

Although GCSE Art and Design courses are mainly

concerned with the development of visual responses, there

is also a requirement to record your ideas, observations,

insights and personal judgements, not only in visual terms,

but also through written annotation. Some may wish to make

use of more extended writing to support the processes and

outcomes of their work. However, in both GCSE components

this will be assessed holistically, meaning that written

responses will not be marked separately.

Why is writing to be included in my work?

Written responses will obviously feature in My Creative

Statements for each component. Writing activities, including

annotation, are included because they are intended to:

• develop your ability to ‘engage’ with works of art/craft/

design by devoting thought, time and energy to study them

so that you can relate and respond to them personally

• enable you to successfully communicate your ideas,

helping you to understand the meanings of the visual

methods and approaches you use as well as to analyse

those used by others

• allow you to demonstrate understanding of the different

contexts in which particular artefacts and artworks were

originally made and are currently being considered.

Where can it be included in my work?

• In AO1 Critical Understanding, it can be used alongside

visual work to show critical skills and deeper contextual

understanding.

• AO2 Creative Making gives the opportunity to use written

commentary to consider the relationships between

practical working methods and outcomes, and to

document critical reviews of your work as it progresses.

• In AO3 Reflective Recording, it can be used, in conjunction

with drawing and photography, as a means of recording

observations and showing critical reflection and insight

into your investigations.

• AO4 Personal Presentation offers the possibility of using

writing to add meaning to your work and evaluating the

processes and outcomes of your studies.

Annotation

This must always have a purpose and should add to the

visual information you are dealing with. It should be legible

and make sense; among other things it can be used to

develop and extend your thinking and communicate fresh

ideas, compare and contrast visual references and identify

and describe visual elements in your practical enquiry.

Other forms of writing

If you use other forms of writing, they should be applied

thoughtfully to add to your work without substantially

reducing the time you spend on practical work. It should

not be tackled as a bolt-on, disconnected activity. There are

many suitable forms of writing including illustrated essays,

exhibition catalogues, review of a gallery visit, newspaper/

magazine articles, zines, audio-visual scripts to accompany

PowerPoints, private blogs and webpages. Whatever the

format, you should use a style of writing that is well suited

to the purpose of your study, includes appropriate specialist

vocabulary, can easily be read and is clear and coherent.

22 Prendergast School - GCSE TEXTILES - Information, Advice & Tips

SENTENCE STARTERS AND REFLECTION

Support with Analysis of works of art and your own work

– GCSE Textiles

Idea and Image Write the Name of artwork, date, artist Sentence starter Meeting the exam board assessment objectives

What is the theme or subject of the work? Describe if it is an abstract painting, landscape, portrait, sculpture,

photograph, fashion garment etc

The main focus of this image is… This image reveals… The significance of this image is….. I have chosen this image because it relates to my work by…. When comparing these images…. The implied message of this image is….. AO1 – Contextual Understanding

• Investigate the work of other artists

• Make own judgements and expressed opinions about the work of artists and designers

• Understood how/why the work has been produced

• Explained how you have used this research to develop your own ideas (links to AO4)

AO3 – Reflective Recording

• Used direct, first hand observation from Primary Sources as part of your research

• Produced work which shows clear development from thorough research

both Primary and Secondary

AO4 – Personal Presentation

• Made connections between your work and that of other artists and designers

Narrative theme Which period of time was this artwork made? Is it part of a story,

describe the scene/artwork

I think the artist was trying to convey… This image reflects the artists concerns with…

People What are they doing/look like/feeling? Write a brief description of the scene.

Style How has the artwork been made? Is it realistic/abstract? Can you see brushstrokes? Is it part of an Art or Design movement? The genre this artwork fits into is… This piece of art cannot be classified … This work is part of the _______design movement…… The brushstrokes indicate …… It has been constructed with _____(name materials)…..

Colour How has the artist used colour? Why have they used it in this way? The colour creates a feeling of … The artist has used colour in a descriptive way by…… The colours chosen convey the emotion of……

Purpose of artwork etc Was it made for a specific place/catwalk show? This work forms part of a group…. This is a stand-alone painting/sculpture…. This garment forms part of the catwalk collection entitled…..

