GCE

Applied Art and Design

Advanced GCE A2 H413/H613
Advanced Subsidiary GCE AS H013/H213

Report on the Units

June 2007

H013/H213/MS/R/07
Oxford Cambridge and RSA Examinations
OCR (Oxford, Cambridge and RSA Examinations) is a unitary awarding body, established by the
University of Cambridge Local Examinations Syndicate and the RSA Examinations Board in
January 1998. OCR provides a full range of GCSE, A level, GNVQ, Key Skills and other
qualifications for schools and colleges in the United Kingdom, including those previously
provided by MEG and OCEAC. It is also responsible for developing new syllabuses to meet
national requirements and the needs of students and teachers.

This report on the Examination provides information on the performance of candidates which it is
hoped will be useful to teachers in their preparation of candidates for future examinations. It is
intended to be constructive and informative and to promote better understanding of the syllabus
content, of the operation of the scheme of assessment and of the application of assessment
criteria.

Reports should be read in conjunction with the published question papers and mark schemes for
the Examination.

OCR will not enter into any discussion or correspondence in connection with this Report.

© OCR 2007

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 CONTENTS

Advanced GCE Applied Art and Design (Double Award) (H613)

Advanced GCE Applied Art and Design (H413)

Advanced Subsidiary GCE Applied Art and Design (Double Award) (H213)
Advanced Subsidiary GCE Applied Art and Design (H013)

REPORTS ON THE UNITS

Unit Content Page

* Chief Examiner’s Report 1

F140 2D and 3D skills, materials and techniques 4

F141 Communication and meaning through visual language 5

F142 Preparing and working to a brief 6

F143 The creative process 8

F144 3D design 9

F145 Fashion and textiles 9

F146 Graphic design 9

F147 Lens-based media and multimedia 9

F148 Fine art 9

F149 Professional practice and progression 10

F150 Decorative imagery 14

F151 Multimedia specialisms 14

F152 Spatial design 14

F153 Fashion design 14

F154 Graphic design specialisms 14

F155 3D design/crafts 14

F156 Fine art specialisms 14

F157 Textiles 14

* Grade Thresholds 15
Report on the Units taken in June 2007

Chief Examiner’s Report

General Comments

June 2007 was the fourth session for GCE Applied Art and Design. It was pleasing to see
Centres entering candidates for all the AS Portfolio Units and A2 Portfolio Units.

Centres are still very enthusiastic and committed to this award and they have been very helpful
and cooperative in arranging visits and releasing work for OCR’s use at Standardisation and
Award meetings.

Most Centres had displayed their work in quiet rooms, set aside for the sole use of the
moderator. Nearly all work was displayed according to the OCR instructions, unit by unit, and in
rank order, this made the moderation process run more smoothly. However, a few Centres
greatly extended the practical difficulty and duration of the moderation process by presenting
their Candidates’ work, although in rank order, zipped up or tightly packed inside folders! When
this work was extracted for moderation the work lacked sense of sequential clarity, making
moderation more difficult.

Centres and candidates must ensure that the work to be moderated is placed in the correct
discrete units. This is particularly important if the course has been delivered holistically. Centres
are also reminded that forecast grades should be sent in for each candidate.

The majority of Centres met the 15th May deadline for the dispatch of their paperwork to the
moderator. A significant number of Centres, however, only provided MS1’s and needed to be
‘reminded’ to send their Centre Assessment Forms (GSW223) and the Centre Authentication
Forms (CCS160). The resulting delay effectively stalls the necessary thorough preparation by
moderators in terms of notifying any clerical, transcription or arithmetical errors, and being able
to correct these in a timely manner prior to the visit.

Moderators require the following by the 15th May:

• MS1’s: Please check that these are correctly filled in and correlate with the Centre
Assessment Forms,

• Centre Assessment Forms (GCW233) relating to each candidate and unit entered,

• Centre Authentication Forms CCS160 – one to cover AS units entered and a separate one
for A2 units. It is important that Centres realise that the moderation process cannot take
place unless the moderator has received the Centre Authentication Forms for AS/A2.

