Writing the A2 Art Personal Study: Examples, Help and Guidance
Final Updated on February 8, 2017
This commodity has been written for CIE A Level Fine art students who are working on their A2 Fine art Personal Study. It focuses purely on how to write the text of the Study; a previous article outlines how to come up with a practiced topic; a future commodity volition address the illustrations and presentation methods.
The Personal Study is an area of uncertainty for many A Level Art students. It differs from projects that are commonly completed inside high school Art programmes, as it involves a substantial written component (maximum 3,500 words) – something which can intimidate students, especially if they are unfamiliar with how to critically analyse an artwork, make informed judgements and write personal evaluations. With few examples of quality Personal Studies available, it tin exist difficult to know what is expected and how to begin. This article aims to ease this uncertainty and to make the Personal Study a more than easily understood Component.
1. Research thoroughly
The Personal Report should be comprised of informed personal views – that is, views that are supported and shaped past an in-depth understanding of the issues discussed. Before starting the project, students should conduct thorough background research, selecting and recording information from second-hand sources (such every bit books, websites and other publications) and first-hand sources (interviews with artists, studio visits / gallery visits etc). Interviews with artists should be planned thoroughly, afterwards preliminary second-hand research has been completed (as findings from enquiry volition propose important issues to discuss with the artist).
Students are often uncertain about how to phrase questions, so sample questions have been included beneath (the verbal questions asked will depend on the topic and focus of the written report):
- Please talk me through the process yous follow when designing your paintings. Practise you work instinctively, directly onto the canvas, or are your works pre-planned, using sketches and photographs?
- What influences your selection of colour? I am interested particularly in the colours used in [insert proper noun of painting/s]. Could y'all explain your thought process behind the use of color in this work, particularly the [give case]?
- I find that your work has been described equally [insert relevant comment from second-hand sources]. Do you concur with this statement? How practise you respond to this?
- I notice that [insert an aesthetic characteristic of their artwork i.e. 'angular line' or 'organic course'] is a dominant feature of your work. Is this strongly connected to the ideas that y'all are exploring? Take you used these elements deliberately?
- Can y'all show me work in progress or semi-complete artwork? I would love to sympathize the process you go through and how you lot apply media at different stages.
- Are at that place any tips you lot would give to someone who was attempting to emulate your painting style?
- Which artists have influenced your work? In what style has your work been shaped by others people, events or situations?
2. Evaluate and interpret inquiry findings
Conducting research is critical for creating an excellent Personal Study, however, it should be noted that submitting research on its own will non proceeds a student any marks. Photocopying, cutting and pasting or transcribing information from other sources is non acceptable. Examiners practice not want to read long lists of facts or chronological sequences of events. They do non want long-winded technical processes or the inclusion of broad periods of art history; nor entire interviews with artists (interviews can exist submitted as part of an appendix if necessary). Students should not include an extensive artist biography (simply brief and relevant details are needed) nor include vast passages of text that take been regurgitated from other sources.
Instead, students must select the information which is relevant and analyse this in detail, evaluating and interpreting findings in relation to the focus of their study. Research should be used to help course intelligent, knowledgeable, personal responses: to explain, justify or back up the viewpoints, judgements and conclusions that are presented.
Bear witness of research might be demonstrated, for example, through the apply of carefully chosen quotes (to back up or contrast the educatee's ain ideas) or through the inclusion of right terminology and background noesis to communicate an in-depth agreement of relevant issues. Show might also exist indicated photographically, with images depicting starting time-paw meetings between the student and artist/s.
