WJEC Level 3 Advanced GCE in Art and Design

a practical and theoretical study of the human form in Art, Craft & Design presented in an audio-visual form

an exploration of narrative art presented in a sketchbook or storyboard format that includes extended commentary

aspects of contemporary practice such as digital imaging, scripted as a TV documentary

environmental or political issues in Art exhibited as display boards or placards

genres or movements such as Expressionism, Welsh Contemporary Sculpture or Bauhaus documented as a series of gallery guides

relationships between image and text presented in PowerPoint or e-book format

use of symbolism and allegory investigated in an illustrated essay.

digital media.

film, animation, video, photography

installation

land or environmental art

mixed media, including collage and assemblage

painting and drawing

performance and conceptual art

printmaking: relief, intaglio, screen processes and lithography

sculpture

advertising and branding

animation and special effects

bookworks.

computer graphics

design for print

editorial

game design

illustration

multimedia design

package design

typography

web and app design

digital imaging

documentary photography

experimental imagery

fashion photography

moving image (video, film, animation).

photographic installation

photographing people

photographing places

photojournalism

still-life photography

accessories.

constructed textiles (knitted, woven, embellished or combined with other materials)

costume

digitally or traditionally printed and/or dyed fabrics, garments and materials

fashion

interior design

textile installation

3-D animation and puppet design and construction

architectural design

ceramics

environmental design

exhibition design

furniture design.

interior design

jewellery/body ornament

performance design

product design

production design

sculpture

Art, craft and design can involve use of an almost limitless range of materials, techniques and processes, but due regard should be given to achieving appropriate depth as well as breadth of learning experiences.

Learners opting for Art, Craft and Design explore practical and critical/contextual work through a range of 2D and /or 3D processes and media throughout the earlier stages of their investigations.

The final resolution of their exploratory work can be in 2D and/or 3D processes and media (reflecting disciplines from more than one endorsed title) or be work associated with a single endorsed title.

They should explore selected practical and contextual areas of art, craft and design through a range of two and/or three dimensional media and processes.

Analytical skill and critical and contextual understanding in appraising, comparing and contrasting the work of relevant artists, craftspeople and designers and other contextual sources and in formative and summative evaluation of personal outcomes.

Awareness of the wide variety of work produced by artists, craftspeople and designers and differences in their methods, approaches, purposes and intentions.

Development of ideas that are informed by investigative contextual study of historical and contemporary art, craft and design and other sources relevant to the selected area of study.

Discrimination shown in reviewing and refining ideas as work progresses. Skilful control exercised in attending to detail, such as re-constructing parts of three-dimensional craft pieces, to produce well resolved outcomes of quality.

Exploration of stimulating resources and rich visual and tactile sources to initiate and develop innovative ideas, with due regard to relevant formal elements, particularly composition. Clear relationships should be established between working methods and outcomes. Each significant step in the creative process should be documented, with due regard given to the penultimate stage of development so that final outcomes do not suddenly appear.

Selection of, and purposeful experimentation with, a sufficient and appropriate breadth of media and processes, mixed media and combinations of media, exercising suitable control of these to maximise creative potential, showing evidence of appropriate depth and breadth of study.

Critical reflection on progression of work in order to effectively review what has been learned, acquire deeper understanding and clarify purposes and meanings. Where appropriate, learning could be transferred to new contexts, such as adapting an expressive, abstract painted response to cross sections of fruit in order to develop graphic designs for new, locally-produced fruit yoghurts.

Gathering, selecting, organising and communicating relevant information in undertaking research into visual and other sources of reference, showing personal interests and judgements. Due attention given to selecting appropriate sources of enquiry and rigorously analysing these to extract informative detail.

Recording, by drawing and other suitable means, such as colour, tonal and textural notes, photographs and annotation in sketchbooks and on study sheets, ideas, observations and insights that are in line with personal intentions.

Consideration of different presentational formats and selection of the most appropriate of these for the submission. Due regard should be given to the purpose of the work and how it might engage the interest of an audience, such as a display of an art, a craft and a design outcome developed from a common theme, accompanied by a screen-based programme of visuals and text.

Explicit connections made, where appropriate, between the different elements of the submission, including contextual, practical and written responses, presenting work that is meaningful, well informed and in an order which can be easily followed.

Presentation of truly personal, imaginative final outcomes that, together with selective evidence of the processes by which they were produced, effectively realise stated intentions.

Analytical skill and critical and contextual understanding in comparing and contrasting the work of relevant artists, craftspeople and designers and other contextual sources and in the evaluation of personal outcomes.

Awareness of the wide variety of work produced by artists, craftspeople and designers and differences in their methods, approaches, purposes and intentions.

Development of ideas that are informed by investigative contextual study of art, craft and design and other sources relevant to the selected area of study.

Discrimination shown in reviewing and refining ideas as work progresses. Skilful control exercised in attending to detail, such as re-constructing parts of three-dimensional craft pieces, to produce well resolved outcomes of quality.

