New Specification. A Level and AS in Art and Design. Preparing to Teach

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1 New Specification A Level and AS in Art and Design Preparing to Teach

2 Extracts from Chief Examiners Report on Summer 2014 examinations Moderators have observed a general improvement in the standard of written responses, ranging from annotations to extended written evaluations and commentaries. These often demonstrated thoughtful, mature and articulate evidence across all four assessment objectives with particularly strong recording, reflecting, analysing and evaluating. Crucially, extended writing can show understanding and depth of insight that significantly augments visual responses, especially in the ART3 component

3 Extracts from Chief Examiners Report on Summer 2014 examinations However, some moderators strike a note of caution as they see candidates initiating and developing ideas through writing at the expense of using visual means. They also warn against the danger of written contextual information being regurgitated from unacknowledged sources, often lacking focus and relevance, with little evidence of personal thoughts and opinions being expressed.

4 Extracts from Chief Examiners Report on Summer 2014 examinations Across all options, there has been a large increase in the use of digital still and video cameras and associated software, but evidence of the creative processes involved is often weak. Again moderators note the positive and negative aspects of this development, with the main danger being the demise of drawing, in its various forms, used for many different purposes. It is imperative that digital imagery is used to complement drawing and not to replace it.

5 Extracts from Chief Examiners Report on Summer 2014 examinations In previous reports it has been emphasised that drawing uniquely increases the capacity to see and understand the visual and tactile world and enables candidates to record and think visually and communicate their thoughts to others. Reluctance to visualise ideas through drawing can limit the scope and vitality of the creative process. It is, therefore, imperative that candidates gain confidence and competence in forms of drawing that are appropriate to the discipline in which they are engaged.

6 Extracts from Chief Examiners Report on Summer 2014 examinations It is of concern that moderators continue to encounter considerable over-marking, mainly at the top end of the mark range but, in a minority of cases, throughout the whole entry. This is in spite of the oral and written feedback that is given every year to help centres improve their judgements. The implication is that there is lack of awareness of what standard of work exceptionally able candidates are capable of producing. It seems logical to conclude that, in centres that consistently award unrealistically high marks, expectations are too low. This is a serious matter that urgently needs to be addressed by the staff involved and by their senior managers.

7 ART1 Strengths Candidates showed a strongly individual approach, pursuing personal lines of enquiry with enthusiasm and application. There was evidence of candidates choosing their own project theme after a series of skill-building activities and this ensured a positive element of creative freedom at an early stage. They showed that they were capable of developing their own personal starting points effectively due largely to engagement with rich and relevant primary sources.

8 ART1 Strengths Sound contextual knowledge and understanding were made evident such as through effective and appropriate sketchbook studies which included convincing explanations of the influences that sources had on their own ideas. An appropriate range of critical and contextual sources were selectively studied and showed perceptive understanding of the information gathered. They identified relationships and discussed comparisons and contrasts in particular examples, successfully applying what they had learned to their own practical investigations.

9 ART1 Shortcomings Too many contextual references catalogued with no depth of analysis to inform ideas and practical enquiries. No indication of candidates really looking closely at sources with clear focus and intent. Evidence of predominantly teacher-directed selection of sources with candidates contributing nothing of their own. No engagement with primary sources.

10 ART1 Shortcomings Lack of breadth and depth in considering possible starting points due, in part, to a paucity of stimulating material, some of which could have been studied at first hand from easily accessible local sources. Candidates show limited confidence when making evaluative observations on art, craft and design when studied only through reproductions. Too large a proportion of portfolio evidence produced by class workshop activities, often based on the same subject matter. Lack of independent choice and personal creative development, with little incidence of candidates using appropriate supportive structures that would help them make independent decisions and bring purpose and order to their work.

11 ART3 Strengths Consistently strong reflective recording throughout submissions, with candidates confidently reviewing their own practical learning in relation to the contextual sources being drawn upon in order to deepen understanding. Mature drawing skills were in evidence throughout the work from certain centres, with candidates of different abilities and varying levels of competence able to express their ideas confidently through purposeful drawing. Candidates made exemplary use of sketchbooks and extensively utilised sketching and note making to plan out and design final outcomes.

12 ART3 Shortcomings Poor use of the written element with content largely comprised of descriptive commentary that lacks relevant substance and contributes little to the thrust of the investigation. Regurgitation of web based information and no evidence of writing contributing to the development of analytical and evaluative skills, which should be a central purpose. In some submissions, writing seems to take the place of drawing which is already under threat from increasing use of digital photography. As with drawing, different formats and purposes of writing are not considered in any depth.

13 ART4 Strengths Candidates thoughtfully explained, both visually and through annotation, the connections between the different parts of their submissions. They demonstrated good skills of personal presentation through novel, unique and interesting presentational formats which showed lively engagement with their studies. Rigorous planning resulted in candidates making best use of the preparatory period and 12 hours of sustained focus work to create submissions of high calibre. Work was adventurous in approach and ambitious in style, media, materials and scale.

14 ART4 Shortcomings No indication of contextual references supporting or inspiring candidates as a spring board for developing new thoughts and a fresh personal approach; heavy focus on copying from reproductions and providing background information rather than detailed analysis of the methods, approaches, purposes, and intentions of the work studied; no thought given to how interpretations and meanings are influenced by the various contexts within which the chosen examples have been produced. Reluctance to express any personal opinions about contextual sources.

15 PLANNING WORKSHOP Preparing to teach the new AS and AL Specifications In groups having broadly similar teaching environments, e.g centres, post-16 centres, entries under 15 candidates, entries over 15 candidates: 1. identify the most important aspects of teaching that need to be addressed for (a) AS and (b) AL; 2. suggest teaching strategies that might be used to address each of these aspects. Report your suggestions in brief written statements

16 Reports from group discussions Suggestions and issues arising

17 Question and Answers