Course Handbook

Cambridge IGCSE™ / IGCSE (9–1)

Art & Design 0400 / 0989
For examination from 2023
© Cambridge University Press & Assessment 2023 v1
Cambridge Assessment International Education is part of Cambridge University Press & Assessment.
Cambridge University Press & Assessment is a department of the University of Cambridge.
Cambridge University Press & Assessment retains the copyright on all its publications. Registered centres
are permitted to copy material from this booklet for their own internal use. However, we cannot give
permission to centres to photocopy any material that is acknowledged to a third party even for internal use
within a centre.
Contents
Introduction ..................................................................................................................................... 4
1. Assessment objectives................................................................................................................ 5
2. Key skills and syllabus content.................................................................................................... 6
3. Planning and preparation .......................................................................................................... 11
4. Workshop delivery .................................................................................................................... 19
5. Common skills and understanding ............................................................................................ 21
6. Preparing work for submission .................................................................................................. 26
7. Example learner outcomes........................................................................................................ 27
Appendix 1: Critical analysis support sheet ................................................................................... 48
Appendix 2: Evaluation prompt sheet ............................................................................................ 49
Appendix 3: Compare and contrast sheet ..................................................................................... 50
 Course Handbook

Introduction
This handbook has been devised to support the planning and delivery of the Cambridge IGCSE / IGCSE (9–
1) Art & Design syllabus. It will guide you in setting appropriate activities that meet the assessment
objectives and provide learners with a solid understanding of the key elements of the creative process.
This handbook contains resources and guidance on writing activities, planning schemes of work, preparing
lesson plans, delivering skills, understanding the assessment objectives and the standard of work that is
expected.
The syllabus takes a wide range of approaches using both traditional and non-traditional media and
processes:

• painting and related media

• graphic communication
• three-dimensional design

• textiles and fashion.

• photography
The tables below each of the assessment objectives have equal weighting and this should be reflected in the
planning and delivery of the programme.

Assessment objectives as a percentage of each component

AO Component 1 Component 2

AO1 Record 25% 25%

AO2 Explore 25% 25%

AO3 Develop 25% 25%

AO4 Present 25% 25%

Assessment objectives as a percentage of the qualification

AO Percentage of course

AO1 Record 25%

AO2 Explore 25%

AO3 Develop 25%

AO4 Present 25%

4
 Course Handbook

1. Assessment objectives
AO1 Record
Record ideas, observations and insights relevant to intentions as work progresses.
AO2 Explore
Explore and select appropriate resources, media, materials, techniques and processes.
AO3 Develop
Develop ideas through investigation, demonstrating critical understanding.
AO4 Present
Present a personal and coherent response that realises intentions and demonstrates an understanding of
visual language.

Possible activities to meet the requirements of each assessment objective

AO Activity

Collect:
• thumb nail sketches / observational studies
• photographs
AO1 Record • found images.
Visit a gallery or museum.
Carry out research using books and reliable websites.

Carry out experimentation with a range of media and processes.

AO2 Explore
Annotate experimentation.

Evaluate experiments.
AO3 Develop Identify strengths and select materials and processes appropriate to the work.
Make more refined examples.

Consider the presentation of the final outcome(s).

Select supporting studies which demonstrate the creative journey the work has
taken.
AO4 Present Initial sketches / examples of effective experimentation / images of work by others
which has informed ideas / prototypes.
Brief notes to indicate what the work is about.
Acknowledgment of secondary source material.

5
 Course Handbook

2. Key skills and syllabus content

2.1 Key skills
An ability in each of the four skills below should allow your learners to engage in the design process and be
able to generate and then develop ideas into a final, fully realised personal response. There are suggested
activities to help them engage each.

Record Recording is an on-going process and should be relevant to your

learners’ personal intentions. It should take place as their work
Record ideas, progresses and can be achieved in a variety of ways, including visual
observations and insights and other methods.
relevant to intentions as
work progresses Ideas, observations and insights can relate to the work your
learners are producing, or have produced, or to the work of others.

Explore Exploring ideas is an on-going process of reviewing, reflecting and

experimenting with different approaches to inform the direction and
Explore and select refinements of your learners’ work as it progresses.
appropriate resources,
media, materials, Refining means making adjustments that impact on the progress of
techniques and processes. work. This is an on-going process driven by insights your learners gain
through the exploration of their ideas and reflections.
Selecting is shown by making intentional decisions to develop
personal ideas.

Develop Critical understanding is integral to the development of ideas.

Learners should be able to show how their ideas are supported by an
Develop ideas through understanding of their context and what has informed them.
investigation,
demonstrating critical Critical understanding of sources can be shown through visual and
understanding other evidence. This evidence should demonstrate their personal
interpretation, considered selection of sources and independent
judgement, through an active investigation process.

Present Present means to produce a body of work that collectively realises

intentions and is not restricted to the production of a final outcome.
Present a personal and The realised intentions of your learners can be presented as a series
coherent response that of responses or a single response.
realises intentions and
demonstrates an In order for work to be meaningful, the intention of the work should be
understanding of visual clear.
language The understanding of visual language is demonstrated through
realisation of intentions, applying formal elements as well as visual
and other methods of communication such as tactile and sensory,
relative to the chosen area(s) of study.

6
 Course Handbook

2.2 Syllabus content

Painting and related media
A wide a range of different sorts of paints and drawing tools should be made available. Ideally, try to extend
choice so that each learner can find a suitable way of expressing themselves and discover media and
techniques that they find relevant for their intentions. Through exploration of media, learners will discover
different ways of communicating ideas and expressing what is observed.
There may be limitations, financially as well as practically, on what can be provided. Simple watercolour sets,
pencils, ballpoint pens are widely available. You may want to extend the selection of available media to inks,
pastels, gouache paints, poster paints, different sorts and colours of paper and so on.
Learners will not be disadvantaged if any particular medium is not used. Effective and successful work can
be done with a simple pencil. However, it is expected that a medium that uses colour is used, and even if this
is coloured pencil, then learners can have experience of using colour in their work.
Direct observation should be a key part of every learner’s work. In the syllabus, there are several
suggestions for starting points. There are also lots of ideas in past papers. Learners may have ideas as well.
It is useful to allow them to decide on subjects that interest them.
Series of lessons which allow learners to create extended pieces of work need to be considered carefully so
that the full range of assessment objectives can be covered. It is desirable that several media be employed
at various stages in a piece of work, as well as extensive observational study. How learners build their ideas
is crucial to success. A weak piece of work results from a lack of development of initial idea. Inexperienced
learners will need to be taken step by step through the process providing resources, suggesting media and
ways of working until their confidence is secure.
Printmaking
Please note: Printmaking is no longer included as a unique area of study; however, candidates may still
present printmaking as a technique within other areas (such as Painting and related media, Graphic
communication and Textiles and fashion).
All aspects of printmaking can be taught in a way that inspires.
It is worth noting that learners should not prepare lino cuts or wood blocks during their preparatory period.
The quality of the cutting can affect the quality of the print and the skills of the cutting form part of the craft
skills of printmaking.

Graphic communication
This area requires an understanding of purpose. Learners must be able to communicate the information
about the product, service or idea given in the brief. For example, a design for a logo for a building company
should communicate visually some quality of building and if possible something of the nature of the building
works undertaken. This will require an understanding of the way that line, colour, shape and form, as well as
lettering, help to create meaning e.g.