Exploration of stimulating resources to initiate and develop innovative ideas, with due regard to relevant formal elements, particularly composition. Clear relationships between working methods and outcomes. Each significant step in the creative process should be documented, including the penultimate stage of development so that final outcomes do not suddenly appear.

Selection of, and experimentation with, a sufficient and appropriate breadth of media and processes, exercising suitable control of these to maximise creative potential.

Critical reflection on progression of work review what has been learned, acquire understanding and clarify purposes and meanings. Where appropriate, learning could be transferred to new contexts, such as adapting an expressive, abstract painted response to cross sections of fruit in order to develop graphic designs for marketing locally-produced fruit yoghurts.

Gathering, selecting, organising and communicating relevant information in investigating visual and other sources of reference. Due attention given to selecting appropriate sources of enquiry and analysing these to extract informative detail.

Recording, by drawing and other suitable means, such as colour, tonal and textural notes, photographs and annotation in sketchbooks and on study sheets, ideas, observations and insights that are in line with personal intentions.

Connections made, where appropriate, between the different elements of the submission, including contextual, practical and written responses, presenting work that is meaningful and in an order which can be easily followed.

Consideration of different presentational formats and selection of the most appropriate of these for the submission. Due regard should be given to the purpose of the work and how to make it look interesting, such as a display of an art, a craft and a design outcome developed from a common theme, accompanied by a screen-based programme of visuals and text.

Presentation of personal, imaginative final outcomes that, together with evidence of the processes by which they were produced, realise stated intentions.

Awareness of the wide variety of work produced by artists, craftspeople and designers, the relationship between their disciplines and differences in their methods, approaches, purposes and intentions.

Development of ideas that are informed by investigative contextual study of historical and contemporary art, craft and design and other sources, showing understanding of how artefacts and images are reflective of the time, place and other contexts within which they are produced.

Investigative, analytical skill and critical and contextual understanding in appraising, comparing and contrasting the work of relevant artists, craftspeople and designers and other contextual sources and in formative and summative evaluation of personal outcomes.

Discrimination shown in reviewing and refining ideas as work progresses. Skilful control exercised in attending to detail in interpreting, evaluating and communicating judgements about images, objects and artefacts, to produce well resolved outcomes of quality.

Investigation of stimulating resources including visual and tactile sources, live and recorded artists’ presentations, radio and TV arts programmes, newspaper and magazine exhibition reviews, publications and selective use of the Internet. Wherever possible, visits should be undertaken to primary sources such as galleries, museums, studios and workshops of artists, craftspeople and designers to encounter and engage with creative outcomes and their makers at first hand.

Judicious selection and purposeful exploration of a sufficient and appropriate breadth of media, material, techniques and processes, critical and contextual topics, themes, periods, movements and styles and ways in which ideas, attitudes and beliefs have influenced art, craft and design.

Critical reflection on progression of work in order to effectively review what has been learned, showing deeper understanding, clarify purposes and meanings and ability to transfer learning to a new context such as adapting a written and illustrated exposition of the life and work of a local artist to a documentary TV script.

Gathering, selecting, organising and communicating relevant information in undertaking research into appropriate sources of reference, showing curiosity, personal interests and judgements. Due attention given to selecting appropriate sources of enquiry and rigorously analysing these to extract informative detail.

Recording, by a variety of suitable means, such as written notes, sketches, colour, tonal and textural notes, photographs in workbooks, sketchbooks and on study sheets, ideas, observations and insights that are in line with personal intentions.

Clear connections made, where appropriate, between the different elements of the submission, including contextual, practical and written responses, presenting work that is meaningful, well informed and in an order which can be easily followed.

Consideration of different presentational formats and selection of the most appropriate of these for the submission, giving due regard to the purpose of the work and how it might engage the interest of an audience or editor, for example, production of a gallery resource pack for KS3 learners.

Presentation of innovative responses that are essentially personal and effectively realise stated intentions, such as a fictitious series of letters exchanged between a landscape painter and a landscape photographer in which they compare, in words and images, differences in their approaches.

Analytical skill and critical and contextual understanding in comparing and contrasting the work of relevant artists, craftspeople and designers and other contextual sources and in the evaluation of personal outcomes.

Awareness of the wide variety of work produced by artists, craftspeople and designers, the relationship between their disciplines and differences in their methods and approaches.

Development of ideas that are informed by contextual study of art, craft and design and other sources, showing understanding of how artefacts and images reflect the time, and place which they are produced.

Discrimination shown in reviewing and refining ideas as work progresses. Skilful control, evaluating and communicating judgements about images, objects and artefacts, to produce outcomes of quality.

Investigation of stimulating resources including visual and tactile sources, artists’ presentations, radio and TV arts programmes, newspaper reviews, publications and selective use of the Internet. Wherever possible seeing historical and contemporary examples at first hand and engaging with artists, craftworkers and designers at work.