This Personal Study by CIE A2 Level Fine art and Design student Alice Ham, from ACG Parnell Higher, shows a cleverly selected quote aslope images by New Zealand charcoal artist Liam Gerrard. Alice was awarded total marks (100%) for this component (99% overall for A Level).
three. Structure the Personal Report in a logical and clear mode
Before writing the Personal Report, students should plan the content, order and structure of their report thoroughly (often in conjunction with planning the layout of their project – this will discussed in more detail in a subsequent mail). This should include headings and subheadings of material discussed and rough diagrams indicating how this will exist supported by images. The proposed structure should then be checked and canonical past a instructor, with recommendations and clear guidance given. While the structure of each Personal Written report will differ, depending on the topic chosen, every study should follow the basic format outlined below:
- Introduction. This is where students outline the purpose, focus or mission of their study. This may include question/s they are going to answer; themes they are going to explore; issues they hope to address etc. Information technology should set the scene for the projection and may include reasons for selecting a topic and an indication of how / why the topic is of personal relevance or involvement to the student. It is of import that the intentions of the project are clearly set out in this department, so that the remainder of the project can be structured appropriately.
- Trunk. This is the principal role of the Personal Study and volition need conscientious thought. It is unremarkably organised into carve up sections (which may be formal capacity, or simply dissimilar areas of a visual written report), normally with individual headings and sometimes sub-headings. (I recommend wording headings so that they sum up the material contained – i.e. 'Analysis of Limerick: [artwork championship]' rather than 'Chapter 3'. This means that the examiner is able to see immediately that the pupil has covered a range of advisable areas). The sections should be ordered logically and address the focus of the projection; they should Not constitutional haphazardly from one issue to the next. Loftier school Art students have a trend to write without whatever preconceived society or structure, discussing problems spontaneously equally they think of them. While this tin can be a suitable approach for more artistic writing tasks – and can pulled off by certain students – this strategy runs the risk of creating a muddled and incoherent Personal Report.
- Determination. This is where students summarise cardinal points from the project, arrive at final conclusions and make considered personal judgements about what has been learnt.
This is one of the last paragraphs in a Personal Written report by Nikau Hindin (who accomplished 98% for CIE A Level Art while studying at ACG Parnell College), entitled 'Identity, Consumerism & Pop Civilization: How composition conveys a message'. The projection was focused upon the analysis of artwork by New Zealand artist Kelcy Taratoa, with comparisons made with the work of American artist Bill Barminski:
Taratoa's use of composition helps convey his bulletin concerning identity construction. The arrangement of elements is symbolic of an unconscious hierarchy inside his paintings that forces the viewer to question and analyse them. The contents of the paintings can be identified, as they reflect New Zealand society. Taratoa's utilise of color is vibrant and mod, echoing the technological era we live in. Barminski has a more dynamic and humorous approach to conveying his bulletin. He mocks consumerism with his witty and blunt slogans and replications of consumer products. While these two artists are very dissimilar, they both communicate their own attitudes virtually guild. Making a political statement through your paintings forces an audience to engage. Ultimately we want our art to exist remembered and admired and I recollect if the bulletin of a painting is articulate and then the viewer is more likely to go away and think about information technology. Paintings are a powerful tool to communicate a pregnant that is deeper than the 2mm of paint on a canvas. Paintings are an creative person'south voice.
- Bibliography / References / Acknowledgements. This should list any resource that students take used in their project, including books, websites, manufactures and videos. It might also include sources of first-hand information, such as museums, galleries or websites, every bit well as acknowledgements, thanking the artist for their time.
4. Write clearly and coherently
While examiners are sympathetic towards a pupil whose first language is not English language, a like sympathy does not extend towards those who submit sloppy, poorly edited cloth.
Simply as it is expected that a Coursework project should comprise beautiful well-equanimous artwork, a Personal Report is expected to contain well-structured, well-edited fabric. Even if a student has chosen to produce a largely visual projection, submitting a sequence of annotated images, the text should communicate with intention and the writing quality should match that achieved by an A Level English student. Poor grammar, spelling errors and 'txt' speak are inexcusable.
