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Edexcel BTEC Level 3

International Foundation Diploma
in Art & Design (QCF) 2014 -2015
www. northl i ghtcentre. co. uk/i nternati onal
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Introduction 3
Staff 3
Course Structure 5
Final Major Project 6
History of Foundation Diploma 7
Course Philosophy 7
Attendance 9
Punctuality and absence 9

Course Structure 10
Overview 10
Exploratory Stage - Units 1, 2 & 3 11
Pathway Stage - Units 4, 5 & 6 17
Conrmatory Stage - Unit 10 20

Assessments 13
Study Visits 13
(Self ) Assessment criteria 14
Critical Thinking 23

Resources 25
General and specialist studios 25
Good studio practice 25
Materials and equipment 25
Storage and care of work 25

Portfolio Building 26
Drawing 26
Sketchbooks 27

Progression to Higher Education 28
Making and application 28
Choosing Employment 29
Making a job application 29
Preparing for a job interview 30

What to do if things go wrong 30
Student Support and Advice 30
How to make a complaint 30
CONTENTS
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STAFF
Nick Day
Head of Art & Design
Congratulations on choosing the
North Light Centre for Art and
Design at Bournemouth and
Poole College for your next level
of study. We have over 20 years of
experience in training students
to progress to Art and Design
courses at University and have an
excellent track record at getting
students into the University Arts
London and other high quality
HE courses in the UK and Europe.
We have a team of highly professional lecturers with industrial experience in Art
and Design. They are not only experts in their specialist creative fields but also
trained lecturers who are highly experienced in working with and supporting
international students.
We are really looking forward to meeting you in September and working with
you to fulfil your creative ambitions.
Head of Foundation
Maxine Anderson
andersonm@bpc.ac.uk
Lecturer
Dennis Thompson
thompsond@bpc.ac.uk
Lecturer
Perri Scott
scottp@bpc.ac.uk
Lecturer
Faye Banks
banksf@bpc.ac.uk
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Our students enjoy their time with us because they are given a lot of one to one personal tuition. It is this
that helps them learn to be creative and original thinkers because it is conceptual thinking that underpins
the most successful university portfolios, not simply technique.
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COURSE STRUCTURE
EXPLORATORY
The rst term is Exploratory. Students are given many short projects and work in groups as well as
individually. During this time they learn to think creatively and also how to research relevant artists and
designers and record the development of their work. This term is lots of fun and is the time when students
make decisions about the subject they wish to study at University, make applications via UCAS and begin
to prepare their portfolios and e-portfolios.
PATHWAY
The second term is Pathway. This is where the student specialises and works in their chosen subject pathway.
Students complete their portfolio preparation and begin attending University interviews. Lots of support
and encouragement from staff is given individually at this point of the year. Students are required to attend
mock interviews to prepare them for their University interviews.
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FINAL MAJOR PROJECT
The third term is the Final Major Project. Students will have had offers from University by this time and will have
received conditional offers which include an expected target grade for their Foundation course. Students work
independently on a project of their own devising and work towards putting a group art show. This term is more
self-directed and students begin to learn the skills they will need to work more independently at University. The
nal grade for the course is determined by the mark gained by the student in their Final Major Project.
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HISTORY OF FOUNDATION
The basis for the Foundation Diploma began in the 1920s alongside The Bauhaus (meaning building/
creative house), was founded in Weimar by the architect Walter Gropius and was essentially a German
school of architecture, industrial art and handicraft. The Bauhaus programme combined theory with
practical training in workshops.
The strength of this carefully structured education was a course known as the Preliminary Course. The Swiss
painter Johannes Itten devised this and it was further developed by Laszlo Moholy-Nagy and Josef Albers.
Their course promoted a basic understanding of the fundamental principles of colour theory, drawing,
use of media, composition and cultural and historical studies and these are still regarded as essential
components of current general art and design education particularly in the Foundation Diploma.
COURSE PHILOSOPHY
The primary aim of the Foundation Diploma is to educate students to make informed decisions which
will facilitate their progression (primarily not exclusively) to appropriate higher education (University)
programmes in art and design.
The Foundation builds on students prior experience and skills already acquired and is linked with ideas
and challenges, which extend students critical thinking and independence. This enables students to
demonstrate a greater understanding of art and design principles, relevant to progression opportunities.
The programme is characterised by experiential, experimental and integrated learning. It promotes skills and
technical media use, whilst valuing the accidental and disruptive results that can occur when taking risks.
The Foundation Diploma is designed to meet the following aims:
Enhance students capacity to learn and develop those facilities and skills that lead to self-reliant learning.
Develop students critical awareness of the contemporary visual world and related contexts
Develop students ability in methods of personal creative production
Provide a context in which students can identify and interpret their strengths and direction through