Selection and purposeful exploration of appropriate breadth of media and techniques, critical and contextual topics, themes, movements and styles and ways in which ideas and beliefs have influenced art, craft and design.

Critical reflection on progression of work to review what has been learned, showing deeper understanding, clarifying purposes and ability to transfer learning to a new context such as adapting a written and illustrated exposition of the life and work of a local artist to a documentary TV script.

Gathering, selecting, organising and communicating relevant information in studying appropriate sources of reference, showing curiosity, personal interests and judgements. Due attention given to selecting appropriate sources of enquiry and analysing these to extract informative detail.

Recording, by a variety of suitable means, such as written notes, sketches, colour, tonal and textural notes, photographs in workbooks, sketchbooks and on study sheets, observations and insights that are in line with personal intentions.

Clear connections made, where appropriate, between the different elements of the submission, including contextual, practical and written responses, presenting work that is meaningful and in an order which can be easily followed.

Consideration of different presentational formats and selection of the most appropriate of these for the submission, giving due regard to the purpose of the work and how to make it look interesting for an audience or, for example, production of a gallery resource pack for KS3 learners.

Presentation of innovative responses that are essentially personal and realise stated intentions, such as a fictitious series of letters exchanged between a landscape painter and a landscape photographer in which they compare, in words and images, differences in their approaches.

Analytical skill and critical and contextual understanding in appraising, comparing and contrasting the work of relevant fine artists and other contextual sources and in formative and summative evaluation of personal outcomes.

Awareness of the wide variety of fine art processes and outcomes and the differences between fine art sculpture, ceramics, printmaking and photography and utilitarian application of these art forms. Where appropriate, personal interpretations should demonstrate the distinction between expressive and functional approaches.

Development of ideas that are informed by contextual study of historical and contemporary fine art and other sources such as architecture, music, dance, drama, production design and published media and the place of fine art within these.

Discrimination shown in reviewing ideas as work develops. Careful control exercised in refining detail, such as delineation of anatomical structure in portraying the human form, to produce well resolved outcomes of quality.

Exploration of stimulating resources and rich visual and tactile sources to initiate and develop innovative ideas, with due regard to line, tone, colour, texture and other visual elements, particularly composition. Clear relationships should be established between working methods and outcomes. Each significant step in the creative process should be documented, with due regard given to the penultimate stage of development so that final outcomes do not suddenly appear.

Selection of, and experimentation with, a sufficient and appropriate breadth of fine art media and processes, mixed media and combinations of media, exercising suitable control of these to maximise creative potential.

Critical reflection on work and progress in order to effectively review what has been learned, show deeper understanding and clarify purposes and meanings.

Gathering, selecting, organising and communicating relevant information in undertaking research into visual and tactile sources of reference, showing personal interests and judgements. Due attention given to selecting appropriate sources of enquiry and rigorously analysing these to extract informative detail.

Recording, by drawing and other suitable means, such as colour, tonal and textural notes, photographs and annotation in sketchbooks and on study sheets, ideas, observations and insights that are in line with personal intentions.

Consideration of different presentational formats and selection of the most appropriate of these for the submission, giving due regard to the purpose of the work and how it might engage the interest of an audience.

Explicit connections made, where appropriate, between the different elements of the submission, including contextual, practical and written responses, presenting work that is meaningful, well informed and in an order which can be easily followed.

Presentation of creative responses that are essentially personal and effectively realise stated intentions, such as a triptych comprising surface prints, experimental photographs and painted portraits depicting the life stages of a family member.

Analytical skill and critical and contextual understanding in comparing and contrasting the work of relevant fine artists and other contextual sources and in the evaluation of personal work.

Awareness of the variety of fine art processes and outcomes and the distinction between expressive and functional approaches.

Development of ideas that are informed by contextual study of fine art and other sources such as architecture and production design and the place of fine art within these.

Discrimination shown in reviewing and refining ideas as work develops. Control exercised in refining detail, such as delineation of anatomical structure in portraying the human form, to produce well resolved outcomes of quality.

Exploration of stimulating resources to initiate and develop innovative ideas, with due regard to line, tone, colour, texture and other visual elements, particularly composition. Clear relationships between working methods and outcomes. Each significant step in the creative process should be documented including the penultimate stage of development so that final outcomes do not suddenly appear.

Selection of, and experimentation with, breadth of fine art media and processes, exercising control of these to maximise creative potential.

Critical reflection on work and progress in order to review what has been learned, show understanding and clarify purposes and meanings.

Gathering, selecting, organising and communicating relevant information in investigating visual and tactile sources of references . Due attention given to selecting appropriate sources of enquiry and analysing these to extract informative detail.

Recording, by drawing and other means, such as colour, tonal and textural notes, photographs and annotation in sketchbooks and on study sheets, ideas, observations and insights that are in line with personal intentions.

Connections made, where appropriate, between the different elements of the submission, including contextual, practical and written responses, presenting work that is meaningful and in an order which can be easily followed.

