Element 2: Related study — OCR A-Level Art and Design

Element 2: Related study in OCR A-Level Art and Design requires students to research and analyse the work of artists, designers, and craftspeople, connecting their findings to their own practical work. This component develops critical thinking and contextual understanding, enabling students to produce a coherent, illustrated essay that informs and enhances their creative practice.

Element 2: Related study is a core component of the OCR A-Level Art and Design course, requiring students to produce a written investigation of at least 1000 words that is directly linked to their practical work. This study is not merely a biographical account of an artist; it demands a critical and analytical exploration of how artists, designers, and craftspeople generate ideas, use materials, and communicate meaning. The study must be illustrated with images and can take the form of an essay, a digital presentation, or a combination of text and visuals.

The purpose of the related study is to develop your contextual understanding and to demonstrate how research informs creative practice. You are expected to investigate a minimum of two artists or sources, but a deeper exploration of a theme, movement, or technique is encouraged. The study should be a personal journey, showing how your findings have influenced your own ideas, experiments, and final outcomes. This component is worth 20% of the total A-Level qualification, so it is essential to approach it with the same rigour as your practical portfolio.

In the wider context of the course, the related study helps you to position your own work within the art historical and contemporary landscape. It encourages you to think like a professional artist, who must be aware of precedents and debates in their field. By making explicit connections between your research and your practice, you demonstrate higher-order thinking skills such as analysis, synthesis, and evaluation, which are rewarded in the assessment objectives. Ultimately, this component enriches your practical work, giving it depth and meaning that would otherwise be lacking.

• →Contextual research: Investigating the social, cultural, historical, and personal circumstances that influence artists and their work.
• →Formal analysis: Examining the visual elements (line, tone, colour, texture, shape, form, space) and principles of design (balance, contrast, emphasis, movement, pattern, rhythm, unity).
• →Personal response: Making explicit connections between your research and your own practical work, showing how your understanding has evolved.
• →Critical thinking: Evaluating the significance of artists' work, comparing and contrasting different approaches, and forming your own reasoned judgements.
• →Presentation: Organising your study in a clear, logical, and visually engaging manner, with appropriate use of images and referencing.

• Evidence of independent development of ideas through sustained and focused investigations.
• Material informed by contextual and other sources that informs the development of practical work.
• Evidence of all four assessment objectives (AO1, AO2, AO3, AO4) across the submission as a whole.
• Appropriate selection and presentation of work (e.g., sketchbooks, mounted sheets, maquettes, prototypes, digital presentations, animation, scale models, or illustrated written work).
• Demonstration of critical and contextual understanding embedded throughout investigative processes, research, and practical work.
• Evidence of drawing skills appropriate to the chosen specialism.
• Evidence of the ability to review and refine work as it progresses.

• 💡Ensure the portfolio is viewed as a whole to demonstrate the journey of the creative process.
• 💡Carefully select, organise, and present work to ensure evidence of meeting all four assessment objectives is clear.
• 💡Ensure contextual referencing is evidenced through evaluation of historical and contemporary practitioners, creative industries, societies, cultures, and popular culture.
• 💡Use the 'best-fit' approach when applying marking criteria.
• 💡Ensure the standard applied in marking is consistent with the requirements for the chosen specialism.
• 💡Start your related study early and keep it updated as your practical work evolves. This ensures that your research remains relevant and that you can make authentic connections.
• 💡Use a range of sources, including books, museum websites, interviews, and documentaries, to gain a deep understanding of your chosen artists. Avoid relying solely on Wikipedia.
• 💡When writing, use precise art vocabulary and avoid vague statements. Instead of saying 'it looks nice', explain how the use of complementary colours creates visual tension.

• Using OCR-produced exemplar material for summative assessment.
• Failure to clearly distinguish the learner's own work from collected or transposed material.
• Lack of evidence for all four assessment objectives.
• Insufficient evidence of critical and contextual understanding.
• Failure to identify and acknowledge all sources consulted in a bibliography.
• Misconception: The related study is just a biography of an artist. Correction: It must be an analytical study that focuses on how the artist's work is made and what it communicates, not just a list of facts about their life.
• Misconception: You can write about any artist, even if they have no connection to your practical work. Correction: The study must be directly relevant to your own creative journey; examiners expect to see a clear link between your research and your practical outcomes.
• Misconception: The study is a separate written task and does not affect your practical marks. Correction: The related study is assessed as part of the same component as your practical work, and the quality of your research can enhance the marks for your portfolio.

1. 1Week 1: Choose a theme or question that interests you and is relevant to your practical work. Brainstorm potential artists or sources to investigate. Create a mind map to explore connections.
2. 2Week 2: Conduct in-depth research on your chosen artists. Take detailed notes on their techniques, ideas, and context. Collect high-quality images of their work.
3. 3Week 3: Begin writing your study, focusing on analysis rather than description. Use the PEE (Point, Evidence, Explain) structure for each paragraph. Include images and annotate them.
4. 4Week 4: Review and refine your study. Check that you have made explicit links to your own work. Ask a teacher or peer to read it and give feedback. Ensure your referencing is accurate and your presentation is professional.

• 📋Essay-based questions: These ask you to discuss the work of artists in relation to a theme or movement. You will need to structure a coherent argument and use examples. Practice writing timed essays to improve your speed and clarity.
• 📋Analysis of a given artwork: You may be presented with an unfamiliar image and asked to analyse it using formal elements and contextual knowledge. This tests your ability to apply your skills to new situations.
• 📋Personal reflection questions: These ask you to explain how your research has influenced your own practical work. Be specific and use examples from your portfolio to illustrate your points.
• 📋Comparative questions: These require you to compare and contrast two or more artists or works. Use a Venn diagram or table to organise your thoughts before writing.