progressive exploration of skills and concepts central to art and design practice
Develop students understanding and awareness of the opportunities and demands of studying art and
design in order to translate potential and ability into realisable goals within higher education (or chosen
employment opportunity.)
Students must make a leap in conceptual understanding and technical ability in order to successfully
progress onto a good quality degree course. Throughout the year students will be expected to develop
individual interests and an open minded personal approach to their studies as well as a high degree of
self-motivation and independence.
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A far greater emphasis will be placed on students own contribution and commitment to their studies
than previously required at school and/or A level. Although help is always available from tutors, through
individual tutorials and group sessions, students will be expected to take responsibility for their own
creative development combining self-initiated study with the formal taught sessions.
Throughout the Foundation Diploma students will be expected to inform their creative ideas and project
work through contextual inquiry and an open minded attitude towards experimentation with both
materials and concepts.
Students will be introduced to a wide variety of media, processes and techniques but will be encouraged
to consider these as tools to develop their personal ideas and concepts. The real focus of the Foundation
Diploma is the evolution and development of ideas where students problem solving skills, ability to think
laterally and an awareness of contemporary issues and practice within Art & Design are tested to the full.
COURSE PHILOSOPHY (CONTINUED)
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ATTENDANCE
Days and occasionally hours of attendance can vary throughout the programme. It is therefore essential
that students keep their timetable to hand and refer to it regularly so that they can arrive fully prepared for
each session. If a student is unclear about their timetable ASK A TUTOR.
It is important for students to understand their responsibility for their own learning, probably more than at
any stage before, and accordingly the staff expect Foundation students to show commitment and maturity
in their approach to their studies.
The course regularly requires students to work independently and organise their own time. We expect
them to use independent study days wisely, to extend and develop their projects, visit exhibitions, gather
research or complete other set work.
The old adage that you only get out what you put in could not be more apt and students should extend
their studies utilising evenings, weekends and holiday periods wherever possible. Although a year may
seem a long time, it does pass very quickly and it is worth students noting that the UCAS application process
starts even before Christmas consequently students MUST fully engage with the course from day one!
PUNCTUALITY AND ABSENCE
It is expected that students will make every effort to arrive for all timetabled sessions at the appropriate
time, preferably early.
Registers will be taken in the rst ten minutes of a session if students have not arrived when the register
is initially taken they will be marked absent. If they subsequently arrive late, the mark in the register will be
changed to reect this.
Attendance monitoring takes place on a weekly basis and the Foundation Diploma Course Co-ordinator is
informed of students whose attendance is cause for concern and the appropriate action is taken.
It is understood that on occasions lateness, absence through illness or the need to leave early etc. is
unavoidable. Whenever possible students should discuss [in advance] with an appropriate tutor their need
for any time away from a taught session.
However persistent lateness absence or early departure can be detrimental to the rest of the group
and seriously hinder their progress. Consequently it will be dealt with through the college disciplinary
procedures and can ultimately result in a student being withdrawn from the course.
If a student experiences any problems attending through illness, travel arrangements or for any other
reason the situation must be discussed with either their tutor or the Student Advice Centre who will
endeavour to help.
If a student is ill or cannot attend for whatever reason please contact:
Maxine Anderson; andersonm@bpc.ac.uk or Dennis Thompson; thompson.d@bpc.ac.uk
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COURSE STRUCTURE:
The Foundation Diploma is divided into three distinct stages: the Exploratory stage, Pathway stage and
Final Major Project. Each one has a specic focus and aims to promote particular learning outcomes. Prior
experience is built upon as students progress from one stage to the next and students ability to work
independently is progressively developed in order to prepare them for Higher Education.
Within this structure students must pass 7 units (1-3, 4-6, 10) to successfully complete the course at level 3. To
achieve a Level 4 qualication there are additional optional units (7,8,9 ) However the units are not delivered
separately, instead they are naturally covered by the projects and experience delivered within each stage.
Each unit has a credit value and these units are grouped into three stages, Exploratory, Pathway and
Conrmatory, with 40 credits to be achieved at each stage. A student can take up to two units at Level 4
from the Pathway stage (Units 7-9) in place of one of Level 3 units (Units 4-6) with the same title.
While the Level 3 qualication is Level 3 overall, Unit 10 is Level 4, reecting the diagnostic and preparatory
nature of the qualication.
To achieve the whole qualication, a student must achieve a pass for all 120 credits taken.
Units 1-6 are achieved at pass only. Unit 10 is graded Pass/Merit/Distinction. The grade for Unit 10
constitutes the nal qualication grade.
Stage 1 Exploratory 40 mandatory credits
Unit credits level
Unit 1
Researching, Recording and Responding in Art and Design
Mandatory 20