• Bright colours suggest energy, subdued colours suggest age. Fully saturated colours can signify
power; pastel colours are associated with subtlety and gentleness.

• Serif typefaces are generally associated with qualities such as tradition, quality and distinction, sans-
serif with immediate impact and rapid communication. Italic lettering suggests movement, bold
lettering strength.
As in all areas of study, learners undertaking graphic communication have a full range of media at their
disposal, from inks and paints to digital images. They should learn to use those that are available to them
with skill and discrimination. They should learn, too, that all design has a purpose and in order to be effective
it needs to be presented in a skilful and clear way. Understanding of visual language is as important here as
any other area and the way that messages are communicated visually should be evidenced in their work.
Some ideas about working with clients and audiences should also be covered but this may be at a fairly
simple level.

7
 Course Handbook

Amongst the work done, there might be logos, book covers and poster design, shop fronts, murals,
printmaking and textile design. More specialist areas such as calligraphy and illustration fall into this topic.
Secondary sources should be referenced and learners should be encouraged to use first-hand research
where possible although in this field there may be more secondary research. In planning coursework for this
area, you will need to think about how the assessment objectives will be met, and design units of work where
observational work can take place.
Graphic design with lettering
This includes poster design, packaging design, magazine layout and learners should have an understanding
of typography.
Illustration
Communication of ideas and the use of visual imagery to successfully relay the meaning of a text are
essential here and learners should consider the use of materials and page layout. Poster, book and
magazine design are all examples of context for this area.
Printmaking
Printmaking and graphic image making can be appropriate areas of study for Graphic Communication.
Traditional litho prints might be explored both as research and when exploring techniques. Ways of
combining text and imagery should be considered as well as colours, signs, messages and visual language.
Advertising
Learners should consider how to effectively communicate visually through the use of signs, logos, symbols
and brand identity. A variety of media is suitable and like all other areas, the use of first-hand research is
important. There is little, if anything to be gained by downloading and copying images from the internet but
going out and researching at first-hand will only enrich and support their original ideas.
Game design
This area should not be exclusively digital, and learners should start their work with drawing and research as
they would for any other curriculum area. For character studies learners should have an understanding of
figure drawing and be able to render images in proportion. Understanding of perspective and scale should
also be clear in their work if they are exploring concept artwork and buildings or backgrounds for games.
Websites and story boards can start off as rough notes and sketches before they are taken further using
software. As with all pathways, learners should show their research and the development of their ideas. It
should be made clear where software or filters are used to create effects and all sources should be
referenced. Game design could also be traditional games or it could be gaming for mobile devices.

Three-dimensional design
All three-dimensional outcomes must be photographed and prints must be mounted on sheets alongside
learners’ studies. Explorations can be in any media, including traditional materials such as clay and wood,
but cardboard, found objects, wire, plaster and other fairly cheap and easily obtained materials can also be
used. Learners should have some understanding of materials and being able to choose the most appropriate
for the task. Three-dimensional design can have a fine art or a design bias and can include drawing for
design and manufacture as well as visual language and expression.
The supporting studies should include initial observation, sketches for the design, notes on different
materials and their use. Learners should be encouraged to take photographs of their work as it develops and
to document their ideas and the choices they have made. For example, did one material work better than
another for the task in hand? Did they test their ideas or get any feedback which made them focus in a
different direction?
An understanding of form, space, mass and volume are essential. As far as possible, learners need to
explore a range of materials and techniques: carving, building and casting are three worth considering.

8
 Course Handbook

Sculpture
Learners should explore form, space, mass, volume, surface and materials. They should use a range of
processes, techniques and materials such as carving and modelling, casting or constructing, plaster or wax.
Sculpture can involve developing ideas and making maquettes or models. Learners can photograph them
from different angles, rework them, explore scale, and test out different materials. It could be a fine art or
expressive approach to using media and approaching the question paper or it could be site-specific public
art. At this level learners would only need awareness and an enthusiasm for the type of issues involved such
as life of materials and environmental impact. Sculptural work can include wire, found objects, installation,
plastics, wood and plaster it could also include investigating construction methods using card and paper.
Some learners will find it easier to think three dimensionally and communicate their ideas this way rather
than drawing and writing. Learners should also be encouraged to use materials as a way of developing
ideas, photographing and changing their work as ideas develop.
Ceramics
Learners should show an understanding of the processes involved in making, drying, firing, decorating and
glazing. They should also show ability in constructional methods such as slab building and coil and hand-
building and the application of surface treatments, e.g. slips, oxides and glaze. Learners should have the
ability to explore a different range of clays and the appropriate finishes e.g. high and low temperature glazes
and the different properties of these types of clays. They should cover a range of making techniques and be
able to select the most appropriate for their idea. Learners can attempt any of the questions on the question
paper in any of the media so should not feel that three-dimensional design is limited to coursework.
Photographs of the final pieces as well as images as the work progresses must be included in the final
submission of supporting studies.
Theatre design
Theatre work encompasses set design, costume design, designing an auditorium, props, and even back
projection and lighting. Theatre in its broadest sense includes all types of performance and dance, television
and film could all be considered. One worthwhile idea is to link with a school production or a local amateur
dramatic society. It is probably best seen as a cross-curricular activity. Learners do not necessarily need to
produce actual sets or costumes, just the designs for them. If actual sets or costumes are made, they will
almost certainly need to be photographed and perhaps videoed.
Environmental / architectural design
It is important for this area that good understanding is gained of how designers communicate their intentions
through plans, elevations and visualisations. Specialist ways of showing landscape, garden and building
design are important to teach. It is expected that learners will communicate their intentions through these
kinds of drawings. In addition to drawing there might be models and samples made which can be
photographed as part of the supporting studies to show how ideas have developed and how materials and
techniques have been tested. Ideas about form, function, space, safety and materials should also be
explored as part of the research and development phase.
Product design
An understanding of how products are made, and the materials they are made with need to be considered.
The range of materials, and the products that are to be designed, will depend very much on local
circumstances. Centres could consider wood, metal, plastics, wire, clay, glass and cardboard. At this level,
the actual making process need not actually take place, but it is expected that the assessment objectives be
fully met by appropriate drawing, research, development and design process taking place. Scale models
might be made, but an awareness of the eventual manufacturing process should be shown.
Jewellery
This area can certainly be done without great expense. Learners can find materials and even make them
quite readily. Plastics, wire, shoe laces, string, leather, clay, glass and wood can all be employed. Jewellery
can be for any part of the body, and can be either decorative or functional. Functional jewellery could be for
watches or for holding up clothes. Decorative jewellery could be intended for the head, ears, neck, wrists or
ankles.
9
 Course Handbook

Learners might wish to make the jewellery, but a design submitted on paper is perfectly acceptable. Make
sure that appropriate drawing and research is carried out in order to meet the assessment objectives in full.
Starting points for jewellery could be:
• Rhythms in nature: collecting flowers, leaves or shells to draw and abstract into the lines, patterns
and shapes seen. Jewellery can be based on these patterns and shapes.
• Music: from drawing of the shapes seen in musical instruments, learners can develop shapes and
forms for jewellery that reflect the theme of music.