Centres should ensure that candidates have labelled all their work with their name, candidate
number and Centre number.

It is very evident that after the moderation process is completed, Centres are keen to have
feedback about the work displayed. Teachers want to understand more about the moderation
process and are encouraged to attend Inset courses for this new qualification. Inset courses for
GCE Applied Art and Design will again be offered in 2007/2008 and if there are any queries
about Inset, then please contact the Customer Care or check the OCR website: www.ocr.co.uk

This specification has encouraged candidates to be more confident, ask more questions and be
involved with problem solving and lateral thinking. They have been fully engaged in talking to
clients and understanding the implications of a brief, and encouraged to investigate the work of
others’. Presentation is a very important part of the vocational aspect of this award and it is vital
that candidates are made aware that all work presented should be client-focused or for a target
audience.

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Report on the Units taken in June 2007

Some Centres need to adjust their marking to acknowledge the higher A2 level, for Units F149 –
F157, where an increased scope and quality of evidence are required. The generic assessment
grid provided for Units F149 – F157 is designed to acknowledge this increase in level, but, in
some cases, the assessment criteria within the bands on the grid are simply not being applied
correctly.

Teacher’s Tip
Suggested areas for a broader range and/or qualities of evidence required to achieve A2 Units:
• Development and modifications of ideas
• Selection and use of media and materials
• Skill levels displayed
• Presentation techniques
• Quality of Outcome achieved and standard of finish
• Evaluative commentary

A CD of exemplar material and best practice is available from OCR. This has proved to be very
informative and helpful to Centres and candidates.

Centres are reminded that if they encounter any problems with lost, damaged or missing work
that they should contact their Examinations Officer immediately.

Comments on the Portfolio Units – Response to the Specification – content, standard and
presentation, range, approaches used, etc.

Objective 1 – Applying knowledge and understanding of others’ practice.

As last session, good levels of artist research were encouraged, with some very interesting and
relevant artist connections made and explored. A broad range of artists, designers and
craftspeople have been used, with both contemporary and historical influences.

The work seen was clearly more effective where candidates had adapted and created their own
new and exciting versions based on others’ work, rather than simply making copies. However, a
few candidates had produced biographical information on artists which added little to their work
and this time could be used more effectively. Candidates should be made aware that when
justifying their choice of artwork, it would be helpful to explain why the candidate feels a
particular artist, style or movement is relevant. The benefits can then be usefully applied in the
candidate’s own work.

Teachers Tip
The effective communication of work through Research, Development, Review and
Presentation will make a significant difference to candidates’ achievement in all Units.

It is vitally important that candidates show ‘clients’ how their outcomes/proposal came about,
setting the work out in such a way that the creative journey is clear, from choosing a starting
point to the final piece of work. This is the essence of the creative process and it should be
clear when looking at the work.

There are various ways in which work can be presented – sketchbook, worksheets, CD
ROM/DVD or any other media. The major criteria, is that it should be relevant and appropriate to
the nature of the work.

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Report on the Units taken in June 2007

Objective 2: Applying skills, techniques and understanding.

Marks allocated for this Assessment Objective were often found to be generous during
moderation, especially at the higher end of the marking scale. Some Centres were unable to
discriminate adequately between a ‘good’ and a ‘fluent’ level (ie Band 4 or Band 5?)

Teachers Tip
Candidates need to explore and experiment with a range of media, materials and techniques to
find out about and know the potential of the information and imagery they have collected during
their initial research phase (Objective 1).

Where Centres had received the ‘Good Practice’ CD it had obviously proved very useful and been
a very effective working tool. It was pleasing to note that good practice aspects such as
‘contextualised sketchbooks’ and ‘real world’ site-specific locations for outcomes/proposal were
frequently found in candidate’s evidence for this submission.

Objective 3: Analysis, synthesis and evaluation.