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Unit 2
Media Experimentation in Art and Design
Mandatory 2020

3
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Stage 2 Pathway 10 mandatory credits
Unit 3 Preparation and Progression in Art and Design Mandatory 10
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Stage 2 Pathway min 10 max 30 Optional Credits
Unit 4 Information and Interpretation in Art and Design Optional 10
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Unit 5 Personal Experimental Studies in Art and Design Optional 10
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Unit 6 Extended Media Development in Art and Design Optional 10
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Stage 3 Conmatory 40 mandatory creditsCredits
Unit 10 Final Major Project in Art and Design Mandatory 40 4
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THE EXPLORATORY STAGE (UNITS 1-3)
Unit 1: Researching, Recording And Responding in Art & Design
Unit 2: Media Experimentation In Art & Design
Unit 3: Preparation and Progression in Art & Design
This stage combines awareness of the importance of drawing in the creative process with the need to
experiment with a variety of media, in order to link theory and practice.
An enhanced understanding of the interrelationships between different concepts and behaviours should
develop, as well as being able to consider attitudes to media and processes more critically.
It also provides a broad based introduction to art and design allowing development of a variety of skills and
responses. The units involve a wide breadth of research, recording and observing of information, growing
awareness of the importance of personal responses and the role of the unfamiliar.
Drawing is critical during this stage, especially with regard to research and applying basic 2D and 3D visual
systems and design methodologies. It is important to gain technical experience and a degree of expertise
in order to experiment with a variety of media.
It is important that creative potential is developed and expanded upon, in balance with an understanding
of possible choices available for future specialisation. There are opportunities to explore a range of
approaches, applications and media through research and experimentation so that these can be built upon
during the later stages of the course.
THE PATHWAY STAGE (UNITS 4-6)
Unit 4: Information and Interpretation in Art and Design
Unit 5: Personal and Experimental Studies in Art and Design
Unit 6: Extended Media Development in Art & Design
During this stage the experience skills and understanding which have developed through the previous
stage and units should be used to nd preferred locations within art and design.
The units allow experience of specialist areas and the opportunity to dene a chosen pathway. A
distinctive portfolio of artwork is an essential feature of this stage, along with solid preparation for a
higher education application or employment interview. It should now be possible to be more focused
in terms of knowledge, skills and subsequent development with greater emphasis on experiment and
process and analysis and evaluation.
The pathway stage should encourage increased condence in independently generating, developing
and presenting work and ideas. It is important that discussions with tutors take place in order to try and
identify future direction and conrm or revise the various options available. The aim of more specialist
assignments and projects during this stage is to help match ability and potential to the demands of a
chosen pathway. It should be possible to assess interest and capability across particular areas through
experimentation and development of work, and students should also be able to critically evaluate their
own experiences and responses.
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THE FINAL MAJOR PROJECT (UNIT 10)
Unit 10: Final Major Project in Art & Design
During this stage, research and ideas should automatically be integrated into personal practice. While
individuality within a particular specialism should be conrmed there should still be a strong sense of
continuing exploration and this idea of progression must be promoted and retained. A process of
independent learning will be very much encouraged during this unit and students will be expected to take
full responsibility for the direction of their own work, particularly during the nal major project.
This stage should allow skills and understanding to be developed and combined within chosen
specialisms in order to conrm personal direction, which should be reected by a solid portfolio of work.
Students will produce a personal conrmatory study delivered through a nal major project. This nal
piece of work should be independently developed and presented with a unifying concept or theme. Work
produced must be substantial and consist of both practical work and critical and written commentary.
Along with the nal major project students will be expected to present a supporting statement detailing
aims, research and outcomes.
A review of working methods, as well as project and time management will also be encouraged. Research
undertaken should include secondary reference material and evidence of critical evaluation of personal
experiences responses development and experimentation. The importance of Contextual and Historical
Studies across all units should be noted, in allowing studio workshop based practice to be placed in a wider
social and historical context. This should promote a basic understanding of key movements, periods and
styles within the eld of art and design as well as analysis of the meanings of works.
ASSESSMENT
Formal assessments take place at the end of each stage of the Foundation Diploma course. The assessments
which take place at the end of the Exploratory and Pathway stage are sometimes referred to as threshold
assessments. The purpose of these is primarily to ensure that students have reached the minimum
standards of attainment required in order to progress to the next stage of the course; students are either
passed or referred.
The students will only be awarded a grade Pass, Merit or Distinction at the end of the third and nal
assessment at the completion of the Final Major Project.
Students should submit ALL work that has been produced during the current stage of the course; good, bad,
indifferent, broken or incomplete. This includes all experiments, storyboards, preliminary work, maquettes,