Textiles and fashion

This area can include the design and production of textiles, fashion, accessories or for costume design. The
work can be specialist and deal with just one of these areas, or learners might consider combining textile
design and fashion together.
Work can be expressive or fine arts-based, designing textiles and printing them or making personal
statements through using textiles as a medium, or for fashion with a functional purpose. The work can be
designed for a particular purpose, such as curtain material or for soft furnishings.
Printed textiles could be screen-printed, stencilled, batik, painted, dipped or tie dyed. Techniques such as
heat transfer press and digital printing can be explored where resources are available.
Constructed textiles can be made using the techniques of weaving, embroidery, appliqué, knotting, stitching,
gluing, fusing or a mixture of techniques. Wool, cotton, hessian, raffia, palm, wire, card, plastic and paper
can be used, as well as found materials such as, leaves, twigs, bamboo or man-made materials such as
string and rope.
Scale of production will depend on its eventual purpose, or on where it will be seen. Especially if printed, it is
important that a sufficient sample is produced to show repeat design and the overall look of the textile.
For fashion design, if designing clothes, the fabric and fibres used will generally be shop-sourced. However,
it is important that knowledge of how different fabrics feel, look and wear is shown. There should be an
understanding and demonstration throughout the submission of how design, cutting, and making form parts
of the process. Making the garment is not essential, but if part of coursework there is no reason why there
should not be made garments as part of the submission. These can be photographed and included in the
final submission; images of learners working often give validity to the work.

Photography
Digital photography is accessible and easily understood by learners almost universally. Its immediacy and
usefulness as a means of expression should not be dismissed. With the popularisation of social media
learners are becoming more visually literate and engaged in digital technology.
It is important that, just as with any other media, learners understand the sensitivity of using the camera, and
that digital images just as any other images need careful selection, control and editing. They can be used to
record, to communicate feelings or understanding, to enhance other media, to be a source of information, or
to form part of graphic design.
A series of digital images should be linked by evidence that learners have initiated the research and
investigation that has taken place, and the experiments and alternatives have been explored. Learners
should show an awareness of the properties of photography and explore them to their limits by applying the
same skills of editing, cropping, scale and composition that they would use on any other art piece.
For still photography, learners should submit thumbnail prints of the original images. There should be larger
prints made of significant developments as the work progresses, not necessarily to a high quality, but
enough to communicate the evolution of the work. Images may be combined with text, drawn, or painted
work.
Moving images should be edited and use transitions and effects with discrimination and with purpose to
create meaning. Learners should evaluate their work and make it clear where their own ideas have been
used and where effects have been added to create meaning or for visual effect.

10
 Course Handbook

3. Planning and preparation

The table below shows how the guided learning hours might be split between the two years of the course,
and each of the components.

Route Component 1 Component 2

Course taken in one year 130 guided learning hours

 
Year 1 – 65 guided learning
hours 
Course taken in two years
Year 2 – 65 guided learning
hours  
The assessment objectives are inter-related and therefore it is essential that the course is delivered in a
holistic manner. Throughout the course learners should be encouraged to take a broad approach
underpinned by the creative process in order to develop independence and innovative practices.
At the beginning of the course it is important to develop activities which will support your learners’
understanding of the creative process and introduce them to a range of materials and processes. These will
help to develop their confidence to be able to select appropriate media and explore processes. It will be
necessary within the early part of the course to target specific skills and techniques appropriate to your
educational setting and the expertise of teaching staff.
Early activities should develop key skills, such as drawing from observation, using materials to explore
texture, looking at tone, developing an understanding of colour and mark making. Once your learners are
more confident to draw and select materials to communicate their ideas you can start to introduce activities
which focus on individual skills in a range of disciplines such as printmaking, painting, graphic design and
textiles. It can be useful to combine skill development with the application of knowledge and contextual
awareness.
For example an activity that looks at cubism would provide the opportunity for observational drawing,
contextual awareness and development of ideas through abstraction. Learners could spend 1–2 lessons
drawing a still life from multiple viewpoints, editing the image through simplification of line and form and then
develop this through screen printing. Through this work you can introduce your learners to the key aims of
the Cubists and significant works that demonstrate their intentions. This could be achieved in six weeks
(based on one lesson a week). Further detail is shown in the sample scheme of work on the following pages.
Throughout the activities you design, your learners should evaluate their experiments; identifying the
strongest outcomes and why they think this. They should be reminded of how to visually analyse imagery,
including the use of the formal elements as well as the impact materials have in the communication of ideas.
To extend this and to develop their work learners should be supported in making the most of less successful
experiments and how they can recognise opportunities from outcomes they are not completely happy with.
Less successful experiments are a good way to develop work in a new direction and encourage a new
approach. They could consider why something hasn’t worked and what could they do to improve. This is a
beneficial process and they should make notes of this in their sketchbooks or journals for future reference.
Please note that learners’ sketchbooks and journals are not submitted for assessment.

11
 Course Handbook

3.1 Sample scheme of work

Workshop Title: Abstraction

Week Lesson focus Teacher activity Learner activity Learner outcome(s) AOs covered

Provide stimuli.
Drawing task – still life, multi Consider how they could respond to
Ideas and drawing the brief and related ideas.
viewpoints drawn over the top of One drawing that has
1 in relation to
each other. multi viewpoints
AO1
Cubism.
Power Point Presentation on Carry out drawing tasks.
Cubism.

Editing and
refining
Demonstrate how to edit the multi-
composition Edit the image through removing Edited drawing to work
viewpoint drawing from previous
2 focusing on the
week using white paint to remove
lines and making stronger from and develop ideas in AO1, AO2
relationship relationships between line and form. relation to abstraction.
lines and create space and form.
between line and
form.

Carry out experiments focusing on

Demonstrate ways to create tone tone. Range of small tonal
Workshop: tonal AO1, AO2, AO3 &
3 studies.
and how this gives a 3D feel to Annotate experiments, outline the studies based on
AO4
objects. technique, the characteristics of the abstracted still lives.
process and the effect they give.

Carry out experiments with collage

Workshop: use focusing on the relationships
between line and form, tone and Range of small collages
Collage to further Demonstrate collage
texture. which demonstrate AO1, AO2, AO3 &
4 simplify shape and
further refinement of still AO4
form in preparation Show further examples of method.
Annotate experiments, outline the life drawing
for screen printing. technique, the characteristics of the
process and the effect they give.

12
 Course Handbook

Week Lesson focus Teacher activity Learner activity Learner outcome(s) AOs covered

Carry out experiments with screen

printing focusing on the formal
elements, line, form, colour and
Demonstrate technique. composition. AO1, AO2, AO3 &
5 Screen print. Explore screen printing.
AO4
Show examples of screen printing.
Annotate experiments, outline the
technique, the characteristics of the
process and the effect they give.

Develop refined A range of prints which

Provide guidance on the selection of Select compositional format and AO1, AO2, AO3 &
6 outcome through
composition and colour palette. experiment with a limited palette.
explores compositional
AO4
screen printing. formats and colour.

13
 Course Handbook

3.2 Sample lesson plan

Week 1 of sample scheme of work

Time Teacher activity Learner activity Learner outcome(s)

10 mins Welcome and introduction to the brief.