Candidate approaches to analysis of their work, and the quality and style of any evaluative
commentary are extremely varied. Some candidates may limit their opportunities to attract marks
in this objective by simply not attempting to annotate or include any form of written response, even
where some form of simple explanation could genuinely assist client understanding.

Where Objective 3 has been carried out throughout a project, clarity of process is more clearly
seen. As in previous sessions, candidates often scored lower marks in this objective.

Teachers Tip
Any written observations included should actively support the visual language used and never
be provided in place of it. “I used tone in my drawing of an apple to……”

Annotation should always be concise, critical and analytical or technical. It should not state the
obvious eg “My drawing of an apple”. Such comments serve no purpose whatsoever, being not
critical, analytical or technical.

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Report on the Units taken in June 2007

General Comments

F140 Unit 1: 2D and 3D Skills

Candidates were provided with opportunities to investigate style and techniques. However,
sometimes this project was too broad, and would have benefited from being anchored to a
theme, accessed through a well-prepared and detailed brief. Some candidates produced fully
realised final pieces with well-considered, site-specific visuals in order to help client
understanding.

Most centres had taken on board the importance of working in 3D and producing outcomes.

Teachers Tip
Candidates must have experience of 3D formal elements, materials and making techniques to
enable them to comprehend three dimensional form.

Please note: If there is no evidence of 3D work in a candidates submission they can only access
half the maximum marks, ie 50 of 100 available.

If Centres are in any doubt about delivering the 3D aspect of this unit, there is a help-sheet
entitled ‘3D or Not 3D’ available from OCR.

Where Centres had made their candidates fully aware of the vocational aspect of this unit, most
candidates had performed extremely well. Centres are beginning to realise that it takes time to
develop skills and it is important to keep candidates well motivated with effective time
management plans. Some candidates seemed to investigate a large number of techniques, but
did not go on to produce quality outcomes.

Teachers Tip
Candidates performed with greater confidence and understanding of the Assessment Objectives
when they had used separate sketchpads or folders for each unit. It seemed to focus their ideas
and planning in readiness for their final outcomes. It also encouraged them to annotate
throughout the brief and ensure a meaningful and concise evaluation.

Overall work for this Unit was well presented with candidates becoming more aware that
presentation is a priority when dealing with clients or target audience.

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F141 Unit 2: Communication and Meaning through Visual Language

This Unit was designed to act as a bridge between Unit 1: 2D and 3D Skills and Unit 3: Preparing
and Working to a Brief, but the skills developed in visual language and communication will be
used throughout the other units.

Teachers Tip:
In order to achieve well in this unit, it is important that candidates research and explore the work
of both historical and contemporary artists, craftspeople and designers. This will help them to
appreciate how visual language and mark making is used to inform and develop their own work.

Where courses had been structured, candidates had used critical references and research to
develop work effectively. Vocational awareness was apparent in most candidates’ submissions
with the more able having a consistent approach and making regular references to their original
brief.

There were some site visits and visits to galleries which were very influential in informing
outcomes. Some candidates had used secondary source material very constructively but others
had used ‘cut and paste’ from magazines and the Internet merely as ‘padding’ and it was often
not relevant to their work.

Annotation was used in sketchbooks and this complemented the work of the more able
candidates, but it tended to be more basic and limited for the weaker candidates.

There was a tremendous variety, range of media, styles and techniques throughout this unit and
it was pleasing to see candidates explore and fully develop their ideas with some excellent
analysis and evaluations.

Candidates are becoming very adept at using photography, in most cases digital cameras, as a
means of recording both for drawing purposes and a means of recording visits. Candidates had
also used their ICT skills well and these were evident in the development of ideas and in the
presentation of outcomes.