samples, contact sheets, test pieces unedited video etc. and any personal work not directly related to project
work which may have been done during this period.
Students MUST NOT edit, mount, trim or glue work into sketchbooks etc. it just simply has to be organised
(for example: life drawing in chronological order, 3D samples boxed etc.)
Assessment times, dates and locations will be published in good time. Students must take note of the
details and ensure that they attend all presentations and submit all work where appropriate.
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EXPLORATORY AND PATHWAY
STAGE ASSESSMENTS
Assessments at the end of the rst and second stages will normally be conducted by an individual
presentation of approximately 5 minutes per student to the appropriate member of staff and the student
group. Plus each student will also be required to submit all work for assessment by staff who will look
through it in detail to ascertain the appropriate evidence to full the set criteria. Students must provide
satisfactory evidence against all criteria in order to continue onto the next stage.
Through discussion with tutor[s] students strengths, weaknesses and action for improvement will be
identied. This will be recorded and copies of the assessment and action plans/targets will be given to
students for reection and analysis of the experience.
THE FMP
ASSESSMENT
The assessment at the end of the course is conducted
in a similar manner except the presentation allocated
time is approximately 15 minutes per student. All nal
pieces must be complete along with all supporting work
which must be organised, labelled and made available
for assessment (Date and time to be conrmed) All
students nal piece[s] will be entered into a nal End of
Year Exhibition for external examination.
NB: Please note NO work is to be removed from the
Department until after the External Examiner has
completed their visit and the Exhibition has been
dismantled and returned to the base room
STUDY VISITS
Study visits are designed to give students the opportunity to engage in cultural diversity and familiarise
themselves with all aspects of contemporary practices in Art & Design subjects.
Students will need to record and document such activities, whether it is a visit to a gallery or research on
the internet; with the aid of the LRC and its extensive facilities they can use sketchbooks to document
newspaper reviews, postcards, photocopies own drawings, colour work and written notations on
exhibitions and places visited. An awareness of contemporary practice will be essential to all those
going onto HE interviews.
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Unit 1: Researching Recording and Responding in Art and Design
Assessment criteria
P1 Record ideas in appropriate
forms.
P2 recognise the importance of
diagnostic research
P3 expand the eld of research
P4 explore alternative possibilities.
P5 identify relevant and
appropriate sources.
P6 evaluate the effectiveness of
own research and exploratory
work
P7 reect on applying relevant
theory to practical understanding
P8 produce innovative work that
communicates a personal response
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Unit 2: Media Experimentation in Art and Design
Assessment criteria
P1 explore techniques and
processes using appropriate media,
safely
P2 manipulate media in relation to
creative potential
P3 record experimentation and
information in an appropriate
format
P4 experiment and combine
different media
P5 evaluate the effectiveness of
different media
P6 reect on success and failure
P7 identify new or existing
possibilities
P8 produce innovative work that
communicates a personal response
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Unit 3 : Preparation and Progression in Art and Design
Assessment criteria
P1 research progression aims
P2 identify own progression aims
in relation to known ambition
P3 assemble materials to support
appropriate progression
P4 select work for own portfolio
to support progression aims
P5 prepare and organise work for
portfolio
P6 present work using appropriate
techniques and presentation skills.
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Unit 4: Information and Interpretation in Art and Design
Assessment criteria
P1 research historical, cultural and
contemporary practice
P2 review diverse approaches in
creative practice
P3 make reference to historical,
cultural and contemporary practice
when developing own work
P4 use appropriate information to
support the creative development
of personal work
P5 produce targeted research in
the development of personal work
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Unit 5: Personal and Experimental Studies in Art and Design
Assessment criteria
P1 explore materials, processes and
techniques safely
P2 record experimental outcomes
P3 evaluate creative intentions
P4 research materials, techniques
and processes
P5 prioritise own work and meet
deadlines.
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Unit 6 : Extended Media Development in Art & Design
Assessment Evidence: work for this unit will typically consist of;
Assessment criteria
P1 research and select appropriate
media
P2 utilise selected media
development of own work
P3 produce outcomes which
conrm and extend own ideas
P4 use selected media to explore
and express a creative intention
P5 use an extended range of
media, techniques and processes
safely
P6 use media, techniques and
processes to a professional level
P7 analyse and reect on progress
of ideas, experimental work and
technical processes.
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Unit 10 Final Major Project in Art & Design. Assessment and Grading
Criteria For Final Major Project PASS.
To achieve a pass grade the
evidence must show that the
learner is able to:
P1 propose a time-bound Final
Major Project
P2 research relevant historical,
cultural and contemporary
sources
P3 apply appropriate references
to the realisation of the Final
Major Project
P4 appraise the effectiveness
of the Final Major Project
development
P5 identify and follow up issues,
responses and dilemmas
P6 reect on Exploratory and
Pathway Stages in relation to
the FMP
P7 propose alternative
resolutions
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Unit 10 Final Major Project in Art & Design.
Assessment and Grading Criteria For Final Major Project MERIT
To achieve a merit grade the
evidence must show that, in
addition to the pass criteria,
the learner is able to:
M1 manage a personal synthesis
of in-depth research to inform and invigorate