Listen and ask questions.
5 mins Outline the brief – Abstraction.

Power point or slide show based on Cubism Listen, take notes and ask
15 mins Notes and discussion.
Highlight different approaches taken, materials used and ideas explored. questions.

Warm up drawings using different approaches. Learners should carry out the
following four 5 min tasks using the still life:
• draw a section of the still life using wrong hand
Four small scale drawings
20 mins • draw a section of the still life by looking at the objects but not at the drawing until Carry out drawing tasks.
taking different approaches.
it is completed
• draw a section of the still life using a single line
• draw a section of the still life using ink and a stick.

Charcoal drawing on A2 paper; ensure learners have a good viewpoint of the objects
20 mins A2 charcoal drawing.
being used.
Draw the still life using line
Ask learners to move to a different viewing point and carry out observational drawing only. Try to be as accurate
over the top of the first drawing. After twenty minutes ask them to move to a different as possible. A2 Drawing in charcoal with
60 mins
viewpoint and carry out another observational drawing on top of the previous ones. two viewpoints overlapping.
After another 20 minutes ask them to move again and repeat the process.

Peer feedback – learners should identify strengths in their drawing and areas for Identify the strongest Work selected
10 mins
improvement. element and explain why. Feedback.

Identify ways in which the

tasks and outcomes relate to
10 mins Re-cap on Cubism. Q and A and feedback.
the ideas and approaches of
Cubists.

The following lesson learners will begin to edit the overall image.

14
 Course Handbook

3.3 Course planning

As the course can be delivered over one year or two years it will be necessary to plan some activities to help
you assess the level of skill and ability of your learners. This will help in further course planning, the
development of workshops and judging how long your learners will need to carry out the work for Component
1: Coursework and Component 2: Externally Set Assignment.
The number of weeks given to a workshop or activities for the Components will depend on how long your
lessons are and how many lessons your learners receive each week.
Within the first few weeks it will be useful to create a series of lessons with activities which will give you an
overview of the range of skills and abilities within your class. This will provide a good indication of the
support you might need to provide and will help to determine the workshops that you run. The workshops
and their outcomes will depend on the expertise amongst the teaching staff and the equipment available.
The course can be broken down into three phases in preparation for Component 1: Coursework and
Component 2: Externally Set Assignment. The majority of time will be spent developing the skills and
concepts within Component 1 as this will support your leaner’s responses to Component 2 and provide them
with a range of skills.
Please see the table below for an overview of how the course should progress. This can be applied to both a
one year and two year programme. A further breakdown of how to plan for a one or two year course is also
provided later in this section.

Teacher activity Learner activity

Develop activities which focus on skills

relevant to the creative process and
include workshops using different Produce a portfolio of work which
Beginning of media and techniques. demonstrates an ability to generate
course ideas and explore materials to
These can be delivered in blocks of six communicate these.
weeks made up of six lessons (see
sample scheme of work).

Develop activities which are more open

to interpretation and can be led by Be more personally engaged and
Middle of course
learners. This will generate the work for independent.
Component 1.

Select and present work for submission

Support learners for Component 1 and which show clear and appropriate
End of course
Component 2. research, experimentation, evaluation
and refinement.

15
 Course Handbook

3.4 Planning for Component 1: Coursework

It will be critical to equip your learners with the essential skills to ensure they meet all assessment objectives
within the components and can work independently. You will need to devise a scheme of work which will
support them to develop their confidence to generate ideas, use observational drawing to support
experimentation, explore media and research the work of others.
In the beginning of the course the lessons should allow your learners to develop practical skills and their
ability to evaluate, analyse and research. As the course progresses the level of challenge should increase to
encourage the development of your learners’ level of independence. Eventually they should be able to
innovate with materials and processes, develop concepts and understand the relationship between theory
and practice.
Beginning of course: select a theme(s) and create activities to include workshops of various media
available within your school setting. This will develop skills within a range of disciplines such as printmaking,
graphic design, 3D design, textiles, painting and drawing. The skills delivered here will support Component
2.
Middle of course: plan lessons which will extend your learners’ skill base or refine their technical ability.
Build on their contextual understanding through the introduction to various artists relevant to the themes or
materials being explored. This will prepare them for more independent work. This can be delivered alongside
the practical and skills based lessons but should become more challenging as the course progresses.
End of course: assist your learners to identify a suitable area of study. Develop a scheme of work which will
support independent thinking and innovation through discussion and examples. This should be planned to
ensure enough time is provided for your learners to prepare for Component 2.

3.5 Planning for Component 2: Externally Set Assignment

Preparation for this component will be carried out alongside Component 1. The skills developed through the
course should enable your learners to carry out supporting studies for Component 2.
In the lead up to Component 2 your learners should be supported in selecting an appropriate starting point
and developing a plan of how to approach this. It is useful for them to write down what they intend to do, this
helps to focus their intention and acts as a check list as their work progresses. They can be guided in terms
of suitable research and experimentation in order that they meet their full potential.
The final outcome can be carried out in any suitable medium. This includes pencil, paint, inks, and other
traditional media, as well as collage, montage, frottage, printmaking, textiles, lens based media and
computers. Three dimensional works are permitted in clay, cardboard, wire, papier-mâché, wood or metal.
Any work that is larger than A2 or three-dimensional must be photographed and the photographs should be
mounted on the A2 sheets along with the supporting studies.
Learners should be encouraged to approach the final outcome in a media they are confident with and which
is appropriate for their work. The supporting studies can show where they have tried out new materials and
techniques. The examination is not the place to try out new techniques and experimental processes, it is the
place for learners to show where they excel and to exploit their skills and knowledge of tried and tested
techniques.
Learners should be guided and encouraged to make full use of the preparatory period. During this time, they
will need to choose their starting point; perhaps this will be decided after considering different ones initially.
They will make observational studies, using pencil or pens, digital cameras and other media, and they will
develop ideas, experiment and start to refine their final response.
During the preparatory period learners will produce a significant amount of work in sketchbooks, as digital
images, first-hand drawings and / or paintings and so on. From this work they will edit and select the work
that they want to use to refer to during the examination, and to submit as their supporting studies. These
supporting studies will be assessed alongside the final outcome.
Supporting studies should relate to the final outcome produced during the examination. The supporting
studies should be an edited visual journey through the learners’ progress towards the final piece. Leave out
anything that is weak or does not add to the narrative of their journey.

16
 Course Handbook

3.6 Suggested course structures

Course delivered in one year

Term Topic

Focus on developing skills through various workshops. Short activities should be used to develop confidence and
independence. Learners should be guided to carry out observational studies, generate ideas, research artists,
experiment with a combination of areas of the syllabus and evaluation.
One (10–12 weeks)
The first workshop should be used to assess the skills and abilities of your learners. This should be short lasting 1 to 2
weeks. Subsequent workshops should be around 6 weeks depending on the length of your lessons and how many
lessons your learners receive each week (approximately 18 hours per workshop). This will form the focus for the
beginning of the course.

This term can be used to continue developing skills, knowledge and experience with a focus on building
independence. Learners should be provided with briefs that are open to interpretation and encourage personal
responses, innovation with materials, processes and critical thinking.
Two (10–12 weeks)
Component 1: Coursework. Towards the end of this term learners should select an area of study to produce a body of
work for their coursework.