Consideration of different presentational formats and selection of the most appropriate of these for the submission, giving due regard to the purpose of the work and how to make it look interesting.

Presentation of creative responses that are personal and realise stated intentions, such as a triptych comprising surface prints, experimental photographs and painted portraits depicting the life stages of a family member.

Analytical skill and critical and contextual understanding in appraising, comparing and contrasting the work of relevant graphic designers, other contextual sources and in the formative and summative evaluation of personal design processes and outcomes.

Awareness of the variety of issues that influence the purposes, meanings and contexts of graphic design such as ethical and conservational considerations, marketing strategies, promotional campaigning, reprographic processes and magazine and journal production.

Development of ideas that are informed by contextual study of past and present graphic design and other sources such as television and cinema, fine art, product design and published media.

Discrimination in reviewing ideas as work develops. Careful control exercised in refining detail, such as selection of fonts, relationship of typography to images and a suitable reprographic process to produce outcomes of quality.

Exploration of stimulating resources and studio-based and environmental sources to initiate and develop innovative ideas, with due regard to composition and layout, proportion, line, tone, colour, texture, scale and other visual elements.. The full potential of graphic communication should be explored through experimentation with established and emerging technologies and, where appropriate, combining graphic design methods with other processes to originate new ways of working. Each significant step in the creative process should be documented, with particular attention given to the penultimate stage so that final outcomes do not suddenly appear.

Selection of, and experimentation with, appropriate graphic design media and processes, with controlled use of typography and imagery from primary and secondary sources, including purposeful manipulation using digital software. Technical details may be included, but should be selective and concise. Concern with technical processes should not assume greater importance than the progression of creative ideas.

Critical reflection on work and progress in order to review what has been learned, deepen understanding and clarify purpose and meaning.

Gathering, selecting, organising and communicating relevant information in undertaking research into visual and other sources of reference. Due attention given to the selection of the most appropriate images and the analysis and annotation of these, rather than including multiple thumbnail prints with no evaluative comments.

Recording, through drawing, photographs and by other means, such as layout sketches, storyboards and written notes, ideas, observations and insights that are relevant to personal intentions.

Consideration of different presentational formats, such as public transport advertising or bus shelter posters, selecting the most appropriate of these for the submission, giving due regard to the purpose of the work and how it might engage the interest of an audience or potential clients. If the print size or cost of a preferred format is a constraint, then this could be drawn, described and/or presented as a scale model.

Explicit connections made, where appropriate, between the different elements of the submission, including contextual, practical and written responses, presenting work that is meaningful, well informed and in an order which can be easily followed.

Presentation of creative responses that are essentially personal, effectively realise stated intentions and fulfil design requirements.

Analytical skill and critical and contextual understanding in comparing and contrasting the work of relevant graphic designers, other contextual sources and in the evaluation of personal design processes and outcomes.

Awareness of the issues that influence the purposes, meanings and contexts of graphic design such as ethical and conservational considerations, reprographic processes and magazine production.

Development of ideas that are informed by contextual study of past and present graphic design and other sources such as, fine art, product design and published media.

Discrimination in reviewing ideas as work develops. Careful control exercised in refining detail, such as selection of fonts, relationship of typography to images and selecting a suitable reprographic process to produce outcomes of quality.

Exploration of resources and studio-based and environmental sources to develop innovative ideas, with due regard to composition and layout, proportion, line, tone, colour, texture, and other visual elements. The potential of graphic communication should be explored through experimentation with established and emerging technologies. Each significant step in the creative process should be documented, with particular attention given to the penultimate stage so that final outcomes do not suddenly appear.

Selection of, and purposeful experimentation with, appropriate graphic design media and processes, with controlled use of typography and imagery from primary and secondary sources, including purposeful manipulation using digital software. Technical details may be included, but should be selective and concise. Concern with technical processes should not assume greater importance than the progression of creative ideas.

Critical reflection on work and progress in order to review what has been learned, deepen understanding and clarify purpose and meaning.

Gathering, selecting, organising and communicating relevant information in undertaking research into visual and other sources of reference. Due attention given to the selection of the most appropriate images and the analytical annotation of these, rather than, for example, including multiple thumbnail prints with no evaluative comments.

Recording, through drawing, photographs and by other means, such as layout sketches, storyboards and written notes, ideas, observations and insights that are relevant to personal intentions.

Consideration of different presentational formats, such as public transport advertising or bus shelter posters, selecting the most appropriate of these for the submission, giving due regard to the purpose of the work and how to make it look interesting. If the print size or cost of a preferred format is a constraint, then this could be drawn, described and/or presented as a scale model.

Explicit connections made, where appropriate, between the different elements of the submission, including contextual, practical and written responses, presenting work that is meaningful, well informed and in an order which can be easily followed.