As with any important written projection, drafts should be rewritten and refined several times: capacity re-arranged; paragraphs and annotation reorganised; repetitive material, waffle and unnecessary regurgitation eliminated. Teachers, parents and friends tin can all be recruited to read through drafts, highlighting spelling errors and identifying areas where the writing is muddled. While the piece of work must of course remain entirely that of the student, feedback from a fresh set up of eyes is invaluable.
5. Employ subject field-specific vocabulary
A Personal Written report should include an appropriate range of Art related terms and vocabulary. While the exact words used will be dependent upon the nature and focus of the written report, there are a number of general Art-specific terms which students should be familiar with (these will be listed, with their definitions, in an upcoming article). Apply of advisable vocabulary helps to fulfil the 'Knowledge and critical agreement' cess criteria.
6. Brand information technology PERSONAL
As the title indicates, a Personal Study must communicate distinctly personal opinions, insights, judgements and responses, demonstrating a clear engagement with the artwork studied.
This excerpt from an 100% OCR A Level Art Personal Study past Yantra Scott entitled 'An investigation into gender roles in contemporary art' illustrates this:
I first encountered Sarah Lucas whist briskly strolling through the crowded rooms of the Tate. Amongst oils and finely crafted sculpture my optics were transfixed in a two-way glare with a slightly butch, totally intense woman, with eggs for t*ts. E'er since and then I've been hooked.
It is axiomatic that Yantra not only visited and viewed artwork in the flesh, but had a stiff personal reaction to information technology. It could never be assumed that this segment had been reworded from a textbook: it is absolutely the words of a passionate high schoolhouse Art student. Although Yantra uses fibroid language within her study (something which should be emulated with circumspection) this project is an exceptional instance of an intelligent and personal response to a topic. (More of Yantra's work, every bit well as the entire text of her study, tin can be read in total on the smashing Julia Stubbs' website).
Similarly, this quote from an 88% OCR A2 Art Personal Study (one of the examples given in the OCR A2 Art Exemplar Work – Personal Written report document) shows a personal response integrated within the analysis of Damien Hurst'south piece of work, illustrated below.
The glass is thick, so thick that it is intimidating. It is as if information technology is holding something terrible dorsum. It makes you question the formaldehyde and query, what if the tank did break? The formaldehyde is non clear equally I expected but is quite strongly coloured past a blueish and light-green pigment. This colour is very clinical and has the connotations of a infirmary…
The musings most the tank breaking and the formaldehyde differing from expectations are clearly the private thoughts of a high school art student.
7. Understand 'cultural context'
Within the Personal Study, students must demonstrate an agreement of cultural context –an understanding that an artist does not create work in isolation, but rather creates work that is shaped and influenced past the circumstance/due south they finds themselves in. This might mean that discussion of the influence of natural, social, political or cultural environments is appropriate, or that – as is more common – the influence of other artists is discussed, with comparisons made betwixt artwork that has been created in like or differing contexts.
The excerpt below is from a CIE A Level Fine art and Design Personal Study by Tirion Jenkins, of YMCA of Hong Kong Christian College. Titled 'Alternative Fashion Photography', her Personal Report was awarded Best in Hong Kong (2012) and includes analysis of 'One night in Mong Kok' by photographer Akif Hakan Celebi. Tirion demonstrates a clear agreement of the interrelationship between a photographer's work and the setting in which information technology was created.
The setting itself creates an intoxicating atmosphere with the rows of fluorescent light bulbs and layers of luminous signs that form an endless maze of gaudy colours. However, the setting does not overwhelm the two models who draw my eyes despite the signs above them. They create the focal point of the image through the use of the dominion of thirds as they are placed off-centre and through their quirky appearance which magnetises the heart towards them. They seem to belong to a different world to the passersby behind them with their flare of crimson hair and audacious choice of feathered flittered clothes. Akif has farther crafted the image through the apply of makeup every bit their chalk white faces further segregates and emphasises their surreal doll-like appearances.
…Akif's pictures are reminiscent of Japanese cinema which he says he is then influenced by. "I like…its writhed and crazy stories; I feel very close to that way of looking at the world." This photograph is particularly mystical due to the vibrant and decorative bokeh of Hong Kong's street lights in the background.