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Report on the Units taken in June 2007

F142 – Preparing and Working to a Set brief

General Comments

This examined Unit operates a vocationally-focused themed scenario and project brief outlines
set by OCR. Candidates are free to work in ways that will allow them to demonstrate their
particular skills in line with their chosen specialist 2D or 3D pathway. Project briefs are provided
as pathway oriented outlines, to be elaborated by candidates in discussion with their teachers
(clients) who ensure that candidate proposals are realistic and within the scope of available
resources. The range of skills developed in this AS level Unit will enable candidates to
demonstrate that they can effectively plan, organize and present their work, communicate their
ideas and provide solutions, leading to greater independence at A2.

The themed scenario runs from September to May and can be delivered to suit delivery
arrangements within Centres. New scenarios are despatched to Centres each May and also
made available on the OCR website at:

http://www.ocr.org.uk/Data/publications/pre_release_materials_live_materials/AS_ALevel_Applie
d_Art_And_Design_Unit3_F142_Preparing_and_Working_to_a_Brief.pdf

This early disclosure is designed to enable pre-emptive research to be carried out by candidates
before they begin their AS year. Additionally, because the same scenario is ‘live’ for the
academic year, it is possible for candidates to submit work in January and, if necessary, attempt
to improve their January mark in the May session by effecting improvements and re-submitting
enhanced work.

The themed scenario is accompanied by the inclusion of project brief outlines which give the
vocational and applied focus to the unit. Project brief outlines are designed to enable candidates
to respond using their specialist skills within a range of art and design sector pathways. There is
no set time-limit for the preparatory research and work necessary to plan and produce the final
outcome/solution to the project brief but candidates must meet the deadline for presentation to
the client, which is a date set by the teacher.

The scenario and project brief outlines for this year were centred on a new water sports complex
combining world class training and education facilities with an associated café bar; ‘The Engine
Room’.

Candidates appeared to have little difficulty engaging with the main thrust of the project brief
outlines which enabled students to use a range of mark making techniques investigating the
qualities of water and movement. 2D and 3D objects and imagery were explored, inspired by
artists such as Hockney, Hokusai, Nolde, Feininger, Klee and Kandinsky as well as other
contemporary artists and photographers.

On occasions, the use of primary source material was limited or not entirely appropriate to
candidate’s intentions. Connections between the research and the need to meet the needs of
the client were sometimes rather vague. There was, in many cases, an over reliance on
secondary sources in the form of found imagery drawn from magazines or the internet. These
had not always been appropriately used to inform outcomes.

As in January, the most popular project brief outlines adopted were ‘making a splash’ and ‘catch
the wind’. The best of these were interpreted into a range of client focused and site specific
outcomes including innovative, large-scale paintings, ’customised’ water sports equipment such
as surfboards, promotional materials (mainly posters), textiles, tableware and accessories for the
‘Engine Room’ café bar.

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Report on the Units taken in June 2007

Although some very good work in a wide range of materials and styles were seen, the level of
commitment and skills observed was varied, especially in preparatory studies, (assessment
objective 1) where the best examples invariably owed their success to some energetic and
exhilarating imagery drawn from extensive research involving primary and secondary sources
and information on existing water sports centres and/or café bars.

Successful candidates assessed in the top mark bands combined comprehensive planning and
research with relevant contemporary and historical artist connections to appropriately inform
their ideas and developments. The best practical outcomes displayed good or fluent skills
supported by the relevant use of concise, critically evaluative annotations and/or coherent
explanations. A variety of 2D and 3D media were used to construct works stimulated by a wide
range of water sports activities.

Less successful candidates assessed in the lower mark bands were frequently found to have
presented weak investigations and research with limited ideas and making skills. Although some
relevant links and connections to others work were identified, concise annotation would have
been useful in tracking developing personal views and ideas.

Work that was unfinished or produced with little consideration for the ‘client’ or potential end-user
in presentation or display attracted fewer marks. The qualification specification for this unit
stipulates that completed outcomes are required, produced within the framework of a Centres’
own, local arrangements and teacher/client set deadlines.

Teachers Tip
It is important that when looking at the work of others that candidates do not focus on the
biographical detail but instead construct meaningful critical analysis on the use of those chosen
artists’ visual language, working methods and professional practice as it relates to their own
work.

