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Podcast GCSE Art Assessment Objectives AO3

Podcast GCSE Art Assessment Objectives AO3

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Published by James Greenwood
GCSE Art and Design - AO3 (Assessment Objective 3)
Supporting notes for the podcast available on iTunes: holmfirthhigh or visit the blog: http://holmfirthhigh.podbean.com/
GCSE Art and Design - AO3 (Assessment Objective 3)
Supporting notes for the podcast available on iTunes: holmfirthhigh or visit the blog: http://holmfirthhigh.podbean.com/

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Published by: James Greenwood on Dec 31, 2009
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AO3 - Record ideas, observations andinsights relevant to your intentions in visualand other forms.
Drawing could be an end in itself.
With drawing being a core activity within this subject of Art and Design, it is onlynatural that you should or could use this medium for recording your ideas andwork, as well as producing a series of drawings for your main work itself. Thinkof this as a way to illustrate your ideas and projects kind of like illustrating abook or story. Drawings created for the purpose of recording what you havedone, and what you intend to do, only need to serve the purpose of sharing yourthoughts and ideas, as such these drawings could be very loose, almost cartoonlike.Alternatively, you could use the medium of drawing as a tool to record your workin a more controlled and accurate way to document your project work. Considerperhaps how famous botanists like Darwin and the late great explorer JamesCook would use the medium of drawing to record all of the many creatures andplant life that they discovered. For them the need to accurately draw what theyfound was very important so that on their return from an exploration, they couldidentify and share their work with others. Using a similar approach for your ownproject and coursework, you could draw and illustrate your intentions for aproject or item of work. If you have many features within your work, considerdrawing each feature separately, so that you can clearly demonstrate that youhave studied these features, also, consider 'alternatives' for each feature, close-ups, and pick out details to draw and illustrate using a larger scale too.Studies, drawings and illustrations that you produce during the development of aproject or item of work could evolve quite naturally into a final piece of work. Byproducing drawings that explain your work, you may begin to find that thesedrawings could work quite well as larger, more complete pieces. This is a veryeasy way to develop a project by using 'drawing' as the main medium.
A collection of developments using different materials.
A project can often develop quickly by using a variety of materials rather than byonly using 'drawing' as a medium. Try to source and find alternative materialsand medium that can help you to illustrate your intentions. For example, a quicklook through a magazine or newspaper will often provide you with strongimagery which is relevant to you own work. Try to find a collection of imagesthat are appropriate and/ or relevant to what you have in mind for your ownwork and make a collage of these images in your sketchbook. Think of this as atype of 'image' or 'mood' board. Artists and designers often make an 'image'board to help them begin work on a project. Think of this as a visual reference orguide, a resource that you can use to explore your idea and work, takeinspiration from and help guide you further into the develop of your work.
 
Another way that you can use 'sourced' images from newspapers and magazinesis to use them as a direct visual and drawing aid. Find a few images that arerelevant to your own work and stick these into your sketchbook. Then along sideeach image, copy what you see, by producing a drawing of each. As well asaiming to create an accurate copy of the image though, try experimenting withscale and size. For example, if the picture that you are working from isapproximately one quarter the size of a sketchbook page, try enlarging yourdrawing of the picture so that it is twice as big.For another way to use images that you may have found, consider workingdirectly on top of the picture itself. Larger pictures are best for this method, sochoose your picture for this type of task carefully. Place the chosen picture intoyour sketchbook, and then work on top of it with a range of medium ormaterials. For example, try adding oil pastel to bring out colours, or use an inkline to bring out details, painting on top of images works very well too and willallow you to explore tone and shades.One more way that you can produce a development task or study for your workis to 'extend' an image that you have sourced. Smaller images work best for thistype of task. Find a relevant image or picture to your own work and stick this inthe center of a sketchbook page. Then using the space around the image,continue the picture by drawing line that extends the picture further. You couldsimply use your own judgment to draw whatever is missing, and in a sensemake the picture complete, although this type of task allows you to use yourimagination and develop possible backgrounds and effects too. This will allowyou to provide a preview of what your final outcome may look like, if you appliedthe same background or effect. Very useful to test or try out alternativebackgrounds to your project or item of work.
A way of communicating that could be 3D.
A good way to increase your chances of gaining higher marks within thisassessment objective (AO3), is to include some examples of 3D work. There aremany ways in which you can achieve this, and often the results gained are veryeffective.An easy way to include some evidence of 3D into your project or item of work isinclude 'texture' within your work. Texture can be included in your work bybuilding up the surface or area of your work. Using different types of paper canproduce a subtle texture effect and is perhaps the easiest to achieve. To do thisbefore you begin your drawing, create a layered work area, made up fromlayering different papers on top of each other, then draw your work on top of this 'layered' surface and continue to develop your work.To enhance a 3D surface effect more, as well as using a range of differentpapers, try including card. Corrugated card works very well too. Try tearing orcutting some strips of corrugated card and place these strips on certain areas of your work area to generate a strong 'textured' effect, then draw your work ontop of the surface and continue your work.Another way to generate texture is to include fabric and thread in your work.Build up a surface or work area using a range of papers and card, and then cutout and shape some pieces of fabric that will fill in appropriate areas of yourwork. Stick these into place, and try experimenting further by using folds, andcreases within the fabric that correspond to where you may draw features inyour work. After you then draw your work on top of the surface, use somethread or lengths of wool to enhance your work further. Stick or sew the threadonto your drawing, following lines that you have drawn. Use the thread as a typeof 3D pencil line. This will enhance your drawing, making your drawing stand outand appear 3D.
 