8. Critically analyse artworks
The core of the A2 Art Personal Study is the in-depth assay of selected artist works. Some of these artworks must be viewed in person, even so it is common (and completely adequate) for students to analyse work from a combination of primary and secondary sources. In the best studies, artworks are chosen specifically to facilitate the word of issues which are relevant to the study.
The communication in this department is particularly important and should be read closely past students who are hoping to achieve a high grade for their Personal Report.
When analysing artwork, it is helpful to analyse the work in terms of composition, format, structure and visual elements (such every bit shape, line, texture, color, space, tone). Students might de-construct an artwork and view it in terms of a single visual element and/or discuss how the visual elements interact, relate, contrast, residual and connect with 1 some other. Descriptions of important terms accept been included below to aid this process:
- Composition is the placement or organization of visual elements inside an artwork – the way these accept been composed, combined or 'put together'. Limerick may be instinctual or the result of elaborate planning (or a combination of both). A 'compositional device' is an aspect of a composition which has a certain effect (such as the use of frames within frames, which might assist create a sense of distance or infinite inside an artwork).
- Format is the overall shape, size and orientation (portrait or landscape) of an artwork, i.east. whether a work is painted on a long, horizontal ellipsoidal canvas, or upon a vertically orientated A4 portrait board. Format tin can be influenced by practical considerations (i.e. the nature and shape of the object or scene depicted) as well every bit being an active decision by the artist to help communicate a detail meaning or idea.
- The structure of an artwork is the arrangement of bones forms within a composition (this will exist illustrated in more detail in the subsequent postal service focusing on imagery).
- Lines are a visual element that tin direct a viewer's gaze and create a visual path. These can straight attention to a focal point and create depth through perspective or horizon lines. Unlike lines can create unlike effects: difficult angular lines provoke a different response than soft, organic lines, for example. Repetition of lines can create a sense of motion or rhythm.
- Shape is a visual element that is created by the junction of lines or changes in tone: the perceived boundaries of class. Larger shapes can go dominant focal points within an artwork; similar shapes can exist repeated to create residue and create unity / visual harmony. Shapes can be symbolic, i.due east. they can correspond more than complex forms and carry significant. As with lines, the types of shapes used can communicate certain feelings – rigorous ordered shapes tend to create a dissimilar mood than irregular, costless-flowing shapes. Shapes might also exist used to create borders / frames and boundaries that connect, overlap or intersect, possibly helping to describe viewers from the foreground / middle-basis to groundwork.
- Space – the absenteeism of form – is an often disregarded visual element. Described as existence either positive (the space contained within the boundary of an object) or negative (the background space in and around an object), space tin determine how busy and cluttered a painting is. A busy composition can overwhelm a viewer; a uncomplicated and sparse composition may announced slow. Conscientious integration of infinite is fundamental to any artwork.
- Grade is a visual element that is usually discussed more easily in relation to three dimensional objects (equally three-dimensional forms are normally described inside ii dimensional works in terms of shape, tone and line).
- Colour (or hue) is a visual element that is oftentimes discussed in combination with tone(how light or dark a colour appears). Colour can touch the mood of an artwork due to color associations – i.e. blue might indicate sadness. Tone can help to communicate a sense of altitude (items that are further abroad generally announced lighter – due to 'atmospheric perspective'). Both tone and colour can be used to create contrast within an artwork, attracting the viewer's attention and helping to create focal areas. Alternatively, both tone and colour can exist used to create harmonious, peaceful non-contrasting areas. Use of light and shadow or warm and absurd might also be an of import surface area to discuss.
- Texture can be existent (the result of brush strokes, irregularities in materials, and the application of a range of materials) or implied…i.e. a surface that is made to looktextured. As with the other visual elements, texture should be integrated and so that it balances and becomes an aesthetically pleasing addition to an artwork. Surface qualities – forth with other detailed areas and intricate patterns – are simply able to be appreciated fully when viewed in person.