Start planning for Component 2: Externally Set Assignment

This term will form the final part of the course. Half way through this term learners can collate and present their work
for Component 1: Coursework. This will provide enough time to prepare for Component 2: Externally Set Assignment.
Three (10–12 weeks)
Component 2: Externally Set Assignment.

17
 Course Handbook

Course delivered in two years

Year Term Topic

Initial workshops should be used as an opportunity to assess your learners’ level of skill as this will help with further
planning. As you have the whole year to develop skills, knowledge and experience this first workshop could be run
over 6 weeks (approximately 18 hours in total). It would be beneficial to focus on drawing as this will help to assess
basic skills and ability.
One
(10–12 weeks) Subsequent workshops should focus on developing skills through various activities.

Short activities should be used to develop confidence with a range of materials and processes. Learners should be
1 guided to generate ideas, gather research to support these, experiment with a combination of areas of the syllabus
and evaluate their work.

Two Develop activities which are more challenging in terms of concept and exploration of materials and processes as part
(10–12 weeks) of the early part of the course.

This is the culmination of the first year of the course. Learners should create a body of work which reflects a range of
Three
skills and identifies an area of interest to be developed in the following year. To support their understanding and
(10–12 weeks)
prepare for the final submission of work learners could be shown how to present work in a suitable format.

Provide short coursework briefs which are open and will encourage individual responses. Learners should be
supported to generate ideas, experiment with media and processes, carry out research and evaluate their progress.
One Individual tutorial and talks will form the main delivery of these lessons. Learners should be supported to develop
(10–12 weeks) skills relevant to the creative process such as research, critical thinking, broadening their awareness and analysis.

Learners should be encouraged to reflect on their progress and evaluate their achievements.

2 This term will complete the middle of the course and can be used to identify learners’ particular strengths and
interests.
Two
Towards the end of this term learners should select an area of study to produce a body of work for Component 1:
(10–12 weeks)
Coursework.
Start planning for Component 2: Externally Set Assignment.

Three This term will form the final part of the course. Half way through this term learners should collate and present their
(10–12 weeks) work for Component 1. This will provide enough time to prepare for Component 2.

18
 Course Handbook

4. Workshop delivery
Workshops are a series of lessons which allow learners to spend an extended period developing specific
skills or considering their responses to a particular theme. Initial workshops will need to focus on developing
core skills such as drawing from observation and introducing learners to different approaches taken by
artists.

Once your learners have developed confidence and understanding the following workshops should help
them to develop individual responses, ideas and concepts linked to broad themes.

At the start of a workshop learners should be encouraged to generate ideas using mind maps, making
connections and associations in response to a set theme / subject. This will provide them with a broad base
from which they can identify and select areas of personal interest.

Learners should be shown how to:

• mind map an idea on a given theme
• identify observational drawing activities to develop ideas
• explore the imagery through different media such as printmaking, painting and graphic design etc.
• select the strongest ideas through group discussion and tutorials and consider different ways to
present their work.

Your scheme of work should support individual focus through tutorials and group discussions. Learners will
require support to identify relevant visual material and gather primary and secondary research. It is important
that they carry out observational studies from life to inform their experiments and maintain an individual and
unique approach.

Drawing is just one way of recording and collecting visual stimuli, learners should be encouraged to use
photography and gather secondary imagery from other sources such as magazines, newspapers, maps,
literature etc.

You should show your learners how to use the research to develop ideas through materials and processes.
This could be achieved through a series of workshops in various disciplines such as print, paint, textiles, 3D
and design. For example they could develop their observational studies through monoprinting by focusing on
mark making and composition.

Alongside collating visual material it is important for learners’ development to look at the work of other artists,
designers and makers. This will indicate different approaches, selection of materials and processes, how to
use formal elements, decision making and evaluating creative products. Your learners will need to be guided
in terms of what information to collect and how to use it to inform their progress. When researching the work
of others it is beneficial to choose artists, designers and makers that are established to ensure reliable
material can be gathered and where possible identify local practitioners so that first hand visits can be made.
Whilst books are a reliable research resource, learners can use online information but should be given clear
guidance in the use of the internet and particular websites which can be trusted. Pinterest can be useful for
an overview of particular areas of interest but more in depth research should be carried out.

Within the scheme of work you should plan lessons or workshops to support learners to carry out analysis
and use information to support ideas. To develop their ability to identify strengths within their own work it
would be beneficial to introduce visual analysis by looking at well-known images. This could be carried out
individually, in pairs and in small groups.
See the table on the following page for a suggested approach to this.

19
 Course Handbook

Short workshop: Perspective

Theme Focus Research Experimentation

Order of Develop work in response to Create imagery which explores Artists who work with ideas Refine
activities: the theme perspective personal response to the theme connected to the theme Complete work

Gather imagery from both primary

and secondary source material.
Collect imagery and information Review the materials others use in
Record scenes / locations that on artists looking at perspective in their work.
Researching provide a different or interesting their work.
and perspective or find different ways Consider the materials qualities
Mind map to generate ideas.
exploring of expressing an opinion. Remember this could be a visual and characteristics.
resources view point or a personal opinion.
This should be explored through What impact does this have on the
observational drawing as well as Identify at least three artists. viewer?
photography, collage, written
notes and found imagery.

Refine experiments.
Techniques Identify appropriate materials to Select processes to develop Compare experiments with the
and communicate ideas and their primary research through print, work of others working in a similar
Explore how media and processes
processes inherent qualities. paint, textiles, 3D. way.
react to each other.

Review how effective the selection

Evaluate work against that of a Consider how this could be
Evaluate and use of materials are in
selected artist. improved.
communicating your ideas.

Record ideas and connections. Research artists working with

Make notes on ideas and Display work in an appropriate
Present This could be in the form of a mind similar materials, themes or
progress. format.
map or a list. colour.

20
 Course Handbook

5. Common skills and understanding

It is useful to identify the underlying skills that will support your learners in their creative process and help
them develop an understanding of this. Provided within this section are a number of activities which will help
build skills and encourage learner independence. The activities shown will help with lesson planning and
identifying skills that need to be further developed.

5.1 The ability to record experiences and observations

At the beginning of their work it is important that learners gather visual research from a range of first hand
and secondary resources.
First hand sources:
• Drawings from observation.

• Photographs taken by the learner with a specific focus and a considered composition.
• Found objects to be used as reference points for further development.
• Seeing work by artists in a gallery or museum.
Secondary resources:
• Images or objects made by other artists / designers / makers.

• Imagery found in books / magazines.

• Photographs taken by someone else or found in a collection.

It is best practice for learners to use both first hand and secondary source material to inform their work.

5.2 The ability to collect, record and respond to visual information

Learners should use a range of methods to record the material they have gathered to inform their ideas and
experimentation. There are many ways to use observational drawing to inform ideas. Below are some
drawing activities to provide starting points and approaches to recording from direct observation.