considered contextual
referencing in the Final Major
Project
M2 sustain levels of commitment
and attention to detail within the Final Major
Project
M3 demonstrate the capacity
to devise and construct a
substantive body of work
demonstrating consistent
quality
M4 demonstrate the ability to
objectively reect on the
development of the Final Major Project, devising
appropriate quality solutions
M5 work collaboratively in
seeking out and using the
advice of others to extend
and develop the potential of
the Final Major Project.
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Unit 10 Final Major Project in Art & Design.
Assessment and Grading Criteria For Final Major Project DISTINCTION
To achieve a distinction grade
the evidence must show that,
in addition to the pass and merit
criteria, the learner is able to:
D1 appraise and articulate critical decision
making through the Final Major Project, showing
the ability to engage with original thinking,
concepts and approaches
D2 respond proactively, independently and
imaginatively to challenges and constraints in the
realisation of the Final Major Project
D3 demonstrate the ability to apply a
professional rigour and standard to the Final
Major Project
D4 understand and apply informed self-critical
judgement when identifying success potential in
the Final Major Project
D5 demonstrate the ability to proactively
engage in critical debate that informs and
extends the Final Major Project.
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CRITICAL THINKING
Throughout the course it is essential that students regularly analyse and evaluate their work and their
general learning experience. This will help them to develop critical thinking and take control of their
own learning. Evidence of students ability to analyse, evaluate and plan is also an integral part of course
assessment.
CRITICAL THINKING: type of critical analysis: disciplined intellectual criticism that combines research,
knowledge of historical context and balanced judgement
ANALYSE: study closely: to examine something in great detail in order to understand it better or discover
more about it.
EVALUATE: examine and judge: to consider or examine something in order to judge its value, quality,
importance, extend or condition
Students should record their thoughts on a daily basis in note form and thoroughly analyse and evaluate
their learning experience at the end of each week. After which students should then be able to plan
what action needs to be taken to improve any areas of weakness and congratulate themselves on their
achievements!
Students should record this information in their learning journal and date the entries. It is essential that
tutors can nd these important notes during a tutorial or assessment. It is important that students consider
both their personal and their project development.
When evaluating personal development students should consider factors such as time management,
attitude and response to criticism and advice, independence, condence and communication etc. For
example: Factors which directly affect how students conduct their studies.
When evaluating their project/ideas development students should consider questions such as the quality,
depth and range of their research and developmental work whether the central concept/idea is developing
will nish on time?
When writing a weekly evaluation and action plan students should consider the following questions:
What have I achieved/learnt this week?
Have I used my time effectively?
Where are the strengths and weaknesses of my personal and project development?
What aspect of the work have I most enjoyed and why?
What aspect of the work set this week was most challenging and why?
What improvements could I make?
What action for improvement do I need to take?
Am I prepared for my tutorial/assessment/critique etc.?
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RESOURCES
GENERAL AND SPECIALIST STUDIOS
Good studio practice is largely a matter of common sense and courtesy toward fellow students and staff.
Please follow these simple Guidelines:
Tidy up after yourself: The staff will expect students to make a mess, but we also expect them to tidy up
at the end of every session.
Dont waste materials: Art, craft and design materials are expensive, please use what is needed but avoid waste.
Keep personal belongings off the tables and out of walkways: This includes coats, bags, portfolios and
art boxes etc. This allows more elbow space and prevents accidents.
Do not eat, drink or smoke in any studio or other work related areas: This is a basic health and safety
requirement and must be adhered to at all times. There is now a no smoking policy within the College
building and grounds.
Be aware of any potential dangers and report them: for example: trailing power cables. Potential dangers
should be reported to a tutor or technician.
Do not work alone in any studio: Students must never work alone in any studio or work area in case they
have an accident. This will ensure that someone is able to get help.
Always use safe operating procedures when operating equipment or machines: Students should
only use equipment and machinery: (for example: a sewing machine or electric drill etc.) if they have
received instructions from staff on how to use it safely, ensure that these instructions are followed and ask
for help if unsure.
Use personal protective equipment where indicated: Students are required to wear personal protective
equipment (for example: gloves, goggles or apron etc.) when using certain equipment and machinery,
ensure that you wear it.
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MATERIALS AND EQUIPMENT
At enrolment students will have paid a studio fee, which is a small contribution towards the huge cost of
materials used by the course throughout the year. It also covers the cost of educational visits.
Typical materials and equipment provided by the Foundation Diploma course include:
A range of basic drawing materials
Basic craft tools: scissors, knives etc.
Cartridge and paper for drawing and construction
Computer and printer consumables
Pathway specic materials. For example: acrylic paint, printing ink, fabrics, plastics, clay, wood and metal
STORAGE AND CARE OF WORK
Storage space for student work is very limited at BPC there are a limited number of plan chests which will
be allocated to students early in the course but inevitably, students will need to share a drawer.
Consequently the Department encourage students to take responsibility for the storage of their work and
