GCSE Art and Design 2016

Component 1 schemes of work

Contents
Introduction 1
Scheme of work option 1: ‘Towards abstraction’ 2
Scheme of work option 2: ‘Pattern and texture’ 6
Component 1 schemes of work

Introduction

The Edexcel GCSE Art and Design specification does not prescribe ways of working.
Instead, it encourages innovative and imaginative responses from students in their
interpretation of the requirements of the specification. The process of studying art
is an ongoing visual enquiry that has an infinite number of creative possibilities. For
example, creating an observational study from looking at something could and
should be regarded as covering the Development of an idea (AO1); Refinement and
Experimentation (AO2); Recording (AO3); and Presenting (AO4).

This document contains two possible schemes of work for Component 1: Personal
Portfolio but they are provided purely as suggestions:
● Option 1: ‘Towards abstraction’
● Option 2: ‘Pattern and texture’
Both schemes of work can be adapted or integrated into existing schemes of work
to suit the needs of the centre and its students. You are advised to read through
the whole document and to select the topics and ideas most appropriate to your
own students.

The schemes of work could be used as ice breakers and / or starters to enable
students to develop their knowledge and skills both in creating and presenting
individual pieces and more developed bodies of work, allowing them to gain a
better understanding of the inter-related Assessment Objectives.

Although seemingly driven by a Fine Art focus, the schemes of work offer
approaches that could be the starting point for any project within any area of study.
They are not intended to be used over a specified period of time but should be used
for as long as they are inspiring and productive.

Driven by a series of easy-to-follow exercises, both schemes of work are based on

and around observational recording skills. They should enable all ability levels to
gain confidence and, above all, to achieve a substantial portfolio of evidence for
submission. As with any project / theme, they could be attempted at any level,
Year 10, Year 11 or beyond.

One area of concern is understanding cultures and the work of others in order to
inform and nourish the ongoing visual art work. The artists and cultures mentioned
here are just a few of the possible places from which more knowledge can be
gained. They are not intended to be the ‘correct’ contexts, and should be seen as
starting points for further discovery and exploration. Where appropriate, relevant
creative and cultural industries could be referenced to support the ongoing
development of each student’s work.

Please note that the web addresses in this document are correct at the time of
publishing. However, some web addresses may change, cease to exist or
inadvertently link to sites with content that could be considered inappropriate.
While we regret any inconvenience this may cause, we cannot accept responsibility

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for any such changes. Please report problems with any of these web addresses to

gcseresearch@pearson.com and we will make every effort to find replacement web

addresses.

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Component 1 schemes of work

Scheme of work option 1: ‘Towards abstraction’

This scheme of work aims to introduce a range of skills through observation and experimentation. You will need to set up a still life
group of objects that can stay in position for a considerable length of time.

Learning objectives Assessment Resources Homework / Exemplar resources

● Observed drawing using
pencil, varying the time
allowed for each drawing
● Observed studies where a
variety of different lines
are explored, e.g.
continuous, broken, thick
and thin, etc.
● Observed studies where
both right-handed and left-
handed drawings are
created
● Photographing angles of
interest
● Blind drawings (drawing
without looking at the
paper) from the still life
group of objects (or digital
images of the still life
group of objects)
Objectives (materials) independent study
● AO3 ● Soft pencils ● Set up your own still
● AO4 ● Fine liners / life study at home to
biros practise the
techniques covered
● Pen and ink in lessons
● Paper ● Create further
● Digital camera studies to reinforce
the experiences you
have had in lessons
● AO3 ● Soft pencils ● Add some blind Useful websites include:
● AO4 ● Charcoal drawings to your ● http://www.studentartguide.co
portfolio from objects m/articles/line-drawings
● Prints from or people studied at
digital images home
could substitute

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Learning objectives
● Drawing directly from
observation of the still life
group using gummed strip
and masking tape ONLY,
observing the dominant
vertical, horizontal and
diagonal lines in the still
life group
● Drawing directly from
observation of the still life
group using the edge of a
piece of thick card dipped
in ink, in a loose and rapid
style, using Euan Uglow’s
work as inspiration
● Using their own work to
move on to new ideas
● Looking at the blind
drawings created
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Component 1 schemes of work
Homework / Exemplar resources
independent study
Assessment Resources
Objectives (materials)
for the still life
group of objects
● AO1 ● Gummed strip ● Research and present Useful websites include:
● AO3 ● Masking tape a brief account of the ● http://www.marlboroughfinear
Cubist movement t.com/artist-Euan-Uglow-
● AO4 ● Paper including the date it 109.html
● Ink started and two
artists involved ● www.metmuseum.org/toah/hd
● Thick card /cube/hd_cube.htm
● Create a visual
response to one of ● www.arthistoryarchive.com/art
the two artists history/cubism
identified as part of Useful reference books include:
the Cubist movement ● The Cubist Epoch, Douglas
● Research and present Cooper, Phaidon Press Ltd.
an explanation of two
● Twentieth Century Art. Michael
different types of Batterbury, McGraw Hill
Cubism, showing an
understanding of how ● Cubism and Futurism, Maly
they differ Gerhardus and Dietfried
Gerhardus, Phaidon Press Ltd.
● AO1 ● Blind drawing(s) ● Research the work of Useful websites include:
● AO2 done previously Patrick Heron and ● www.tate.org.uk/art/artists/pa
● Paper present three trick-heron-1278
● AO3 interesting facts
● Soft pencil ● wwar.com/masters/h/heron-
● AO4 about his work, and
Component 1 schemes of work