Drawing directly from the subject

• Make a series of line drawings which take two minutes each.
• Looking at the subject draw what you see in one single line. Do not remove your pen or
pencil form the page until you feel the drawing is complete. You will need to consider where
you start the drawing and you may have to take the line back over previous marks. This will
give the drawing movement and energy.
• Try drawing the subject using different mediums and at different scales, for example drawing
with charcoal would be more suitable for a larger drawing on A2 paper. Using charcoal will
also allow you to explore tone.
• Using pen and ink can be carried out on a small scale. Using a brush taped to the end of a
stick works well on a large scale by giving freedom of movement and a wider range of
marks.
• Carry out a colour study, and generate a series of drawings which focus on colour as you
see it but also explore the use of colour theory and ways to exaggerate your palette.
• If you are more interested in texture make a close up detailed drawing which creates
surfaces through mixed media such as wax resist, rubbing and impasto paint.
• You can try overlapping your drawings using different media for each image, this will give a
variety of marks, a different weight of line and will produce a piece which has more structural
elements to work with.
• Make a series of drawings using these guidelines, you should aim for around 20 drawings on
different sized paper using different approaches.

21
 Course Handbook

To respond to the subject and gather first hand imagery using the camera you can carry out
various activities that will help broaden the research and ideas development. See below for
examples:
• Taking photographs direct from the subject.
• If taking photographs of a range of objects such as a still life, consider the composition and
the relationship between the objects.
• Explore the use of natural and additional light, try out different light sources.
• Take photographs of the place / space / objects zooming in and zooming out.
• Try out different areas of focus.
• Look at the subject from different angles, turn the camera upside down, and take a shot from
below or above where possible.

Written records are also important in research and learners should be encouraged to make brief annotations
when gathering imagery. These may contain information about the technique used and the effect it gives, the
focus of the study and how this may influence subsequent studies. Notes can also be used to briefly
describe the narrative of the journey that ideas have taken and how the research has supported this.
Your learners should be supported to explore materials and techniques as part of the development of their
ideas and experiment in response to the visual information they have gathered. To a certain extent this will
depend on the resources and the expertise of the department and may also be influenced by the focus of the
workshop, i.e. a workshop based on still life may lend itself more to painting and drawing whereas
architecture maybe more suited to print media and 3D.

5.3 The skill to select, give context to and organise information

From the start of the course learners should consider alternative ways to make visual connections between
their ideas, the visual information they have gathered and the work of other artists that have influenced them.
They should be selective in the imagery they present to show the development of their ideas and work.

Activity: Research
To develop understanding and awareness of context learners could be given a series of short
lessons linked to the different workshops being delivered. They should be encouraged to take
notes and carry out further research to support their practical work. It is essential that learners
understand the importance of research and use it to inform their own work. They should be
given clear instruction on the difference between primary and secondary research material, how
to carry out useful internet research and how to identify reliable information. They should be
encouraged to use a mix of books, periodicals, DVDs, interviews and websites.

At the beginning of an activity an effective way of doing this is for learners to create a mood
board of artists’ work which relates to their work. This should include images and short notes or
bullet points highlighting key points about the work and how they relate to their progression of
ideas and work outcomes.

As the course progresses learners should be more selective and be able to make more in-depth
commentary about others’ work and consider the context in which it was produced and the
intentions of the artist. Notes can be in the form of short bullet points.

22
 Course Handbook

Activity: compare and contrast

As an introduction learners could use a simple compare and contrast task to develop their
analytical skills and contextual awareness.

Ask them to select the work of two artists and compare and contrast the formal elements of
each image. They should find out:
• the period in which the work was made
• the art movement they were connected with (if relevant)
• what themes / subjects were explored
• how materials were applied
• other artists working on similar themes / with similar materials
• whether the work had a specific meaning / concept?

5.4 The ability to effectively use a wide range of resources

Learners should be encouraged and given direction to look widely at a theme. This may mean looking
outside of art and investigating other disciplines such as science, literature, language, geography etc.

Activity: using other art forms as stimuli

Paired task
Select a short poem and ask learners to identify key imagery and ideas related to the text.

Through further questioning see if they can make connections with other discipline areas or
other texts.

5.5 The ability to make personal investigations

As the course progresses and workshops become less technique or skill driven learners should be
supported to develop more personal responses to a given theme or be given the opportunity to identify an
area of focus for themselves.
Learners should be able to identify an area of interest and be supported to approach the subject and any
appropriate research materials.

Five minute task

Ask your learners to write down everything they connect with the theme whether this is a
personal connection, experience or more commonly associated in a general way.

This can be shared with the class or group to open up potential areas of investigation and
responses.

5.6 The application of a range of skills to produce art and design work
Drawing on their skills from the initial workshops learners should experiment widely with materials to explore
their ideas. This should progress in the final stages and they should be able to identify the most appropriate
materials and techniques to communicate their ideas. They should be supported in taking an innovative
approach and should find ways to combine materials and processes in a way which is unique to them.

Activity: Materials and Processes

At the start of a workshop it may be useful for learners to list the materials and processes
available to them and identify their characteristics.

This will help to identify the most effective method to explore their ideas.

23
 Course Handbook

5.7 A critical awareness of their work in context

Throughout the course learners should look at the work of others which considered similar themes or used
similar materials and techniques. Through studying the work of artists, designers and crafts people they will
be able to reflect on their work in order to refine ideas and approaches. Learners should be encouraged to
make comments on others’ work and gain experience in receiving feedback from their peers.

Activity: Peer feedback (anonymous)

Initially learners will feel anxious about receiving and giving feedback. A good way to build
confidence and reduce the anxiety is to start by carrying out an anonymous critique through
written feedback.

Ask your learners to lay out their work and provide each of them with a block of sticky notes.

Learners should move around the room in silence, look at the work of their peers and use their
sticky notes to write down their feedback. This can be left next to the work.

Once all work has been seen you can ask each learner in turn to identify the most useful piece
of feedback received and why.

As confidence progresses this exercise may be delivered through a verbal discussion.

5.8 The ability to reflect, refine and adapt

Evaluation is essential to the development of learners’ work and their progress. They should be encouraged
to reflect on their work at the end of a lesson, this can be done as a group activity as well as in their
individual journals to plan and prepare for the next stage of the work.

Activity: Evaluation
The three questions below are useful when learners are evaluating their own work and can also
be applied to the work of others to gain insight into another’s working processes.
• What was intention behind the work?
• How was this achieved?
• How effective is this in communicating ideas?

Learners should be encouraged to consider different ways to communicate their ideas and look
at ways to refine their work. They should always ask:
• How can this be improved?

This can be carried out as a group activity to gain a different perspective on the work.

24
 Course Handbook

6. Preparing work for submission

Presentation and selection
Throughout the course learners need to develop ideas through the investigation of both primary and
secondary source material and they should be supported to use these appropriately.
It is important that they are able to show how they have used their research material to develop their own
ideas and have selected materials and processes to communicate them. This can be demonstrated through
careful selection of first hand studies and works by other artists. When using images by others it is necessary
to acknowledge the source to make it clear that it is not the work of the learner, thus separating first and
second hand material.
Your learners should select work that has influenced the progress of their ideas or approach and place these
next to their own developments. Brief notes can be applied, e.g. bullet points which identify how the work has
had an impact on their ideas or arrows pointing to particular areas of the image highlighting the links made
between the research and significant developments made within their body of work.
When selecting work for submission it is essential to choose supporting studies and research material that
show the journey that the learner has taken. Consideration should be made to the relevance of the work
shown and the connections between experimentation. Imagery should be:

• cut straight

• in good condition
• labelled where necessary or helpful

• clear
• avoid overlapping

• relevant.
Consideration should be made in relation to the placement and layout of the supporting studies. Learners
need to demonstrate a consistent approach in the development of their work.