Candidates should ask themselves:

• Who is the work for?
• Who are their clients and who are the target audience?
• Where is the work to be shown and used?

These aspects are fundamental to vocational practice.

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Report on the Units taken in June 2007

F143 – The Creative Process

General Comments

Encouraging a creative response to an externally-set brief, this unit is relevant to all candidates
who are completing the Double Award at AS level. Candidates have the opportunity to make use
of a long preparation period, with the paper being released in the May prior to the year of the
examination. It is recommended that art, craft or design outcomes should be appropriate to
individuals’ particular strengths, as recognised by both tutor and candidate.

With a clear focus on the creative process, the response to the selected brief should correspond
with one of the set starting points, with research and investigation being completed with obvious
vocational awareness.

Preparatory studies and research, together with a clear ability to analyse and evaluate, should
be clearly presented through sketchbook work or study sheets.

The brief this year used an award ceremony to promote the plight of the homeless as its central
theme, presenting candidates with an opportunity to present creative outcomes whilst selecting
from a diversity of art and design specialisms.

Moderation revealed that candidates responded in enthusiastic and engaging ways, presenting
well-considered and socially aware creative projects. The S.A.F.E awards encouraged highly
personal investigations, with a range of interpretations and outcomes seen.

The theme allowed for a broad range of artists, sculptors and designers to be researched.
Successful candidates in the top mark band used a breadth of critical understanding, responding
in highly independent and perceptive ways. Less successful candidates, who were heavily
reliant on teacher-led development, produced weaker outcomes when limited by appropriate
resources.

Practical development highlighted candidates’ engaged responses to selected briefs, with

growing independent and personal approaches seen at all levels. The social context of the brief
allowed for thoughtful and well-considered creative journeys, with the majority of candidates
presenting a wealth of experimental preparatory work. Such exploration illustrated candidates’
sustained and involved commitment to preparatory work.

Candidates at the top of the mark bands responded with intelligent and informed outcomes,
whilst those at the bottom produced often predictable and rudimentary pieces. Outcomes were
disappointing overall, with the developmental process being stronger that the final outcome in
the majority of submissions.

Centres should encourage the recognition of the brief’s intentions and requirements, making the
vocational aspect central to the development and realisation of ideas.

Teachers Tip
Thoughtful presentation of work, with appropriately realised outcomes should be encouraged,
remembering to liaise with the ‘client’ throughout the creative process.

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Report on the Units taken in June 2007

F144 Unit 5: 3D Design

Candidates presented a range of vocational opportunities in this area.

More able candidates had made well referenced and concisely annotated comments in
sketchbooks/notebooks.

Some good analysis and planning skills were demonstrated and there were some interesting and
varied historical and contextual references to other artists and craftspeople.

More able candidates had presented their work with a strong client focus with close reference to
their brief.

F145 Unit 6: Fashion and Textiles

Good practice in this area produced vibrant sets of work, which responded well to their initial
briefs.

Sketchbooks were informative and showed independent style evolving to a final outcome. There
was also some excellent annotation and evaluation.

F146 Unit 7 Graphic Design

Greater use of ICT was evident in this area and was very appropriate to the vocational qualities
and requirements of graphic design

Presentation was often of a high quality and in some cases was extremely professional, with some
highly finished final outcomes.

This unit was delivered well in most centres with some excellent client-focused work.

F147 Unit 8: Lens-Based Media and Multimedia

Few submissions were made in this area.

Where candidates had actively pursued their own ideas, some very innovative solutions were
seen.

F148 Unit 9: Fine Art

Some high quality submissions were seen this session, but in some instances, the lack of any
discernible vocational context disadvantaged some candidates.

Good references to other artists and craftspeople were used to inform outcomes.

The quality of presentation was generally pleasing, but at times was disparate and lacked
cohesion. Candidates need to be more selective in their submissions.