Learning objectives Assessment Resources

Objectives (materials)

Homework / Exemplar resources

independent study
previously and selecting an ● Small frame who or what patrick.html
area/section from which a with centre cut influenced and Useful reference books include:
simple pattern is obvious out inspired him in his
(transparency work ● Patrick Heron, Mel Gooding,
● Record line drawings of the Phaidon Press Ltd.
pattern(s) observed holder / ● Present a visual
viewfinder) response to one of
Patrick Heron’s
pieces
● Selecting an area of the ● AO1 ● Blind drawing ● Research the Useful websites include:
previous blind drawing and ● AO2 done previously Fauvism movement ● www.the-art-
redrawing parts / all of it ● Paper ● Research two or world.com/history/fauvism.ht
on to paper ready for a ● AO3
● Pencil more artists involved m
painting and / or ● AO4 in the Fauvism
illustration ● Colour paint ● www.nga.gov/feature/artnatio
movement by n/fauve/beasts_3.shtm
● Using and applying paint in ● Inks completing
a rich colour palette transcriptions of their ● www.historyofpainters.com/du
● Brushes / fy.htm
sponges work

● Return to the still life
group of objects and
experimenting using
monoprinting
● A wide variety of drawing
techniques could be
re-established here from
previous investigations
● Experimenting from
● AO1 ● A mixture of ● Try collaging from Useful websites include:
● AO2 first-hand the shapes created ● http://www.henri-
observation and from your matisse.net/cut_outs.html
● AO3 photographs of monoprints using the
● AO4 the still life paper collages of ● http://www.tate.org.uk/contex
t-comment/articles/moving-
group of objects Henri Matisse as
could be used inspiration times
for this task ● Investigate how ● http://www.tate.org.uk/whats-
● Paper Francis Bacon was on/tate-
britain/exhibition/lucian-

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 Component 1 schemes of work

Homework / Exemplar resources

independent study

Learning objectives Assessment Resources

Objectives (materials)
observation: completely ● Printmaking ink influenced by freud/room-guide/lucian-
cover a sheet of A2 paper ● Roller Eadweard Muybridge freud-room-7
with black charcoal, then and Sergei Eisenstein
draw from observation any ● Hard pencil and create a short
section of the still life ● Surface for ink presentation to show
group of objects using an ● A2 paper your findings
eraser
● Charcoal
● Eraser
● Selecting any previously ● AO2 ● Previous pieces ● From your still life set
completed piece and ● AO3 (any) up at home, select
choosing an area to trace ● Tracing paper five interesting
around ● AO4 shapes and cut these
● Pencil / pen out (in card) to assist
● Shapes could be scaled up
or down ● Card with the development
● Craft knife / of a 3D sculpture
● Cut out shapes (see below)
scissors
● Creating a 3D sculpture ● AO1 ● Cut shapes ● Present a personal Useful websites include:
from a 2D observation ● AO2 ● Craft knife / visual response to a ● https://en.wikipedia.org/wiki/S
● Using the loose shapes, scissors sculptor whose work culpture
● AO3 inspires you
create an abstract ● Glue ● https://www.henry-moore.org/
sculpture of any size by ● AO4 (sculptors might
slotting the cut card ● Stapler include Barbara ● http://www.naum-gabo.com/
together Hepworth, Henry
Moore, Naum Gabo,
● Using previous work to Ben Nicholson, etc.)
develop new ideas

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Component 1 schemes of work

Learning objectives Assessment Resources

Objectives (materials)

Homework / Exemplar resources

independent study
● Each piece of the sculpture
could be worked into using
any number of the
previous artists studied

This scheme of work may take up to a term to complete. If students have contributed to each stage of the journey then they should
have a varied portfolio of evidence. In addition, their observation skills should be tuned towards future projects, where a more personal
association may form the basis of their exploration.