suggest that only current work should be stored at college. Students will need to provide for themselves
an A1 portfolio case for transporting their work to and from College and get into the habit of taking work
home which is not in progress and bringing it back for tutorials and assessments etc.
Care of work should be a top priority during the course and students can not afford to lose, throw away,
break or spoil any of the work produced. Everything whether good bad or indifferent is required for
assessment and could be needed for portfolios.
Please follow these guidelines:
Keep all work: This included samples, maquettes, test pieces, preparatory and unnished work, broken
and spoiled work. Throw nothing away and do not mount, trim or glue work into sketchbooks until after
consultation with a tutor at either a tutorial or mock interview.
Keep work clean: Students must ensure that drawings are xed especially charcoal/pastel, with hairspray
or xative to avoid portfolios becoming an even grey! Drawings must not be left on the oor to be trodden
on or left anywhere that they are likely to be spoiled or destroyed.
Name all work: Students must always put their name and course on the back of all their work as large
quantities are misplaced and thrown away every year because it cannot be identied. Also, large numbers
of students ruin their work by carelessly writing their name etc. on the front next to the image.
Avoid rolling or folding drawings: Students waste time and patience arriving at tutorial or assessment
with a large roll of curly drawings. This also makes the mounting of work very difcult.
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PORTFOLIO BUILDING
The primary aim of the Foundation Diploma is to help students to choose and then gain a place on the
appropriate degree course or type of employment.
Fundamental to achieving this objective is the production of an exciting, thoughtful and interesting portfolio
of work. It is this portfolio of work that represents a students potential to HE interviewers or employers.
In some cases during University interviews, students are not given the opportunity to talk through their
work so the work must do the talking. A successful portfolio is one that includes a variety of work, from
all stages of project development. This is why it is so important for students to work hard throughout the
course to produce a large body of work in readiness for selection.
Historically students have thought that they can just include later project work, this is not the case! The
reality is that students start producing a range of work, including life and observational drawings in the
second and third weeks of the course. Some of these drawings will end up being selected; it is essential that
students listen to their tutors and get involved in all activities.
Later in the year students are given the opportunity to discuss with their tutor[s] the most appropriate work
for their portfolio, how to present it and what extra work which may be needed. It is essential at this point
to show all work achieved on the Foundation Diploma and it should be clean, organised and unadulterated.
PLEASE DO NOT edit, mount, discard, spoil, trim or glue any work prior to this discussion.
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DRAWING
Throughout the Exploratory Stage students will be shown a variety of drawing techniques and given the
opportunity to work with different media to record the world around them. Drawing is still considered to
be extremely important within contemporary art and design practice and can be an art-form in its own
right. It is clearly a fundamental skill in traditional areas such as illustration and representational painting
but is also important in areas where its contribution is less obvious. Drawing is useful as a means of:
Recording visual information
Exploring and developing ideas
Developing an understanding of form and space
Presenting ideas to others
Developing an understanding of composition
Simplifying the visual world
Enhancing observational skills
Expressing the invisible, for example: emotion
Understanding the formal elements inherent within
lens based media
Drawing will be taught by several different tutors, whose
different emphases are indicative of the wide variety
of uses of and approaches to drawing. During the
Exploratory Stage students will also consider the formal
elements of:
Line
Tone
Perspective
Composition
Colour
Texture
Form
Space
Lighting
SKETCHBOOKS
Sketchbooks are an ideal vehicle for exploring the above and all students will be expected to have
completed several by the end of the course.
Sketchbooks are essential for a number of reasons, primarily as they are an easily transportable way of
recording ideas and observations whatever or wherever they may happen to be. Along with drawing
practice sketchbooks are also a place where project ideas can be documented, maquettes and test pieces,
contact strips, experiments, relevant photographs and drawings can be attached.
In short sketchbooks can be whatever size or format as long as tutor[s] can see idea development, critical
evaluation and adapting of projects to rene and resolve aesthetic and conceptual problems.
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PROGRESSION TO HIGHER
EDUCATION
As previously stated one of the primary aims of the Foundation Diploma is to assist students in making an
informed decision regarding the direction of their future studies within Art & Design. The most important
step is deciding which course is the right one to study at degree level.
There are numerous options available and it is the responsibility of the student to nd out about relevant
universities and colleges and the courses offered. This can be done through researching the websites,
reading prospectuses and attending Open Days which help to gauge if the institution and the course are
appropriate.
With such a broad range of possible course available it is essential for students to start their research as
soon as possible to leave plenty of time to request and read course literature and make decisions.
MAKING AN
APPLICATION
Making an Art & Design HE UCAS
application for first degree and FdA
courses contains some features
which are rather different from
applications for other subject areas.
Dates and deadlines will be published
on the UCAS website. All Foundation
students will apply electronically
through the UCAS there will be
NO paper based applications. Full