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F149: Professional Practice and Progression

General Comments

F149 should be regarded as one of the keys to successful achievement for A2 Applied Art and
Design. The unit will confirm the vocational pathways for all the subsequent A2 portfolio units.

Centres should note that although this is an examined unit, there is a no set time scale for its
delivery. The teacher, as client, should negotiate with an individual candidate practical time
constraints and deadlines in relation to the candidate entry date for this unit.
It was noticed that where Centres had in the past delivered an advanced vocational qualification
in art and design, a presumption was sometimes made. This being that this A2 unit is identical to
a previous specification. Centres must be aware of the present specification and objectives for
F149 and not to confuse them with previous qualification requirements.

As an examined unit, success could often be measured by how well the candidate had fulfilled
their own statement of intent. Candidates in the higher mark range generally prepared a
statement of intent with adequate scope to allow the production of a quality final outcome. Initial
research for this unit was found to be of a good standard. Most candidates were able to locate
an appropriate artist, designer, craftsperson or related business. Candidates gaining a
worthwhile insight into professional practice, underlining many possible vocational connections.

Work submitted for assessment included not only developmental preparation work, but also the
summative outcomes, and was varied in terms of specialisms. Candidates benefited from
combining the best of their own individual skills with their chosen art and design specialism.
Where a Centre or candidate cannot find a suitable artist, designer or craftsperson locally, a
candidate can research another practitioner, providing sufficient reference material is available.
In this instance, no direct contact is required. It should be emphasized that extensive critical
research and evaluation would be even more necessary in this situation.

Presentation of candidates’ work, in many instances, left a lot to be desired.

Candidates must remember that their completed work has to be of a suitable standard for
presentation to a client. A folder of work that exhibits a collection of unmounted or uncared for
offerings diminishes the quality of the candidate’s work overall.
In conclusion, work presented for moderation this session indicated that a number of Centres
have a clear understanding of this unit’s purpose and function. Assessment in some Centres
was found to be over generous. This particularly related to the awarding of marks for objectives
AO2 and AO3, where the quality of work did not achieve A2 standard. On a final positive note,
vocationality was well-considered and developed in much of the work produced in Centres this
session. Possible areas for future improvement are dealt with under the following headings.

Research

Research was of a good standard generally and appropriate to the unit. A wide range of
investigation into art and design specialisms was evident. The research work, submitted by
certain candidates, could have been reinforced by the following:

Teacher Tips
• In depth evaluation studies of individual practitioners
• Specific comment and responses from the artist or designer
• Illustrations of the practitioner’s own work
• Illustrations of work in progress and the working environment.

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Report on the Units taken in June 2007

Connections could be made relating to the candidate’s own working conditions in their Centre
also making comparisons of available resources. It was found that references made to work
experience placements sometimes consisted entirely of literature provided by the practitioner or
organisation concerned. Some responses merely recorded the work placement without any
indication or understanding of the processes involved. In these instances, little insight into the
purpose of the activity in progress was evaluated by the candidate.

Statement of Intent

The first principle of the statement of intent is that it is a negotiated brief between the candidate
and the client (teacher). This forms the brief for the delivery of the creative project.

The candidate’s completion of the statement of intent should confirm an understanding of their
professional approach to art and design. In producing the statement of intent, candidates should
be reminded that quality is far more important than quantity. A well reasoned statement of intent
will highlight the various stages of development and progression. Minimal, but appropriate
comment on the stages should be clearly linked. Again, a range of statement of intents have
been carefully considered this session and it was apparent that good practice was identified
where candidates adopted a logical approach. Firstly establishing ‘what they were going to do’
then describing the elements of their own determined brief.