It should exist noted here that students should not submit reams of text explaining how sure visual elements bear upon artworks in general, but rather use this knowledge to write informed analysis near the artworks in question.
Here is some other case past Nikau Hindin, discussing the use of line in paintings by Kelcy Taratoa. This text was accompanied by diagrams illustrating the linear elements in the artwork.
…Taratoa uses strong athwart forms that create diagonal perspective lines. These lines are called 'leading lines' and directly u.s.a. to the focal point of this painting, which is a portrait of Taratoa. They also lead our eyes past him and make us look at the groundwork. This helps to convey Taratoa'southward message that one's identity is linked to social circumstance, upbringing (background) and popular civilization. Street markings grade white lines and besides describe our attention to the focal point. Street markings stand for paths and therefore they may be paths to finding and amalgam ones identity. They create a sense of movement and highlight the direction one's optics should travel inside the painting. The street markings in 'Episode 007' are curvaceous which creates movement. The curvy lines mirror the organic forms of the superhero'southward muscular torso, creating a visual link. In 'Episode 0010' the repetition of line of the zebra crossing creates a sense of rhythm and leads united states of america to the portrait of Taratoa in the left corner. Horizontal lines are repeated in the background of the painting to unite separate parts of the painting.
As well every bit the artful qualities discussed above, most students also include sections where they analyse artwork in terms of materials, processes, stylistic influences, techniques (employ of media). For some, this is the primary focus of the Personal Study. This might include analysis of the way an artist has applied paint to a canvas (mark-making, castor strokes), the sequence of edifice up layers of paint over a prepared ground, or the sequence of events involved in creating a graphic pattern: from conceptual sketches, development of ideas, construction in Photoshop, through to proofing, paper choice and final printing. It might involve discussion well-nigh the style a composition is planned and designed and so the various processes that are undertaken in its completion. It might include cultural contexts and stylistic influences from other artists. In whatsoever sections of the Personal Study which are defended to procedure and technique, information technology is important to annotation (as mentioned above) that the examiners do not desire the regurgitation of long, technical processes, only rather would like to see personal observations nearly how processes result and influence the artwork that has been created.
In all assay of artwork, whether this involves discussion of composition, artful qualities, cultural contexts, employ of media, or approach to a theme, it is of import that students move beyond simple observations and add perceptive, personal insight. For instance, if a student notices that colour has been used to create strong dissimilarity in sure areas of an artwork, they might follow this with a detailed and thoughtful supposition nearly why this is the case: for instance, perhaps the dissimilarity was created deliberately to draw attention to a focal point in the artwork, helping the artist to assistance convey thematic ideas. These personal insights could exist backed up past before research, confirmed or suggested past the creative person, or might be educated assumptions fabricated by the student, based upon their ain responses and personal interaction with the artwork.
Some final recommendations are included below:
- 'Analysis of artwork' does non mean 'description of artwork'. Analysis means taking an artwork apart (thinking about it in terms of individual elements, such every bit line, or colour or technique), analysing these individually and/or in terms of how they relate to one another, and making personal observations and judgements, connecting this to the theme or focus of the assignment.
- Saying "I like this" or "I don't like this" without any further explanation or justification is not assay.
- Writing should be advisedly integrated with the images, so that it is clear which text relates to which images (this will be discussed more than in the subsequent mail).
