More than half of your final grade in Art & Design will be determined according to your portfolio, which is why your sketchbook artwork and research has to be just right. No pressure there! The remaining points will be offered in conjunction with your performance during the ten-hour exam… nobody said that Art was going to be an easy option, did they?!
But before we go into what should be in your GCSE sketchbook (in terms of scale of work, written work vs artwork, presentation style, etc…), let’s recap what your pre-college GCSE Art course will look like (based primarily on the AQA GCSE Art & Design syllabus, one of the most common in the country).
As we have mentioned above, there are various subject areas that you can choose to focus your attention on. Below, we have provided some detail on the course content covered by each subtopic to give you a better idea of whether it fits in with your professional interests and life aspirations.
During your fine art module, you can expect to do drawing, painting, sculpting, printmaking, photography, installation and other lens or light-based media and mixed media art. As an aspiring artist who wants to see their work in galleries, then this is the perfect choice for you.
This area focuses on communication graphics, design for print, advertising and branding, illustration, package design, typography, interactive design, (including web, app, and game), multi-media, motion graphics, and signage and exhibition graphics. This choice is therefore very well-suited to those wishing to fulfil a career in advertising.
This subtopic is all about textile art like fashion design and illustration, costume design, constructed textiles, printed and dyed textiles, surface pattern, stitched and/or embellished textiles, soft furnishings and/or textiles for interiors, digital textiles and installed textiles. Therefore, anyone who sees themselves in the textiles industry would benefit from having studied this module.
Textile art is just one of the options you can choose from in the Art & Design syllabus. Photo on Visual Hunt
This particular section offers those wishing to express themselves artistically with the opportunity to do with varying mediums and within different settings. For example, this module is made up of architectural design, sculpture, ceramics, product design, jewellery and body adornment, interior design, environmental/landscape/garden design, exhibition design, three-dimensional digital design and designs for theatre, and film and television.
Finally, budding photographers will no doubt be drawn to this area of study because it allows them to develop their skills and experiment with portraiture, location photography, studio photography, experimental imagery, installation, documentary photography, photo-journalism, moving image: film, video and animation, and fashion photography.
When it comes to assessment, this Art & Design course is structured as so:
There are two compulsory components. Students must complete both components.
Component 1: Portfolio
A portfolio that in total shows explicit coverage of the four assessment objectives. It must include a sustained project evidencing the journey from initial engagement to the realisation of intentions and a selection of further work undertaken during the student’s course of study.
See further details below on how this component is assessed:
No time limit
60% of GCSE
Non-exam assessment (NEA) set and marked by the school/college and moderated by AQA during a visit. Moderation will normally take place in June.
Component 2: Externally-set assignment
Students respond to their chosen starting point from an externally set assignment paper relating to their subject title, evidencing coverage of all four assessment objectives.
See further details below on how this component is assessed:
Preparatory period followed by 10 hours of supervised time
40% of GCSE
Non-exam assessment (NEA) set by AQA; marked by the school/college and moderated by AQA during a visit. Moderation will normally take place in June.
As you can gather, the majority of your final grade will be given in conjunction with your sketchbook or portfolio (i.e. the work that you complete throughout the two-year period) whilst 40% will be based on how you perform in your final assessment and the final piece of artwork that you produce as a result of those 10 hours of supervised work.
Your sketchbook is intended to be a creative document that displays a range of visual and written work and which documents a journey towards, and your intentions for, your final piece (which you will spend ten hours working on at the end of the two-year course).
Think of your sketchbook as your Art diary or notebook; a place to think.
Any ideas that enter your mind should be put down as they all add to your artistic journey. It doesn’t all have to be finalised ideas that make an appearance, you can use the space provided to brainstorm, experiment, analyse and refine your ideas. It should, in theory, be deep and personal and provide a backstory to your entire project, leading the examiner to the end product, or the culmination of your journey.