26
 Course Handbook

7. Example learner outcomes

Please note the following examples of marked work show only extracts from the full
submissions.
If you would like to see full examples, please refer to the Example Candidate Responses.

27
Course Handbook

Component 1: Coursework – High level response

Supporting studies

The studies on this page demonstrate an

excellent ability to record from a wide
range of sources. The learner has used
their own photography, drawing and a
variety of mediums. They have gathered
images of the view through gates in order to
explore their theme.

They have researched a relevant artist and

analysed the printing technique used. This
has influenced the selection and
experimentation of media within their own
work demonstrating effective critical
thinking.

The lino printed studies and use of mixed

media to develop their initial photographs
show an excellent ability to control and
explore appropriate materials and
processes in order to investigate their
theme fully.

28
 Course Handbook

Component 1: Coursework – High level response, continued

The learner has explored composition by

changing the scale and viewpoint of their
research into the gates of a temple. They
have applied their understanding of the
visual elements to create atmosphere in
their work.

By experimenting with oil painting they have

demonstrated an excellent ability to
develop their technical skills and achieve
detail. They have also effectively used
perspective, tone and form to create a
dramatic and atmospheric study.

29
Course Handbook

Component 1: Coursework – High level response, continued

The learner has explored how to combine

their drawings, photographs and media
studies into a final composition. The work
demonstrates an excellent ability to reflect
and make informed decisions regarding the
media used.

The learner has been able to apply critical

thinking to their work and use visual
elements such as pattern, light, form and
shape to communicate their ideas on visible
and invisible barriers within spiritual places.

The development of ideas and analysis of

their own and others’ work shows a
personal and thoughtful investigation into
their theme.

30
 Course Handbook

Component 1 : Coursework – High level response, continued

Final outcome

The final outcome demonstrates an excellent

ability to combine a range of media in layers
that communicate the learner’s ideas on
spiritual barriers. The supporting studies have
clearly informed the final outcome.

The use of strong colours and organic

patterns next to bold geometric shapes
demonstrates an effective understanding of
visual language.

31
Course Handbook

Component 1: Coursework – Mid level response

Supporting studies

This sheet demonstrates the learner’s ability

to record from a range of sources. They have
explored hands from different models coming
together in a range of positions and with
different backgrounds.

The drawings demonstrate competent

technical ability to use pencil and charcoal to
record detail, form and tone. The learner is
exploring the difference in texture of the hands
between those of the child and the elderly
model.

They are beginning to experiment with media

by printing on a paper bag to represent the
rough and wrinkled texture of the hands.

32
 Course Handbook

Component 1: Coursework – Mid level response, continued

These studies exploring media and the

composition of the hands demonstrate a
competent ability to develop ideas through
experimentation and analysis of the work as
it progresses.

The learner is reflecting on the work of an

artist to inspire their media experiments.
Here they layer cardboard, cut out hand
shapes and sewing in an attempt to create a
range of textures.

In another media experiment they print onto

newspaper which they then paint white, in an
attempt to create textural contrast.

The learner has annotated their studies

which demonstrate a competent ability to
reflect on their work as it progresses and
inform further development of ideas.

33
Course Handbook

Component 1: Coursework – Mid level response, continued

The photographs of hands on different

textured backgrounds show how the learner
has informed the development of their idea.
The images are technically competent; the
focus, lighting and contrast in each one is
good and they are considering the
composition and placement of the hand
against the background.

The learner then used these images to

inspire further experiments with a range of
media including collage, paint, printing and
pencil. Here they are demonstrating a
competent ability to explore and select
appropriate media and processes.

34
 Course Handbook

Component 1: Coursework – Mid level response, continued

Final outcome

The final outcome has been developed from

an exploration of hands and studies of
different textures which have been combined
to form a geometric composition.

The learner demonstrates a competent

ability to manipulate materials and processes
to create a unified and cohesive composition,
incorporating a range of texture effects.

They have demonstrated a competent

ability to recognise and build on their
strengths from the supporting studies and
select appropriate media and techniques to
complete their final outcome.

35
Course Handbook

Component 2: Externally Set Assignment – High level response

Supporting Studies

The learner has recorded their observations

linked to the starting point 'stripes' by making
detailed tonal observational drawings as well
as by taking their own photographs. They
have used a strong light source, inspired by
research into the artist Caravaggio, to
accentuate the contrasting effects of the
colours and the stripes as they are altered by
the folds and twists of the fabric. This has
enabled them to capture similar qualities in
their observational studies, which use
monochrome to focus on the stripes as they
follow the contours of the folds.

The learner has made excellent use of pencil

to describe the tones and accurately record
the organic form of the fabric. The strong use
of lighting in the photographs has been
repeated in the drawings and the learner is
making effective use of contrasting light and
dark in the background as well as the
shadows falling on the fabric to create a
dramatic and bold composition.

The black and white observational studies

demonstrate excellent technical ability in a
range of media including pencil, pen and ink
and charcoal. The learner is exploring
different media and the observational studies
show an ability to effectively select
appropriate media to record the various
qualities of the draped fabric such as tone,
form, shape and detail.

36
 Course Handbook

Component 2: Externally Set Assignment – High level response, continued

The learner has demonstrated how they have

experimented with colour, media and
processes to manipulate their original
observational studies. By doing so they are
developing their ideas and creating a
composition for their final outcome.

They have taken inspiration from their artist

research to inspire the choice of colours and
they are taking sections from various studies
of fabric to use in the backgrounds. Several
processes have been experimented with and
the learner has developed their work by
layering several images on top of each other,
cropping and enlarging sections of the initial
studies and combining them in different ways.
This shows that the learner is able to reflect
and make informed decisions as they develop
a successful composition.

The learner has also continued to experiment

with a range of materials and processes as
they explored the effect of using and
combining different colours. They have
demonstrated an excellent ability to
manipulate and control a range of media such
as coloured pencil, paint and ink to create
tone, contrast and depth.

37
Course Handbook

Component 2: Externally Set Assignment – High level response, continued

Here the learner has further experimented

with a wider range of media and processes
such as fine liner, biro, felt tip pens, oil pastel
and coloured pencils. They have broken up
the images into geometric shapes and
layered different images on top of each other
to develop and explore a variety of
compositions.

The learner has used their understanding and

knowledge of colour theory to create more
depth and contrast in the work by using
colours such as red and green.

The learner has analysed these

developmental studies and used them to plan
the composition for the final outcome created
in the exam. They are also practising and
selecting the media and processes that they
intend to use in the exam.

38
 Course Handbook

Component 2: Externally Set Assignment – High level response, continued

Final outcome

This is the final outcome created in the exam

by the learner. It has been developed from
manipulating and experimenting with a range
of observational studies of draped striped
fabric.

There is a clear journey from the initial

drawings in the supporting studies to this
abstract composition and the final outcome
shows an excellent ability to respond
imaginatively and creatively to the question.

Their use of media demonstrates confident

technical skill in a range of materials including
pen and ink, paint and oil pastel. However,
some of the observational and developmental
studies seen in the supporting studies show
stronger technical ability.