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 Component 1 schemes of work

Scheme of work option 2: ‘Pattern and texture’

This scheme of work focuses on building students’ confidence by combining the use of materials with the knowledge and enjoyment
gained when studying and commenting on the practice of artists, designers and craftspeople.
It requires students to use their own work to develop their ideas by continuing to look deeply at both primary and secondary source
material to enable them to develop new and further ideas in an experimental and confident manner. Even when secondary source
material is used as a starting point, it should help to prove that it is possible to make art that is personal, challenging and visually
exciting that meets all four of the Assessment Objectives.
The scheme of work puts emphasis on mixed media in order to prevent a shallow and superficial approach to mark-making in art and
design. Artists may pursue a route through this scheme of work to the final production of any number of mediums.
Designers may be concerned with the ultimate production of a design for a specific purpose (e.g. poster, book cover, CD cover, etc.);
however, they would still gain confidence in the observation of first-hand source materials. At any point in the exercises, the images
gained could be captured and enhanced using appropriate digital manipulation software.
All students, regardless of the areas of study they are working in, would benefit hugely from looking at and understanding the way
others have made their art. For example, a textile student may not just look for inspiration from other textile artists; a photographer
may be inspired by becoming aware of a painter’s eye for composition.
Being open to lots of visual stimuli will benefit all students at all levels. Remember how Francis Bacon was inspired by the work of a
photographer and filmmaker.

Learning objectives Assessment Resources Homework / Exemplar resources

Objectives (materials) independent study
● Using newsprint paper to ● AO3 ● Newsprint paper ● Find surfaces Useful websites include:
start with, create some ● AO4 ● Crayon outside the school ● http://www.boylefamily.co.uk/bo
rubbings and take some environment and yle/works/index.html
photographs of the many ● Pencil create rubbings
surfaces around the ● Pastel and / or
classroom, all of which ● Camera photographs

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Component 1 schemes of work

Learning objectives Assessment Resources

Objectives (materials)

Homework / Exemplar resources

independent study
have different textures and ● Relevant digital ● The Boyle family
patterns manipulation presented large-
● Establish visual software scale pieces of art
observational skills through that looked like
recording and observing everyday surfaces.
seemingly everyday Investigate the
surfaces (try altering the Boyle family’s
scale – tiny pieces to artwork and try
collect detailed areas and recreating your
larger pieces for own interpretation
continuous patterns)
● Return to one of your ● AO2 ● Viewfinder ● Research the artist Useful websites include:
rubbings and, using a ● AO3 ● Paper Mimmo Rotella, ● http://www.tate.org.uk/art/artwo
viewfinder, identify an collecting rks/rotella-with-a-smile-t12854
interesting area of the ● AO4 ● Drawing examples of his
image to enlarge instruments work and creating ● www.radicalart.info/process/tear/
a visual response index.html
● Transfer the selected area
roughly to a larger surface to a favourite ● www.rogallery.com/rotella_mim
by scaling it up piece mo/rotella-biography.htm

● Create a ‘visual dictionary’ ● AO1 ● As many ● Look up Useful websites include:

gathering and exploring
materials and surfaces. It
should include a series of
drawn studies, some
closely observed and some
observed in a more
experimental manner and
● AO2 materials as are information on the ● www.tate.org.uk
available to work and style of
● AO3 offer students Francis Bacon, ● www.artcyclopedia.com/artists/
● AO4 the opportunity Jacques Villeglé ● www.moma.org/collection/
to work in an and Antoni Tàpies ● http://www.tate.org.uk/art/artwo
experimental ● Write down key rks/villegle-jazzmen-t07619
and expressive interesting facts

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 Component 1 schemes of work

Learning objectives Assessment Resources

Objectives (materials)

Homework / Exemplar resources

independent study
present these alongside manner about the artists Useful reference books include:
the original source material and their work ● Collage: The Making of Modern
– try as accurately as and, most Art, Brandon Taylor, Thames and
possible to recreate the importantly, what Hudson
surfaces that have been inspired them
studied using a variety of ● Urban Walls: A Generation of
materials and techniques Collage in Europe and America,
Brandon Taylor, Hudson Hills
● Create a lasting personal Press Inc.
reference for future use
when deciding on
appropriate techniques
(‘appropriate’ = a medium
in which the student is
expressive rather than
literal)
● Explore the technique of ● AO1 ● By this stage, ● Continue to create Useful websites include:
mixed media to combine at ● AO2 students could pieces that support ● www.southbankcentre.co.uk/wha
least two of your previous be working the individual tson
pieces of work together, ● AO3 more development of
demonstrating how you ● AO4 independently your idea that you ● www.saatchigallery.com/
have been influenced by on their own are refining; this ● www.nationalgallery.org.uk/
the artist(s) you have been more refined could include ● www.smithsrow.org
studying and developed additional
● Undertake further visual pieces observed studies,
investigations to support ● Materials will a series of
the development of this therefore need supporting
piece to be selected photographs,
on the basis of recorded

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Component 1 schemes of work

Learning objectives Assessment Resources

Objectives (materials)

Homework / Exemplar resources

independent study
● Consider the format of the individual conversations,
presented piece as you students’ work collections of
continue to refine and materials /
develop your ideas objects, etc.

This project may take up to a term to complete. However, it could be shortened or extended to suit the progress of the students or the
time available.
Personal association may form the basis of students’ exploration; the more students are able to develop and refine their ideas from
observation, the more meaningful their work will become.

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