Presentation of creative responses that are essentially personal, effectively realise stated intentions and fulfil design requirements.

a working vocabulary and specialist terminology.

continuity and change in different genres, styles and traditions

how ideas, feelings and meanings can be conveyed and interpreted in images and artefacts

how images and artefacts relate to the time and place in which they were made and to their social and cultural contexts

relevant materials, processes, technologies and resources

Analytical skill and critical and contextual understanding in appraising, comparing and contrasting the work of relevant photographers and other contextual sources and in formative and summative evaluation of personal photographic outcomes.

Awareness of the variety of photographic and motion picture genre and, where appropriate, relating personal work to a particular genre.

Development of ideas that are informed by contextual study of past and present photographic and other sources such as film, fine art, installation art, graphic design, production design and published media and the place of photography within these.

Discrimination in reviewing ideas as work develops. Careful control exercised in refining detail, such as in editing, image manipulation and print resolution, to produce outcomes of quality.

Exploration of stimulating resources and studio-based and environmental sources to initiate and develop innovative ideas, with due regard to viewpoint, composition, tone, colour, texture, scale and other visual elements. Each significant step in the creative process should be documented. The full potential of photography should be explored through experimentation with traditional and digital media, where appropriate, combining photographic and other techniques to originate new ways of working.

Selection of, and experimentation with, appropriate photographic media and processes, other media and combinations of media, with controlled use of lighting, shutter speed, aperture, lenses, filters and digital software. Technical details may be included, but should be selective and concise. Concern with technical processes should not assume greater importance than the progression of creative ideas.

Critical reflection on work and progress in order to review what has been learned, deepen understanding and clarify purpose and meaning.

Gathering, selecting, organising and communicating relevant information in undertaking research into visual and tactile sources of reference. Due attention should be given to the selection of only the most significant images and the analysis and annotation of these, rather than including multiple thumbnail/contact prints with no evaluative comments.

Recording, through photography and by other means, such as sketches, storyboards and written notes, ideas, observations and insights that are relevant to personal intentions.

Consideration of different presentational formats, such as animated sequences and use of mixed media, selecting the most appropriate of these for the submission, giving due regard to the purpose of the work and how it might engage the interest of an audience or potential clients. If the print size or cost of a preferred format is a constraint, then this could be drawn, described and/or presented as a scale model.

Explicit connections made, where appropriate, between the different elements of the submission, including contextual, practical and written responses, presenting work in an order which can be easily followed.

Presentation of creative responses that are essentially personal and effectively realise stated intentions, such as a photographic poster to support a strongly held opinion or images of architectural structures projected onto a three-dimensional construction.

Analytical skill and critical and contextual understanding in comparing and contrasting the work of relevant photographers and other contextual sources and in the formative and summative evaluation of personal photographic outcomes.

Awareness of the issues that influence the purposes, meanings and contexts of photographic and of the variety of photographic and motion picture genre and, where appropriate, relating personal work to a particular genre.

Development of ideas that are informed by contextual study of past and present photographic and other sources such as film, fine art, graphic design and published media and the place of photography within these.

Discrimination in reviewing ideas as work develops. Careful control exercised in refining detail, such as in editing, image manipulation and print resolution, to produce outcomes of quality.

Exploration of stimulating resources and studio-based and environmental sources to initiate and develop innovative ideas, with due regard to viewpoint, composition, tone, colour, texture, scale and other visual elements. Each significant step in the creative process should be documented. The full potential of photography should be explored through experimentation with traditional and digital media.

Selection of, and experimentation with, appropriate photographic media and processes, other media and combinations of media, with controlled use of lighting, shutter speed, aperture, lenses, filters and digital software. Technical details may be included, but should be selective and concise. Concern with technical processes should not assume greater importance than the progression of creative ideas.

Critical reflection on work and progress in order to review what has been learned, deepen understanding and clarify purpose and meaning.

Gathering, selecting, organising and communicating relevant information in studying visual and tactile sources of reference. Due attention should be given to the selection of only the most significant images and the analysis and annotation of these, rather than including multiple thumbnail/contact prints with no evaluative comments.

Recording, through photography and by other means, such as sketches, storyboards and written notes, ideas, observations and insights that are relevant to personal intentions.

Consideration of different presentational formats, such as animated sequences and use of mixed media, selecting the most appropriate of these for the submission, giving due regard to the purpose of the work and how to make it look interesting. If the print size or cost of a preferred format is a constraint, then this could be drawn, described and/or presented as a scale model.

Explicit connections made, where appropriate, between the different elements of the submission, including contextual, practical and written responses, presenting work in an order which can be easily followed.