Emotional response – How does the artwork make you feel? explain The artist is trying to convey the emotion of… The artist is successful in conveying ____because….

Personal Inspiration by a work of art/designer My Primary research visit to the ____ has influenced my work by …… When I saw ___ at (name of gallery)_________I was inspired to …….. The artist has influenced me by ….. I was inspired by ____when creating this piece of work…. This links to my work by……. I have used the artist’s idea of ____ to generate my own idea by ….. My secondary research into ___ has inspired ….. My work connects to ______ by…… I have linked the work of _____ and ______ to inspire me to…. AO1 – Contextual Understanding

• Explained how you have used this research to develop your own ideas (links to AO4)

AO3 – Reflective Recording

• Produced work which shows clear development from thorough research both Primary and Secondary

AO4 – Personal Presentation

• Made connections between your work and that of other artists and designers

Reviewing and Refining your work - annotation In this piece of work I have …. In this experiment I have …. I have used the following materials to ……. Through working in this way I have ……. I could develop this idea further by …. This piece of work is successful/unsuccessful because… This sample is successful/unsuccessful because… This section of the sample produced the ____effect…. This sample would have been better if I had/had not …. To improve upon this sample I could …… To refine this sample I could….. The technique of ____works well/has not worked well because of …. I could use this sample on _____part of my garment…. This sample is a refinement of ___sample which ……. AO2 – Creative Making

• Experimented with and improved your ideas at various stages of your work

• Been able to select and use a variety of processes and materials for the production of your work

• Made the best effort to improve the quality of your work as it has progressed

Prendergast School - GCSE TEXTILES - Information, Advice & Tips 23

A CRITICAL ART/TEXTILES VOCABULARY LINE Intaglio Etched Engraved Scratched Sgraffito Inlayed Applied Appliqué Drawn Painted Printed Wavy Swirling Elegant Gentle Curvy Interwoven Criss-cross Textural Scraped Inside Outside Outline Form Boundary Straight Suggested Tapering Think Thin Varying Slip trailing Wiggly Zig-zag Rhythmic Contour Continuous Interrupted Dash Stroke TEXTURE Rough Smooth Hairy velvety satinised light catching shade shiny hard soft patterned impasto Scratchy overlaid flat raised census free sensory tactile visual sticky reflective prickly grainy pleated ruffled plaited dabbed crumbly dry wet sticky moist embossed serrated tufted embroidered silky matt three-dimensional grain FORM Solid heavy balanced cylindrical rectangular triangular pyramidal fractured angular sliced fragmented absurd unusual elongated enlarged tactile Inside Out inside natural man-made mechanical volume space recessed bas-relief curvaceous angular bloated inflated coiled slabbed Hand Built cast carved architectural cervical constructed structure void mass assembled COLOUR Soft gentle blended tonal matching harmonious mood romantic subtle flamboyant raucous bright acidic brash primary secondary tertiary matching autumnal summary cold hot cold spectrum chemical vibrant limited palette complex atmospheric restful lively blowing mixture medley sickly peaceful dyed mixed layered natural complementary aerial perspective hue tint pigment SHAPE Large Simple Abstract Minute Complex Positive Negative Overlapping Dominant Heavy Balanced Precarious Unusual Regular Irregular Juxtaposed Sensuous Ugly Soft Padded Hard Stacking Separate Collection Enlarged Reduced Formal Informal Angles Separate Beautiful Eroded Whole Space Interlocking Fragmented Cropping Overlay Blurred Conglomeration Organic Mechanical Silhouette outline PATTERN Regular Repeat Tessellated Busy Complicated Random Rich Cultural Overlapping Reflected Simple Exotic Geometric Floral Unusual Traditional Linear Concentric Abstract Wavy Old-fashioned Modern Oscillating Delicate Intricate Decorative Graphic Camouflage Functional Design Ornamental Rotated Serpentine Half drop repeat Printed Woven Organic Fibonacci sequence involved System Arrangement motif CONTENT Composition Balance Perspective Pop Whole Divided Masculine Soft focus Hard realism Tension Calm Narrative Story Message Meaning Portrait Self-portrait Figurative Abstract Painted Printed Mixed media Collage Frottage Dominating Still life Incidental Cameo Reflection Busy Simple Spaces Flat colour 1 dimensional 2 dimensional 3 dimensional Graphic Landscape Cityscape Meaningful Surreal Romantic Expressive Photo journalism text Impressionism Realistic Series Light source Foreground Mid-ground Background Multi-cultural Image Viewpoint Female Artist Naïve Derivative Dream like Screen print Batik Symbolism Architecture Public art Montage Movement Artefact Context Primitive Native Resist Manipulated Renaissance Medieval Cartoon Storyboard Maquette Narrative Focus Cubism Thumbnail Classical Mural Fresco Perspective installation process