guidance on how to do this will be
given later in the first term.
Students should be aware that
there are a few institutions that are
not members of UCAS and ask for
applications to be made direct to
them using their own application form. These include the City and Guilds of London Art School and
the Glasgow School of Art along with other Scottish Art Colleges.
Some Part-time degree course applications may need to be made direct to the relevant institution
and not through UCAS.
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CHOOSING EMPLOYMENT
There are a great number of diverse employment opportunities within the field of Art & Design
which include employment as professional practising artists and designers working with Fine Art,
Advertising, Publishing, Manufacturing, Print, Film & TV, Media, Fashion & Textiles, Product Design,
Craft Practitioners, Theatre Design, Curatorship, Educationalists or Community Arts Workers.
Many of those working in the field are self-employed; others may juggle freelance work with consistent
employment for one company. The nature of employment in the field is changing alongside developing
new technologies. Freelance Illustrators and Designers for example, may do the majority of their work
digitally, sending finished pieces electronically to clients.
Key sites for job vacancies include Creative Review, Design Week, Artists Newsletter and The Guardian.
It is obviously important to thoroughly research the field thoroughly before applying for vacancies
or choosing a freelance pathway. It is useful to visit and seek advice from those already established
within a chosen field. There are many careers based organisations that will advise on setting up as self-
employed. Connexions has a representative within the College who are based in the Link who will be
happy to answer any questions regarding Higher Education and employment in a wider context than
specialist Art & Design opportunities. In some areas there are grants and training packages to assist
starting up so contact the local careers office.
MAKING A JOB APPLICATION
When a student finds a vacancy they are particularly interested in it is important for them to find
out as much as possible about the position and the company. The initial phone call requesting an
application form can be vital, it is best to be prepared in advance. More detailed research can be
sought from the job specification which will be essential for filling out an application form.
It is advisable make an informal visit to meet existing staff and have a look around this can be very
helpful prior to an interview. Students must read the application form and accompanying material
very carefully. It is advisable to photocopy the form and complete a draft showing it to someone you
trust for positive feedback.
Allow several days to review the application form before completing the final version a copy should
be made to refer to at the interview. The application requirements may request a CV or supporting
information. This is an ideal opportunity for students to use their Art & Design skills to compile an
interesting package that not only represents the applicant but also fits in with the profile of the
company.
It is very important for the form to be posted at least three days before the deadline and it is worth the
applicant phoning to confirm it has been received.
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PREPARING FOR A JOB INTERVIEW
Once a job interview is offered students should respond by writing to conrm their attendance. A
professional approach is very important and it is advisable at this stage to research further the position
and company. It is recommended that a key statement of approximately 50 words outlining individual
strengths which will form the core response to interview questioning.
There are several standard questions which are likely to be asked, it is relatively easy to anticipate these
and prepare answers well in advance. For example: Why do you want this job? Before the actual interview
students should set up a mock interview with their tutor which can help to take the pressure off the real
one. Portfolios need to be adjusted to suit the position applied for and it is wise to prepare some form of
presentation pack or CD ROM using image and text to represent strengths etc. Each member of the interview
panel should be given a copy at the end of the interview giving them a creative reminder particularly when
they meet to make a decision. Interviews can be very stressful and the best way to reduce this is through
detailed and thorough preparation.
WHAT TO DO IF THINGS GO WRONG
Many students experience situations which affect their studies, sometimes students nd it difcult to
manage these problems and need advice or additional support.
DISCUSS THE SITUATION WITH A TUTOR OR COURSE CO-ORDINATOR
Most problems are usually resolved at an early stage through a discussion with a tutor. A tutor will always
arrange an appointment as soon as they can to help resolve the problem.
If a student is in crisis a personal tutor should be informed immediately or alternatively they should go
straight to the Student Advice Centre in the Link.
STUDENT ADVICE CENTRE
The Student Advice Centre is in the Link which is situated inside the canteen. The staff are trained to deal
with a wide variety of personal and academic issues and are always willing to help. There is a more detailed
explanation in the Student Handbook.
MAKING A COMPLAINT
In the unlikely event a student is unable to resolve a situation which is causing problems, there is a formal
way of pursuing a complaint through the complaints procedure. This procedure is separate from the
academic appeals policy in that it deals with matters of a non-academic nature and aims to tackle such issues as
discrimination by staff or students and other issues relating to the service received from the College.
It is every students right to make a formal complaint. They can be assured that all cases will be considered
fairly, discreetly and without prejudice.
SUPPORTERS AND FRIENDS
Anyone making a complaint may use an advocate/friend (a person who speaks on their behalf ) during the
process.
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WHAT TO DO IF THINGS GO WRONG
1. WHAT WE VALUE
At Bournemouth and Poole College we pride ourselves on treating everyone with equal dignity
andrespect, but if we get it wrong or fall below the high standard we set ourselves, we want you to tell
us so we can put things right.
Complaints can be made by:

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Telephoning Gemma Genco: Equality, Diversity and Community Engagement Manager on
01202205417/email gencog@bpc.ac.uk.

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Or in person at the main reception at either North Road or Lansdowne.
2. FAST AND FAIR

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We will respond to all complaints fairly and promptly.

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We will acknowledge your complaint within two working days of receiving it.

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We will give you a more detailed response within ten working days in most cases, or sooner if we can.
3. INFORMAL COMPLAINTS

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Every effort will be made to resolve complaints informally through a dialogue with those immediately
concerned.

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If your complaint is about a member of staff, you should, in the rst instance, get in touch with their
Head of Curriculum or Department.

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If the issue cannot easily be resolved, we will put you in touch with Gemma Genco. She will decide
whether the complaint should be dealt with informally or formally, or whether there is a case to be
answered at all.
4. FORMAL COMPLAINTS
Any complaint sent directly to The Principal is referred back to the Quality Improvement department
who deal with it. This is how formal complaints work:

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A Manager (Investigating Ofcer) will investigate the complaint.

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The Investigating Ofcer dealing with the complaint will:

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Propose an amicable resolution, or

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Dismiss the complaint as unfounded, and explain the reasons, or

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Uphold, or partially up-hold, the complaint, offer an apology and take steps to make sure a similar
problem does not happen again.

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We will send you a detailed response following an investigation within ten working days. Where this
is not possible, you will receive regular updates until we give you a nal written response telling you
the outcome.

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You may appeal (see below) if you are not satised with the outcome.
5. APPEALS
If you are not happy with the result of how we handle your complaint, you can appeal within ten working days
to Simon Clark who is senior manager in charge of handling complaints. You can lodge an appeal against the
decision following a complaints investigation if there is evidence to show one or more of the following:

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The College has not followed the formal procedure as described in this policy document.

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Incorrect evidence has been used during the investigation of the complaint or new evidence has arisen.

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The Investigating Ofcer did not fully consider your personal circumstances.

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The circumstances of the complaint were not fairly considered.
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Edexcel BTEC Level 3
International Foundation Diploma in Art & Design (QCF)
2014-2015
www.northlightcentre.co.uk/international