Presentation of creative responses that are essentially personal and effectively realise stated intentions, such as a photographic poster to support a strongly held opinion or images of architectural structures projected onto a three-dimensional construction.

apply knowledge and understanding in making images and artefacts; review and modify work; and plan and develop ideas in the light of their own and others’ evaluations

explore relevant resources; analyse, discuss and evaluate images, objects and artefacts; and make and record independent judgements

generate and explore potential lines of enquiry using appropriate media and techniques

organise, select and communicate ideas, solutions and responses and present them in a range of visual, tactile and/or sensory forms

record experiences and observations, in a variety of ways using drawing or other appropriate visual forms; undertake research; and gather, select and organise visual and other appropriate information

use knowledge and understanding of the work of others to develop and extend thinking and inform own work

Analytical skill and critical and contextual understanding in appraising, comparing and contrasting the work of relevant textile designers and other contextual sources and in formative and summative evaluation of personal textile outcomes.

Awareness of the wide variety of creative textile processes and outcomes and the relationship between functional and aesthetic considerations, showing understanding of how these are applied and adapted to meet particular needs. Sensitive response to issues such as cultural traditions, disability, recycling, and upcycling,

Development of ideas that are informed by contextual study of historical and contemporary textile design in our own and other cultures and other sources such as fine art, architecture, photography, published media and production design.

Discrimination shown in reviewing ideas as work develops. Careful control exercised in refining detail, such as the design and production of decorative features, to produce well resolved outcomes of quality.

Exploration of stimulating resources and rich visual and tactile sources to initiate and develop innovative ideas, with due regard to line, colour, pattern, texture and other visual elements, particularly form. Clear relationships should be established between working methods and outcomes. Each significant step in the creative process should be documented, with due regard given to the penultimate stage of development so that final outcomes do not suddenly appear.

Selection of, and purposeful experimentation with, a sufficient and appropriate range of textile materials and processes, mixed media and combinations of techniques, exercising suitable control of these to maximise creative potential. Technical details may be included, but should be selective and concise. Concern with technical processes or craft processes should not assume greater importance than the progression of creative ideas.

Critical reflection on work and progress in order to effectively review what has been learned, show deeper understanding and clarify purposes and meanings.

Gathering, selecting, organising and communicating relevant information in undertaking research into visual and tactile sources of reference, showing personal interests and judgements. Due attention given to selecting appropriate sources of enquiry and rigorously analysing these to extract informative detail.

Recording in sketchbooks, workbooks and on study sheets, observations and insights that are in line with personal intentions, such as colour, pattern and textural notes, by means of drawing, mark-making and other suitable methods such as photographs and analytical commentary.

Consideration of different presentational formats, such as through a studio photo-shoot of a theatrical costume or sketches of the textile product in a suitable setting. Selection of the most appropriate of these for the submission, giving due regard to the purpose of the work and how it might engage the interest of an audience or potential clients. It is not necessary to always produce finished items or garments but they should be complete enough to demonstrate ability to take them through to a resolved conclusion.

Explicit connections made, where appropriate, between the different elements of the submission, including contextual, practical and written responses, presenting work that is meaningful, well informed and in an order which can be easily followed.

Presentation of creative responses that are essentially personal and which effectively realise stated intentions, such as machine embroidered, appliqué panels for the new home of a close friend.

Analytical skill and critical and contextual understanding in comparing and contrasting the work of relevant textile designers and other contextual sources and in the evaluation of personal textile outcomes.

Awareness of the variety of creative textile processes and outcomes and understanding of the relationship between functional and aesthetic considerations. Sensitive response to issues such as cultural traditions and recycling.

Development of ideas that are informed by contextual study of past and present textile design in our own and other cultures and other sources such as fine art, photography and production design.

Discrimination shown in reviewing ideas as work develops. Careful control exercised in refining detail, such as the design and production of decorative features, to produce well resolved outcomes of quality.

Exploration of stimulating resources and rich visual and tactile sources to initiate and develop innovative ideas, with due regard to line, colour, pattern, texture and other visual elements, particularly form. Clear relationships established between working methods and outcomes. Each significant step in the creative process documented, with due regard given to the penultimate stage of development so that final outcomes do not suddenly appear.

Selection of, and purposeful experimentation with, a range of textile materials, processes and techniques, exercising suitable control of these to maximise creative potential. Technical details may be included, but should be selective and concise. Concern with technical or craft processes should not assume greater importance than the progression of creative ideas.

Critical reflection on work and progress in order to effectively review what has been learned, show deeper understanding and clarify purposes and meanings.

Gathering, selecting, organising and communicating relevant information in studying visual and tactile sources of reference, showing personal interests and judgements. Due attention given to selecting appropriate sources of enquiry and analysing these to extract informative detail.

Recording in sketchbooks, workbooks and on study sheets, observations and insights that are in line with personal intentions, such as colour, pattern and textural notes, by means of sketching, mark-making and other suitable methods such as photographs and analytical commentary.

Connections made, where appropriate, between the different elements of the submission, including contextual, practical and written responses, presenting work that is meaningful, well informed and in an order which can be easily followed.