24 Prendergast School - GCSE TEXTILES - Information, Advice & Tips

Use these to help with all written tasks.

KEY CONNECTING WORDS AND PHRASES

When comparing –finding differences

•Is different from

•In contrast

•Alternatively

•Compared with

•In comparison with

•On the other hand

•Instead of

•Yet the other

•However

•Otherwise

•Whereas

•unlike

When comparing –finding similarities

•is similar to

•in the same way

•similarly

•like/likewise

•equally

•as with

•moreover

When adding to a point – expanding what you are

saying

•in addition

•furthermore

•besides

•also

•still

•anyway

•and, in addition

•and/but

•but also/but still/but anyway

•too

When giving emphasis – bringing home your point

•most of all

•least of all

•most importantly

•above all

•especially

•significantly

•in particular

When giving contradiction – different possible

opinions

•on the other hand

•alternatively

•a counter argument is

•from a different perspective

•from a different point of view

When changing direction/qualifying your opinion

•despite

•although

•nevertheless

•even so

•however

•unless

•except

•if

•yet

•as long as

•apart from

When showing cause and effect – why and what

has happened

•therefore/thus

•as a result/owing to

•because/thanks to

•consequently/so

Illustrating

•for example

•as illustrated by

•in the case of

•for instance

•such as

•as shown by

Connectives relating to time - sequencing

•at first

•until

•at length

•meanwhile

•up to that time/point

•from that point/time onwards

•in the interim

•later on

•eventually

•finally

Prendergast School - GCSE TEXTILES - Information, Advice & Tips 25

ANNOTATION – THE WRITING IN YOUR SKETCHBOOKS

Annotation is a note or comment added to explain the image

or text on the page. It can be used for context tasks as well

as commenting on your own work. It links to Assessment

Objective 3 – Recording.

This is essential to your GCSE. The examiner will need to

read your annotation to understand the context, research,

results of your experiments, how you have refined your work

and how you arrived at your final response.

Keep it brief and to the point.

No statement should be over 50 words. Try to use each of

the following

ANNOTATION –Making a short comment on something. It is

not just a label.

DENOTATION – A literal comment, a description i.e. the

leaves are green.

CONNOTATION – What it means or represents, i.e. the

freshness of the green represents the awakening of .

Annotation needs to be done as soon as you have produced

your image/experimentation because we often forget what

we were thinking if we look at something that happened a

week ago.

Some key responses for annotation about

your own work :

• What is the theme you are working to?

• Why did you produce it?

• How does it link to your project?

• What or who have you been inspired by?

• Why did you select your chosen medium?

• Which part of it is most successful and why?

• What will you change or adapt?

• How will you develop your idea?

Your sketchbook explains your journey

Your sketchbook is a journal that explains your journey.

Make sure your work and annotation is in order. You should

be able to give your sketchbook to anyone and your “reader”

should be able to understand your process.

It is important that you use whenever possible art specific

language. Use the vocabulary pages in the booklet for this.

Look at the examples below and the descriptions of the

work by the students.

26 Prendergast School - GCSE TEXTILES - Information, Advice & Tips

Create Design Construct Manipulate Problem-solve

Think beyond

Evaluate Judge, Assess, Debate, Defend, Prove

Analyse Compare, Contrast, Identify, Examine, Challenge, Accept

Apply Sketch Write Choose Change Attempt Demonstrate

Understand Translate, Discuss, Explain, Locate, Describe

Remember Read, Observe, Recall, Reproduce, Label, List, Match

Here are some examples of informative

annotation about artists work:

This student has explained why she has decided to draw

a totem pole in the museum. She has made some really

good comments.