Alice Ham, a Year 13 student at ACG Parnell Higher (awarded 100% for her Personal Study) has produced some excellent assay of artwork by Liam Gerrard:
In most works (the exception usually applies to those washed in committee) the focus of the piece is centred, surrounded past empty space and never grounded through shadow or the like. This is some other way in which Gerrard plays with ordinarily held opinions. Typically, a most aesthetically pleasing composition will follow the dominion of thirds – a well known 'dominion' that correlates to the focus of artworks being first inside the composition, and the unabridged image beingness visually divided into 3 sections. Liam has footling care for this standardised dominion, nonetheless his compositions are visually pleasing notwithstanding. I believe this could be considering of the negative infinite, there is no overcrowding and information technology allows the viewer to focus on the subject field. I too call back this space is played upon in the display of the artwork. Galleries in full general will have white or very light coloured walls so equally non to distract from what is on display. By placing these white canvases on the white walls, hung without obvious framing, the artwork is allowed to 'menstruation' into the viewer'southward world, at that place is no line of separation. This forces the viewer to study Gerrard's pieces, and mayhap consider the personal message they address for the viewer in everyday life.
Some of the text higher up has been reproduced hither to aid ease of reading:
The expression on the pig's face is peradventure what would draw the viewer into this motion picture the about. It straight contradicts the gruesome delineation of decapitation and appears near to be laughing. This work like most of Gerrard's others is a unmarried object centred on a stark white background. The corporeality of empty space in this picture is very eye catching and directs the viewer's vision inwards, there is no risk of distraction by details in a menial part of the work. In one case over again Gerrard uses charcoal in his personal style, leaving the artwork in black and white. This lack of color is cold, it presents the reality of the grisly scene without the embellishment of colours. This does not allow the audition to be caught up in what is 'pretty' but forces them to take in every details in it's highly realistic, and peradventure agonizing, state. The shock cistron of this piece is emphasised ten- fold by the sheer size. It cannot be realised until you view this slice in reality, but existence dwarfed looking up into a pig's caput captured mid laugh brings upon y'all a bizarre sense of fascination.
9. Explain the human relationship to Coursework (if advisable)
As explained in the previous mail about topic selection, it is no longer necessary that the Personal Report relate to a student's Coursework project. If there is a potent human relationship, however, students may wish to include a section in their Personal Study where relevant comparisons are made with their Coursework project.
ten. Don't exceed the word count
The maximum word count for CIE Art & Design Personal Studies is 3,500 words. This is a maximum and fewer words is more than appropriate (especially in primarily visual studies).
If a student is slightly over the word count, this is unlikely to exist an issue (it is rare that examiners would know your exact word count, as no-one is likely to count every discussion in a project from showtime to finish); all the same, if a student is significantly over the word limit, this is obvious and a trouble, running the risk that the examiners will run out of time (or enthusiasm) to read your project in its entirety. Well-nigh all cases of word count breaches come up from students who have attempted to bulk up their report with unnecessary information from second-hand sources. If you are encroaching the word limit, yous should immediately ensure that you have non included supplementary inquiry material or unnecessary information summarised from textbooks. If y'all are nonetheless battling with the word count and inclusion of fabric from second-manus sources is not an effect, you lot should re-edit your project, eliminating waffle, and ensuring you communicate succinctly.
Final Notes
I encourage teachers to locate and print the excerpts from Personal Studies that are included in the 9704 Standards booklet on the CIE Teachers' password protected site, which tin exist downloaded as a PDF document from the A Level Art & Pattern page. This certificate is invaluable.
Finally, we are actively looking for more examples of high achieving Personal Studies to share on the Pupil Art Guide. If you or someone y'all know someone who excelled in this Component, please read our submission guidelines for more information.
If you found this information helpful, y'all may wish to read the previous article in this series: How to select a peachy A2 Fine art Personal Study Topic or our overview of the CIE A Level Fine art: Personal Study.
Amiria has been an Art & Design teacher and a Curriculum Co-ordinator for seven years, responsible for the form blueprint and assessment of educatee work in 2 loftier-achieving Auckland schools. She has a Bachelor of Architectural Studies, Bachelor of Compages (Get-go Class Honours) and a Graduate Diploma of Teaching. Amiria is a CIE Accredited Art & Blueprint Coursework Assessor.
Source: https://www.studentartguide.com/articles/writing-the-a2-art-personal-study
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