Consideration of different presentational formats, such as through a studio photo-shoot of a theatrical costume or sketches of the textile product in a suitable setting. Selection of the most appropriate of these for the submission, giving due regard to the purpose of the work and how to make it look interesting for an audience. It is not necessary to always produce finished items or garments but they should be complete enough to demonstrate ability to take them through to a resolved conclusion.

Presentation of creative responses that are essentially personal and realise stated intentions, such as machine embroidered, appliqué panels for the new home of a close friend.

Analytical skill, critical and contextual understanding in appraising, comparing and contrasting the work of relevant three-dimensional designers and other contextual sources and in formative and summative evaluation of personal design processes and outcomes. Personal responses to inspirational images rather than production of cut and paste ‘mood’ boards.

Awareness of the variety of factors that influence the purposes, meanings and contexts of three-dimensional design such as ergonomic factors, ethical, conservational and economic considerations, production methods and the practical criteria of a given space. Relevant knowledge of working arrangements within which particular three-dimensional outcomes are produced, such as in set production for a stage play. Understanding that most designers are essentially responsive and collaborative.

Development of ideas that are informed by contextual study of past and present three-dimensional design in our own and other cultures and sources such as science fiction games and publications, film and television, fine art and textiles.

Discrimination in reviewing and refining ideas as work develops. Careful control exercised in attending to detail, such as well-formed connections of components, functional working parts, surface finish and aesthetic appearance, to realise quality outcomes.

Exploration of stimulating resources and workshop-based and environmental sources to initiate and develop innovative ideas, with due regard to the purpose of the intended outcome, its surface, structure, texture, colour, form, mass, volume, scale, proportion, durability and strength and other three dimensional elements. The full potential of selected aspects of three-dimensional design should be explored through experimentation with traditional and emerging technologies and, where appropriate, combining three-dimensional design methods with other processes to originate new ways of working. Each significant step in the creative process should be documented, with particular attention given to the penultimate stage, so that final outcomes do not suddenly appear.

Selection of, and experimentation with, appropriate three-dimensional design media and processes, such as wood, clay, plastic, metal, card and paper, with controlled and safe use of suitable tools and equipment and, where relevant, specialised use of computer aided design and control. Technical details may be included, but should be selective and concise. Concern with technical processes should not assume greater importance than the progression of creative ideas.

Critical reflection on work and progress in order to review what has been learned, deepen understanding, clarify purpose and, where appropriate, transfer learning to a new context, such as from stage to screen.

Gathering, selecting, organising and communicating relevant information in undertaking research and enquiry into three-dimensional, visual, tactile and other sources of reference. Due attention given to rigorous analysis of the most appropriate design possibilities and problem-solving solutions.

Recording, through sketches, perspective drawings, technical drawings by hand and CAD, working plans, photographs, written notes and by other means, ideas, observations and insights that are relevant to personal intentions.

Consideration of different presentational formats, such as design sheets and audio-visual programme, selecting the most appropriate of these for the submission. Due regard should be given to the purpose of the work and how it might engage the interest of an audience or potential clients, such as a producer or design studio. If the cost of a preferred format is a constraint, then this could be drawn, described and/or presented using less expensive materials. Outcomes may take the form of finished pieces, prototypes and full size or scale models. They could be one-off pieces or capable of small batch or mass production.

Explicit connections made, where appropriate, between the different elements of the submission, including contextual, practical and written responses, presenting work in an order which can be easily followed.

Presentation of creative outcomes that are essentially personal solutions to design requirements and effectively realise stated intentions with evidence of personal curiosity and engagement.

Analytical skill, critical and contextual understanding in comparing and contrasting the work of relevant three dimensional designers and other contextual sources and in the formative and summative evaluation of personal design processes and outcomes. Personal responses to inspirational images rather than production of cut and paste ‘mood’ boards.

Awareness of the variety of factors that influence the purposes, meanings and contexts of three dimensional design such as ergonomic factors, economic considerations, production methods and the practical criteria of a given space. Relevant knowledge of working arrangements within which particular three dimensional outcomes are produced, such as in set production for a stage play. Understanding that such designers most are essentially responsive and collaborative.

Development of ideas that are informed by contextual study of past and present three dimensional design in our own and other cultures and sources such as fine art, film and television, and textiles.

Discrimination in reviewing and refining ideas as work develops. Careful control exercised in attending to detail, such as well-formed connections of components, functional working parts, surface finish and aesthetic appearance, to realise outcomes of quality.

Exploration of stimulating resources and workshop-based and environmental sources to develop innovative ideas, with due regard to the use to be made of the intended outcome, its surface, structure, texture, colour, form, scale and strength and other three-dimensional elements. The potential of selected aspects of three-dimensional design should be explored through experimentation with traditional and emerging technologies. Each significant step in the creative process should be documented, with particular attention given to the penultimate stage, so that final outcomes do not suddenly appear.

Selection of, and experimentation with, appropriate three-dimensional design process and materials, such as wood, clay, plastic, metal, card and paper, with controlled and safe use of suitable tools and equipment. Technical details may be included, but should be selective and concise. Concern with technical processes should not assume greater importance than the progression of creative ideas.