“Another reason I wanted to draw this post was because

it cast a strong shadow on the right-hand side, I felt this

really added to the composition and almost created a

golden section in the isolation of the post’”

Analysing the work of others. The Mirror by W.Orpen

The student has written quite a lot, here are two excerpts:

“This could be interpreted as an unusual self-portrait

because Orpen has painted his own reflection in the

mirror”.

This comment could be observed in a gallery or from an

internet or picture from a book.

Mark Making:

“The brush stokes are incredible fine and light. I feel this

has a very still and calming effect on the viewer, it emits a

feeling of excessive order and organisation”

“The painting’s surface texture appears incredibly smooth.

Despite this Orpen has managed to create a variety of very

realistic texture such as the ruffles on the sitter’s hat”

The last two comments could not have been observed

from the internet - that is why it is important to visit

galleries.

ANNOTATION Cont.

Bloom’s Taxonomy

The following table refers to Bloom’s Taxonomy.

It highlights different levels of thinking. The higher the level

of thinking the greater the likelihood that your idea will be

well developed and therefore achieve a higher mark.

High

Low

Prendergast School - GCSE TEXTILES - Information, Advice & Tips 27

AO4 PERSONAL PRESENTATION

Present a personal and meaningful response that realises

intentions and demonstrates understanding of visual

language.

Helpful definitions:

Personal refers to the character, conduct, motives of an

individual.

Present can be the way something is set out or presented.

Meaningful can mean expressive, having a purpose,

worthwhile.

Visual language is a means of communicating using

visual elements such as line, shape, tone, colour and

texture. It includes media, materials, tools, processes and

technology, as well as other methods of communication,

such as tactile and sensory.

What’s the purpose of this AO?

The purpose of the AO is that, in presenting your work, you

can clearly explain your intentions and the ways in which

they are realised. Presentation skills are used across a

range of subjects and are not exclusive to art and design.

They are frequently employed in higher education and in

the workplace and so can prepare you for the next stage of

your career.

What is involved in personal presentation?

You need to show that you can:

• communicate using appropriate elements of

visual language

• produce work that is personal, informed and

has meaning

• explain and realise your intentions

• make connections between the different parts of

your work

• present your work in an easy-to-follow order

• select a suitable format for presenting your work so that

it adds interest.

What is a good way of showing abilities of personal

presentation?

Show clearly that you understand the different elements

of visual language and can use them appropriately in

your work.As far as possible, choose to produce work that

is truly personal, is well informed by relevant research

and has meaning for you and anyone who engages with

it.Make obvious the connections between the different

parts of your work and connections with the work of others.

Devise a form of presentation that ideally links with both

the subject matter and purpose of the work, making it

attractive to an audience.Place as much emphasis on

presenting evidence of creative processes; the workings

out, as on the products - the finished pieces.

What must you consider to achieve your best in

this AO?

There are two considerations you must make. The first,

and most important, is that the work should be uniquely

personal to you and that you have something important to

say about what you have chosen to research. The creative

path you follow, as well as your final outcomes, should

show deep interest in, and impressive commitment to, your

study. Secondly, you must show judgement in selecting

only the most significant parts of your unit and consider

the very best ways of bringing these together to present

your work in a format that adds to its meaning and creates

the strongest impact.

Front view of garment Back view of garment

Close-up view to show details of garment

Present your final outcome

Take pictures which clearly illustrate your

final outcome. Use a sequence of pictures to

show the examiner what you have produced.

Sharp pictures with lots of detail and

photographed in an uncluttered environment.

28 Prendergast School - GCSE TEXTILES - Information, Advice & Tips

“The Do’s and Don’ts”

Individualism and independent work is the key

• Work must not be similar in ideas, materials, techniques,

processes to other candidates

• Undertake your own visits to galleries and do not rely on

those organised by the school

• Offer a range of possible responses to a stimulus/starting

point rather than choosing one idea and sticking with it

• Choose to research visual and contextual references

which are easily available – ie can you find this object to

draw? If your theme is water for example, is there a body

of water near that you can sketch/paint/photograph?