Modrocis another way to generate texture within your work. It is very easy touse and textured effects can be achieved very quickly. Use themodrocto buildup areas of your work, make reliefs to help features in your work stand out.Paper-machecan be a quick easy to use, way of building up parts of your worktoo. However, be careful not to over do it. Too muchpaper-mache, and if it isused without care and thought can quickly ruin your work. However, if it is usedwith thought and care, some very good 3D effects can be achieved.Sometimes building up a surface from 2D to a 3D relief is not going to beenough to communicate your work or idea. This would be case if your final outcome is likely to be a sculpture. Of course you will still need to produce drawingsand illustrations of your idea for a sculpture, but there will come a point in yourwork when you will need to work entirely in 3D. To do this consider making a'Maquette'. AMaquetteis basically a small version or miniature model of what you intend to sculpt. Often thesemaquettesare made out of card, wire,matchsticks or cocktail sticks and can be covered inpaper-macheormodrocto produce a solid surface, which is then painted. Usually when painting amaquette, it is simply painted white so that the form, structure and shape can beseen and explored easily. Although, perhaps if a secondmaquetteis then built, itwould be appropriate to add samples of colour that may be used on the finalsculpture to provide an indication of your intentions.
Photos taken by yourself/ digital images.
It is worth knowing the difference between what is called 'A primary SourcedImage' and 'A Secondary Sourced Image'. A Primary sourced image is worthmore marks than a Secondary sourced image. A primary sourced image is animage that you have taken or produced yourself, for example. Suppose that youare working on an idea or item of work that includes a car. To gain marks forAO3, you will need to provide evidence that you have studied and explored 'thecar' thoroughly for your work. This would involve doing some drawings of carsand ideally the exact type of car that you intend to use in your work. So howwould you go about this? Well, arguably the easiest way to do this would be tofind some pictures of appropriate cars and then work from these pictures.However, suppose that you used the internet, found some pictures of cars thatyou intend to use, print these out and then work from these in your sketchbook.That would be an example of using 'Secondary' sourced images, which althoughwill work, will not gain you as many marks as using 'Primary' sourced images. Solets take the same project, but this time using 'Primary' sourced images. Forexample, you could take some of your own photographs of cars that you seewhile you are out and about. To generate even more evidence of using 'Primary'sourced images, you could maybe go to a local car show room, take somepictures of cars that you actually see. While you are at the showroom, as well astaking photographs, produce some small sketches and drawings of the car'sdirectly into your sketchbook, working from direct observation. Consider alsothat this would give your work more opportunity too, as you would be able totake a number of photographs, of the whole car and of parts of the car, youcould select a specific angle or shot of the car, all of which you could not do if you simply found a picture on the internet or from a magazine.Lets use another example to explain the importance of using and working from'Primary' images as opposed to using 'Secondary' sourced images. Lets say youare working on a project or item of work that will include a portrait, or picture of someone. In your idea or work you decide to include an expressive face. Youcould spend some time on the internet or looking through magazines andnewspapers trying to find an example of a face which uses the expression thatyou would like to use in your work. The chances of you finding an expressionthat uses the exact same type that you have in mind is very slim, notimpossible, but very slim. As such, you will probably find one or two that near

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