Critical reflection on work and progress in order to review what has been learned, deepen understanding, clarify purpose and, where appropriate, transfer learning to a new context, such as from stage to screen.

Gathering, selecting, organising and communicating relevant information in studying three-dimensional, visual, tactile and other sources of reference. Due attention given to analysis of the most appropriate design possibilities and problem-solving solutions.

Recording, through sketches, perspective drawings, technical drawings by hand and CAD, photographs, written notes and by other means, ideas, observations and insights that are relevant to personal intentions.

Consideration of different presentational formats, such as design sheets and audio-visual programme, selecting the most appropriate of these for the submission. Due regard should be given to the purpose of the work and how to make it look interesting. If the cost of a preferred format is a constraint, then this could be drawn, described and/or presented using less expensive materials. Outcomes may take the form of finished pieces, prototypes and full size or scale models. They could be one-off pieces or capable of small batch or mass production.

Explicit connections made, where appropriate, between the different elements of the submission, including contextual, practical and written responses, presenting work in an order which can be easily followed.

Presentation of creative outcomes that are essentially personal solutions to design requirements and effectively realise stated intentions with evidence of personal curiosity and engagement.

Learners should be encouraged to show discrimination when they select, evaluate and present their work for assessment.

Practical enquiry should be linked with, and informed by, critical and contextual study of the work of relevant artists, craftspeople and/or designers.

The culmination of this unit is a practical project/portfolio exploring a theme, concept or specific design brief which should be of personal significance to the learner.

The Enquiry must integrate critical, practical and theoretical work.

The Personal Creative Enquiry consists of an extended, exploratory project/portfolio and outcome/s based on themes and subject matter which are personal and meaningful to the learner.

They should also consider the most appropriate way to present their project/portfolio and be aware of the variety of possible formats, taking account of the presentation’s purpose and the need to make it interesting for an audience.

ensure that written work is legible and communication is clear

extended development of themes, ideas or issues that are of significance to learners

Extended written, critical, contextual and analytical material can take a variety of forms, such as a personal study, an illustrated essay, a digital presentation or blog, illustrated study sheets, a written report, a journal, an article or review and should reflect upon the learner’s work and that of other practitioners.

further theoretical research to develop increased understanding through integrated practical, written and other means of communication.

In order to meet the 1000 word minimum requirement for extended writing that applies to all submissions, learners must present written evidence in sections of not less than 200 words.

Learners should be discriminating when selecting, evaluating and presenting their portfolio for assessment and make considered curatorial decisions in the presentation of their work, using formats which are well-suited to the purpose of the work.

organise information clearly and coherently, using appropriate working vocabulary and specialist terminology.

rigorous exploration of an interdisciplinary or multidisciplinary approach to their work

specialisation in a particular medium, technique or process related to option choice

The course will culminate in a practical project/portfolio with integrated written elements (1000 words minimum), in which learners should develop, (in consultation with their teacher), a personal investigation based on a theme, concept or specific design brief, which is of personal significance and links to the contexts of contemporary and/or past artists, designers or craftspeople.

The Personal Investigation consists of a major, in-depth, practical, critical and theoretical investigative project/theme-based portfolio and outcome/s with integrated extended written critical and contextual analysis (1000 words minimum).

To enable learners to develop an argument in sufficient detail and demonstrate appropriate depth of critical understanding, a minimum of 400 words extended writing must be submitted in conjunction with visual and other evidence to meet the requirements for AO1.

use a form and style of writing which is suitable for purpose

At the conclusion of their preparatory study and sustained focus periods of work, learners will be required to select, evaluate and present their submissions for assessment.

Following the preparatory study period, learners will be allocated a period of 15 hours sustained focus study to realise their response unaided and under supervised conditions.

In addition, learners must ensure that all secondary source material is appropriately acknowledged.

Learners are required to develop independently a personal response to one of a varied range of stimuli within specified time constraints.

Learners are required to select one of the stimuli and develop it in the form of: a personal response or an issue to be addressed or a problem to be considered or a specific design brief or another suitable starting point.

Responses must take the form of critical, practical and theoretical preparatory work and/or supporting studies, which will inform the resolution of these ideas in a 15 hour sustained focus study.

The Externally Set Assignment consists of a series of visual (including moving image) and written stimuli set by WJEC.

This unit represents the culmination of learners’ Advanced level study and provides a substantial challenge.

Work completed during the sustained focus period must be clearly identified.

local sources such as the environment, architecture, cultural institutions, or local artefacts, which are specific to or characteristic of Wales

the artistic and industrial heritage, customs, culture, linguistic characteristics and / or identity of Wales.

the work of contemporary artists, designers or craftspeople who currently contribute to the creative industries in Wales

the work of past artists, designers or craftspeople, who have lived and worked in Wales, or those who have adopted a Welsh focus or perspective in their practice;