• Challenging yourself but at the same time choose to

make the option which is most likely to result in the best

outcome – play to your strengths – i.e. if you really

struggle with 3D, don’t choose it. Find another way

to express your idea.

• Artist research and investigation – use the list of artists

supplied or chose your own art movement or individual

artist as a starting point.

Advice on using sketchbooks: Coursework unit

(personal Portfolio)

• Sketchbooks must contain “observational drawing”

▪ For example, if your theme is “floral” you must have

colour observational drawings of flowers

▪ Software for drawing can be used but should not

replace observational drawing/life drawing.

▪ Sketchbooks must also contain drawing for purpose

ie diagrams, working out drawings – these show your

thinking and problem solving skills.

• Inspiration pages - Your sketchbook must have

personal input

▪ This means using images from magazines etc to inspire

you but you must develop these into sketches and your

own designs/ideas.

• Avoid lots of “cutting and pasting” of images – examiners

do not like “scrap books” and they only show the skill

of selecting. They want to see evidence of your ideas

and skills.

• Use your sketchbook as a working document to record

observations/experiences/thoughts and ideas

• Evaluate and analyse all your work and show how you

have improved/how it has evolved. It should not end

abruptly in a final piece

• You must reference images and all sources, whether

text or photographic – ie annotate them- otherwise it is

could be viewed as plagiarism and you may be disqualified

• Use different mediums for recording – watercolour, pencil,

ink, pastels, photomontage, collage etc

• Use same colour pen throughout for annotation

• Presentation is important but do not waste time

decorating the page. Spend time on the things that will

actually get you marks

• Combine photographic recording and annotation to

improve your skills of careful looking, recording and

reflecting

Advice on using sketchbooks: Controlled Assignment

• Consider a variety of questions and your responses before

embarking on the task

• Write a brief explanation of how the question has

been interpreted

• Do not select the same question from the examination

paper and then interpret it in a similar way to any other

candidate.

• Go to a gallery to look for your own individual starting point

for inspiration – use PRIMARY SOURCES to explore and

develop your contextual and visual research.

• Use completely different materials and techniques in the

controlled assignment to your coursework project

• Show your individuality and personal character through

your work

• Show the “development story” through your sketchbook.

You must evidence your thinking and development of final

piece in sequence

• Ensure there is plenty of DRAWING/SKETCHING.

• Ensure there is plenty of creative making using a range

of media and techniques. You must show sustained

development of your idea.

• Plan your outcome carefully. Think about background

and presentation

• Plan carefully for the 10 hour controlled assessment.

ADVICE FOR MAXIMISING YOUR COURSEWORK

AND YOUR CONTROLLED ASSIGNMENT GRADES

Prendergast School - GCSE TEXTILES - Information, Advice & Tips 29

EVALUATION OF FINAL RESPONSE

Create an evaluation page on your final outcome

Use subheadings

Make the page and the writing look inviting:

show your visual skills through presentation

Use resources:

peer’s words, art vocab sheet & sentence starters

What can you add to give evidence to your writing?

Diagrams, artist links, images of work developing, image of

final outcome

Possible subheadings:

EVALUATE

REFLECT

COMPARE

CONNECT

FORMAL ANALYSIS

THEME

INTENTIONS

CONTEXT

RESEARCH

PROBLEM SOLVING

Key questions to answer when reflecting

on your work

• How is your work linked to the theme?

• What or who have you been inspired by?

• Why did you select your chosen medium?

• What experiments did you carry out, what were

you trying to achieve?

• Which part is most successful and why?

• What would you do to change or adapt it?

• How could you develop and refine your idea?

Reflecting on your work – Sentence starters

• My intention was… I researched… which influenced…

• I have been inspired by the work of……because…

• In this piece I have created…..

• I have used the following materials……because….

• Through working this way I have learnt how to....

• I have used….to exaggerate/highlight/bring

focus to……

• I have experimented using….(materials/techniques)…

• This links to my theme because….

• In comparison to (this artist’s) work…

• I could have made greater use of….