39
Course Handbook

Component 2: Externally Set Assignment – Mid level response

Supporting studies

The learner has gathered a range of images

that explore the starting point ‘mechanical
forms’. They show a competent ability to
explore and investigate the theme by looking
at different objects and from different
viewpoints.

The learner has recorded the images using a

variety of approaches such as their own
photography, detailed tonal drawings from
observation and painted study recording the
colour of the watch. This demonstrates a
competent ability to use appropriate media
to record visual elements such as tone, form,
composition and colour.

40
 Course Handbook

Component 2: Externally Set Assignment – Mid level response, continued

The collection of experimental

compositions on this page shows the
learner has taken ideas generated from
their research into the work of Salvador
Dali and Diego Max. They have used this to
inspire the development of their own ideas.

They have also gathered secondary source

images of a set of playing cards that link
with the surreal combinations of figures and
objects seen in the work of Diego Max and
have created their own surreal collage in
response to this.

The learner is able to demonstrate a

competent ability to analyse the work of
their chosen artists and make connections
with their own research. They have
explored different combinations of eyes and
mechanical parts as well as creating their
own design for playing cards that link time
and the figure. This has expanded on their
research into Salvador Dali.

41
Course Handbook

Component 2: Externally Set Assignment – Mid level response, continued

The learner has explored alternative ideas

and compositions as they continue to
experiment with ways of combining and
manipulating their drawings, collected
secondary source images and own
photographs. The artist research has
informed these developments and they are
demonstrating a competent ability to
interpret the question in an original and
creative way.

They are using a range of media to work

into these collages and are considering
elements of composition such as
background, shape and placement of the
images. The learner has used these
experimental studies to inform the
composition and to practise and improve
their technical skills with their choice of
media in the final outcome produced in the
exam.

42
 Course Handbook

Component 2: Externally Set Assignment – Mid level response, continued

Final outcome

The final outcome has been developed

from supporting studies that have
explored different mechanical objects.

The learner has competently combined

images into a composition using a range
of media including collage and pencil.

43
Course Handbook

Component 2: Externally Set Assignment – Low level response

Supporting studies

The learner has gathered images in

response to the starting point ‘a view
through a gate'. There are a variety of
images which include the learners own
photographs and some are drawings from
the photographs.

The images demonstrate a competent

ability to investigate the theme by looking
from unusual angles and viewpoints. The
studies from these images show a
satisfactory ability to record selecting a
range of appropriate media and processes
such as charcoal and chalk, the Sgraffito
technique using oil pastel and pencil to
explore tone.

The learner has altered the scale of the

images and has worked on different
coloured paper. This shows awareness of
the need to experiment with media and
materials to develop the initial images
using process.

44
 Course Handbook

Component 2: Externally Set Assignment – Low level response, continued

On this page the learner has expanded on

their visual research by taking more
photographs of seascapes from different
locations. They have also looked at the
work of different artists for ideas on how to
develop their own work. They have
reproduced a section of one of their own
observations in similar colours to those
used by Claude Monet in one experimental
study. In a second experimental study they
have combined collaged shapes inspired
Alexey Luka with one of their own
observational paintings of the sky.

These experimental studies show that the

learner has analysed the work of other
artists as well as their own in order to
develop interesting and creative outcomes
that explore the visual elements such as
colour shape, pattern, texture and
composition.

This work also demonstrates that the

learner has recognised visual links in the
artist’s work such as the use of vibrant
colour to express mood and create an
atmosphere within the landscape.

45
Course Handbook

Component 2: Externally Set Assignment – Low level response, continued

This sheet demonstrates how the learner

has tried out different possible
compositions for their final outcome. They
have worked on a small scale and are
using line and biro to draw out the rough
elements for each alternative composition.
The annotations help to explain their ideas
as they have tried to take photographs
looking past lines and forms in the
foreground to a view in the background.
They have attempted to give the
impression of looking through a gate.

The sections of colour photographs have

been used as a reference for their painted
backgrounds. This shows a competent
ability to manipulate and combine different
images in an attempt to develop ideas.

The painted sections show that the learner

has explored different mark making effects
and mixing of colours to create atmosphere
and record the effect of different light
sources on the water and in the city.

46
 Course Handbook

Component 2: Externally Set Assignment – Low level response, continued

Final outcome

The learner has used colour and mark

making to create a satisfactory outcome.

The composition has been developed from

the studies in the supporting work.
However, some of the ideas generated in
the supporting studies have not been
developed and are not evident in the final
outcome.

47
Course Handbook

Appendix 1: Critical analysis support sheet

Learners can use this framework to generate personal and informed judgements.
It combines the need for observational, analytical and research skills.

What can you see?

What is it about?
Image / object
What themes or ideas are communicated?
Can you identify hidden meanings or symbolism?

Identify the materials used.

Media, materials Describe how the materials and processes have been explored to create the
and processes work.
Has the artist combined methods or approaches?

When and where was the work made?

Influences /
Was the artist influenced by other artists / artistic movements or cultures?
reference material
Are there social, political, historical or religious influences?

Describe how the artist has used the formal elements listed below to create the
work:
• composition
• line
Formal elements • tone
• colour
• form
• space
• texture.

What does the piece communicate? How is this being communicated?

Intention Describe the mood and the atmosphere created
Why do you think the artist made the work? Is there a story behind it?

48
 Course Handbook

Appendix 2: Evaluation prompt sheet

Please use these questions to reflect on your achievements and identify areas for improvement. This can be
used during, or at the end of a workshop to evaluate and monitor progress.
• Outline the main theme of your work and how you approached it.

• What visual research did you gather? Was this informative? Did you use primary or secondary
research and how did this help or not help your work?
• How useful was your contextual research? How did this inform your ideas? Which particular artists
influenced your work / ideas? How?
• What materials did you experiment with and what impact has this had on the final outcome?

• How does the presentation of the work communicate your ideas and findings?
• What final outcome did you produce? What was the quality of this? How would you improve the
outcome if you had more time?

49
Course Handbook

Appendix 3: Compare and contrast sheet

This can be used to support Components 1: Coursework and Component 2: Externally Set Assignment as it
provides learners with an analytical framework to carryout initial observations and formulate opinions. This
should be used in conjunction with research material gathered from secondary sources.
Once these key elements have been identified learners should ask how, what and why? For example: How
does the colour impact on the mood or atmosphere of the work? Why has the artist painted the face blue?
What is the significance of making the house smaller than the car? This will lead to deeper analysis.
The following worksheet template can be used with two images to compare and contrast.

Insert image 1 here Insert image 2 here

Similarities Differences

Imagery, content objects

Composition, the layout and how objects are organised

Use of colour, limited palette, complimentary colour system

Light source, what is the focal point?

Mark making and the use of materials

Atmosphere, mood

Scale, relationships between object, perspective

50
© Cambridge University Press & Assessment 2023 v1
Cambridge Assessment International Education is part of Cambridge University Press & Assessment.
Cambridge University Press & Assessment is a department of the University of Cambridge.
Cambridge University Press & Assessment retains the copyright on all its publications. Registered centres
are permitted to copy material from this booklet for their own internal use. However, we cannot give
permission to centres to photocopy any material that is acknowledged to a third party even for internal use
within a centre.