Most sketchbooks are A4 or A3 in size and are pre-bound for ease. An A3 book is obviously better because it allows you to fit more on a page whereas A4 ones are often preferred because they fit into a backpack or schoolbag much easier.
There are no rules as to how you use the space on the pages (you can use them in portrait or landscape mode ) and you’ll find that the pages are made using quality paper so that you can use a multitude of mediums on them (including wet and dry).
Don’t forget, however, that if you need to use a specific material to make markings on then you can always glue these materials onto the page. Don’t worry about your sketchbook not closing properly – some might say that the bigger the inside of the sketchbook then the more diverse its contents are!
Your sketchbook will be made up of quality paper on which you can use wet and dry mediums. Photo credit: vavoir on VisualHunt
Finally, one disadvantage of using materials like wet paints (for example, watercolours) in a sketchbook is that the other pages are likely to get wet and bumpy too. You can avoid this by either using a separate sheet and sticking it in, or by placing cardboard in between the page in use and the rest of the book and waiting until the piece of art is dry before attempting to close the book.
Your portfolio should be a good representation of your academic journey in this subject, so the content is as important as the presentation.
For instance, you should ensure that it responds in some way to a theme, subject, task or brief set out by your course and that it provides evidence of how you have engaged with this subject matter and how you came to your final piece. Your intentions, therefore, should be made completely visible so the examiner can recognise them.
To prove that you have engaged with the subject matter during your course, you should evidence a clear personal connection to the topic in question, and explain the personal context surrounding the work, as this may not always be obvious to an outsider.
Secondary materials are vital to show that you have learned and been influenced by others but you must also fill the sketchbook with your own visual material which yet again supports the theme of the project in some way. Don’t just put drawings in there for the sake of it – everything should link back to the journey you have embarked on during the art curriculum.
You may be better at using one particular medium, but don’t forget to show a wide range of mediums and materials in your art projects.
This may include, textured paper, drawings, papier mache, news cuttings, plastic sheets, old wallpaper, glossy photographic paper and other collages surfaces, for example.
When it comes to drawing mediums, you might like to experiment with charcoal, colouring pencils, chalks, acrylic paints, dyes, spray paint, wax and other pastes and glazes.
One very important thing to remember is that this component is marked as a whole, so every single visual representation should be to the highest of standards.
There is no use having a few amazing pages in your portfolio followed by an incomplete and bare-looking page, as this will only bring your markdown. The examiner wants to see that you have put in the effort and that you have really engaged with the task at hand rather than just sticking things down unnecessarily to cover blank white spaces or writing things down that have little or no meaning to you or your project.
Be sure to use a range of colour and mediums in your sketchbook. Photo credit: roberthuffstutter on VisualHunt
As we’ve mentioned above, the key to a good sketchbook is to keep it consistent.
White, empty spaces will just be an eyesore next to those other jam-packed and colourful sheets. That said, more doesn’t always mean better.
Sometimes, keeping it simple and not over-working it can have more impact and come across more confident than if you were to go crazy and include elaborate decorations on each and every page.
Try using a consistent style in your presentation, i.e. keeping writing to a similar size throughout, and attempting where possible to let the pages flow from one to the next. Do feel free to mix things up a bit though and to vary page layouts to make the observational journey more interesting and appealing. If you have started in portrait orientation, then it would be wise to continue that so that the journey is broken up and made complicated to follow.
Finally, try to order your work in a way that it shows a true development of ideas.
Working backward or leaving blank spaces to fill in later isn’t recommended as your story won’t come across genuine, neither should you attempt to bulk up your portfolio with poor or rushed work right at the end of the course. If you have engaged with your subject matter and put in the effort along the way, then you should have everything you need by the time you come to your final exam and are ready to submit your art projects to the examiner.
You have discovered what your GCSE sketchbook should look like, now here are a few last tips on how best to annotate your work.
|Show your personal response|
|Demonstrate subject-specific knowledge|
|Analyse work critically|
|Communicate your intentions|
|Avoid stating the obvious|
|Reference any image, text or idea that is not your own|