• In this piece I have used too much/not enough…

• I think this is effective because…

• This is successful because…

• This has not worked so well because…

• The technique I have used works well because…

• To develop my idea further I could…

30 Prendergast School - GCSE TEXTILES - Information, Advice & Tips

GCSE ART and DESIGN

ASSESSMENT OBJECTIVE CHECKLIST FOR STUDENTS

COMPONENT 1 PORTFOLIO / COMPONENT 2 EXTERNALLY SET ASSIGNMENT

Guidance on writing: You should record your ideas, observations, insights and independent judgements, not only

in visual terms but also through written commentary. You may use annotation or more extended forms of writing to

show how you have met any one, or any combination, of the assessment objectives. Your style of writing should be

suitable for purpose, legible, clear and coherent. You should use specialist vocabulary where appropriate.

ASSESSMENT OBJECTIVES Provide evidence that shows you have: √or x

AO1

Critical Understanding

Develop ideas through

investigations, demonstrating

critical understanding of

sources.

Investigated the work of other artists, craftspeople and

designers as well as other sources and used your research to

develop a range of ideas.

Documented your own judgements and opinions about the work

of others.

Developed your ideas through sustained, focused and

coherent investigations, demonstrating a clear understanding

of your sources and their relevance to your own ideas.

AO2

Creative Making

Refine work by exploring

ideas, selecting and

experimenting with appropriate

media, materials, techniques

and processes.

Explored and refined your ideas throughout each stage of

development.

Been able to select and experiment with a variety of materials

and processes in order to progress your work.

Skilfully and safely handled materials and processes to produce

quality outcomes.

Reviewed your work to improve quality as it progresses.

AO3

Reflective Recording

Record ideas, observations

and insights relevant to

intentions as work progresses.

Used suitable and varied methods to record ideas,

observations and experiences, preferably from first hand, rather

than secondary, sources.

Demonstrated that your research and enquiry has been relevant

to your personal intentions.

Organised and clearly conveyed your ideas as they have

developed from your research, reflecting on your work as it has

progressed.

AO4

Personal Presentation

Present a personal and

meaningful response that

realises intentions and

demonstrates understanding

of visual language.

Presented your own, imaginative ideas and outcomes.

Demonstrated the processes through which you have realised

your intentions.

Made clear connections between the various parts of your

work, including that of other artists, craftspeople and designers;

so that it is meaningful and in a sequence that can be easily

followed

Thought carefully about the final selection and method of

presentation of your work.

ASSESSMENT OBJECTIVE CHECKLIST

Prendergast School - GCSE TEXTILES - Information, Advice & Tips 31

MARK SCHEME FOR GCSE ART AND DESIGN

32 Prendergast School - GCSE TEXTILES - Information, Advice & Tips

MARK SCHEME FOR GCSE ART AND DESIGN Cont.

Prendergast School - GCSE TEXTILES - Information, Advice & Tips 33

Support and advice with selecting your theme.

The most important thing to remember is that you have to

be able to RESEARCH and DRAW to support your work

If you can’t do this, walk away and choose

another theme

•Please read the questions before making your final

decision

•I am happy to discuss and negotiate your choices with you

and will guide you towards the question I feel will allow you

to succeed

•You all have different strengths and all have a good range

of skills

•Remember, just because you don’t know how to do

something now doesn’t mean you cannot learn it before

your exam

•You are ALL able to draw

•You are ALL able to sew

•Some of you are better at constructing than others so this

is definitely a consideration when deciding what to make in

your exam

•Historically, we have had very good results with garments

in exams but equally good results with 2 fantastic panels

last year

•Please listen to my guidance throughout this preparatory

phase – I want you to get the best mark you can get…

General research links:

•Tate Gallery Videos on Youtube

•The Art of Seeing David Hockney

•Museum of Modern Art New York Learning

www.moma.org/learn/moma_learning/themes/advancedplacement-art-history-exam

•MoMA glossary of Art Terms

Exam prep: Before the Visit

• You will have chosen your theme by the end of this lesson

• You must choose something which is different from your

coursework project

• For example, if you did lots of printed flowers, the exam

theme CANNOT be about flowers/natural forms

• You MUST be photographing objects/scenes etc linked to

your theme from today onwards

• Eg. If your title is Looking through layers, you could be

photographing images through a rainy bus window, looking

through net curtains etc, looking through your hands,

photographing layers of leaves, trees, foliage, vegetation,

dead Christmas trees, ripped tights, holes in jumpers, use

plastic bags as filters etc

• If you are doing a costume, you can be researching this

and mocking up costumes from existing garments and

found objects

• You must also follow the plan you have been given and

complete the required number of pages every week

• Finally, what you make must be small - you only have 10

hours to make it in and 12 lessons to prepare in

EXAM UNIT PREPARATION

• It could be a small top or skirt

• Part of a costume

• A textile wall panel, beautiful cushion etc

• It must be the best Textiles work you have ever made, lots

of techniques very well executed

SPECIFY DIFFERENT

TIME PERIOD

34 Prendergast School - GCSE TEXTILES - Information, Advice & Tips

Suggested tasks for exam unit preparation. This is just a few It really is an endless list of possibilities. PAGE 24

AO1- Developing ideas through

investigations and analysis

AO2

– Experimenting with media and

process to explore/refine ideas.

AO3- Recording of ideas,

observations, and insights

AO4 - Realising intentions. Present a

personal and meaningful response.

 Gather info on artists that

work in a comparable way and who are connected to your chosen theme and/or process. Refer to galleries/books and the internet. Refer to given examples if stuck or ask the teacher for guidance.

 Present what you have found out, use the Visual and critical analysis sheets to thoroughly investigate the

source.

 Include references to other artists (inc. Image/name/date/medium). Compare/contrast them and give your opinion.

 Make a practical response to the artist. Copy a section or set up your own version or use the same colour scheme or technique.

NOTE

–

 Use Critical art language.

 Present your findings creatively.

 Complete 2 full analysis and add as many other references as needed to help develop your project.

 Make drawings in a range of materials.

 Take small sections of interest and enlarge them.

 Try limiting the range of colours used or explore the use of colour harmony or complimentary colours.

 Exploit your media and processes.

 Make one piece in a range of media. Explore varied

materials. Explain what works and why.

 Make mini models of 3D ideas you have. Record the making, put in your sketchbook.

 Take digital photos and explore image manipulation.

 Make artworks in response to the digital manipulations.

 Make an animation.

 Create a range of compositions for the final idea. Annotate to explain

choice.

 Keep thinking “what if.”

NOTE

–

 Annotate what worked, what did not. Evaluate for quality and aesthetics too.

 Make a series of 10-minute sketches of your chosen subject matter. Work from real subject matter.

 Try a range of experimental drawing techniques.

 Make detailed and accurate drawings using tone.

 Make drawings using a range of black and white materials i.e., biro or silhouettes in black paper.

 Draw with scissors.

 Design and take a photoshoot. Annotate.

 Collect images from magazines, collage them,

annotate.

 Make drawings that focus on different formal elements.

 Use drawing for purpose, i.e., mini sketches and diagrams to explain your thinking of “what next” pages and throughout the sketchbook.

NOTE -

 Annotate your pages to explain your intentions and what you are going to take

forward.

 Work from real life where possible.

 Write a short proposal for your outcome idea. Include sketches and connections to artists.

 Check you have practiced/experimented with everything you are going to

include.

 Have you thought about the background or how you will present a 3D piece and practiced that too?

 Gather all materials you will need for your final piece.

 Write a time plan for the 10-

hour focused test.

 Check your sketchbook covers the 4 AO’s.

 Make the final piece.

 Write an illustrated evaluation.

NOTE - Plan not panic. Speak to your teacher before exam day to check your proposal, materials, and plan for the exam. ATTEND ALL SUPPORT SESSIONS

–

they are an opportunity not a punishment. Ask your teacher when they are.

EXAM UNIT PREPARATION Cont.

Prendergast School - GCSE TEXTILES - Information, Advice & Tips 35

NOTES

36 Prendergast School - GCSE TEXTILES - Information, Advice & Tips

Prendergast School

Adelaide Avenue

Brockley

London SE4 1LE

www.prendergast-school.com