It is a requirement that the statement of intent should be produced prior to the commencement of
the creative project and must be clearly visible as part of each submission. Retrospective diaries
of ‘what I did’ have seldom any value.
The client (teacher) should negotiate with the candidate and consider whether or not the creative
project is appropriate to the candidate’s own skills. Also, that the proposal has sufficient scope
and potential to provide a quality outcome. The completed statement of intent should be signed
off by the teacher. Good examples from this session’s submission were seen across the entire
mark range. They were usually structured to include some of the following elements:

• initial research
• higher education opportunities
• vocational links
• brief for the creative project
• definition of available resources
• time scale and deadlines
• presentation requirements
• final evaluation

The Creative Project

High quality creative work, supported by some examples of excellent levels of skill, was seen in
this session’s submissions. This particularly related to the specialisms where vocationality is
implicit. Graphic and IT related disciplines were less in evidence this session. It was noted that
candidates do not always include developmental work with their with their final project
presentation. This is particularly relevant in relation to multi media and IT based work. Design
adaptations showing how the work progressed to the final outcome are essential in assessing
how and for what marks were awarded. Fashion and textile related projects were popular. This
emphasized the accessibility of designers in these professional spheres. The skill levels
assessed in objective AO2 were often seen to be over rewarded, particularly in connection with
fashion and craft items that required technical making skills.

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Report on the Units taken in June 2007

However, where fine art forms the basis of the creative project, the projects must have definite
vocational connections. Candidates need to clearly identify the purpose of their project. Possible
client links should be considered, especially when related to commissioned fine art work.
Constraints, including cost, scale and making time should be taken into account. Public art
projects should contain reference to material suitability, site-specific locations, health and safety,
also costings.

A highly successful submission this session showed how a candidate had contacted a design
and craft practitioner. The candidate became involved with the craft, and meaningful in depth
research both theoretical and practical took place. The results of the research evolved into new
design work, culminating in sophisticated practical examples of the craft.

Presentation

The importance of presentation at the A2 level cannot be overstressed. All candidates work
benefits from polished presentation. Summative outcomes must receive proper consideration to
show the work off to its best advantage. Supplementary evidential, development and preparation
material requires almost as much care. Candidates should be aware that illegible written and
supportive annotation is not likely to form part of an appropriate professional presentation.

Teacher Tips
• Assist the candidate to define the direction of their research. Selecting, if possible, a
practitioner whose specialism will engage and inspire the candidate.
• Make candidates aware that they can effectively link unit 10, professional practice to other
A2 portfolio units. The research element can be common to both. But candidates must
provide separate creative developmental work and two final outcomes for each unit.
• Teacher guidance may be necessary to channel candidates in directions that will provide
the appropriate scope to satisfy the vocational requirements of this qualification.
• The candidate should always remember that the work they are assembling will be
presented to the client. Presentation skills developed at this level will be invaluable, not
only for this qualification, but also any future progress into higher education or
employment.

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Report on the Units taken in June 2007

F150 Decorative Imagery F151 Multi Media

F152 Spatial Design F153 Fashion Design
F154 Graphic Design F155 3D Craft
F156 Fine Art F157 Textiles

General Comments

June 2007 was the second session that candidates could be entered for A2 Portfolio Units and
centres proved to be helpful and co-operative when making arrangements for the moderation
visit. Most centres had work available in quiet areas, but some centres had work arranged by
candidate; work should be displayed in rank order and by Unit to facilitate the moderation
process.

Most work was well-presented with some centres taking a great deal of time and trouble to
ensure exhibitions were of the highest standard. Some candidates made excellent use of sketch
books and plastic sleeved folders to present work alongside mounted sheets or final focused
pieces reflecting the need to present work to a client. Candidates were encouraged to present a
photograph of their final piece in its intended location which also reflected the vocational aspect
of the work.

When photographing individual pieces of work it would be useful for some indication of scale to
be incorporated in the photograph, such as a ruler alongside the artwork. A minority of centres
failed to display any work, preferring to leave it in folders. This is not good practice, nor is it in
the best interests of the candidates who should be fully aware of appropriate presentation.

All centres encouraged candidates to investigate the work of others. This worked very well
where candidates had been involved in workshops or visits to galleries. Over reliance on reams
of downloaded images and text, which did not inform outcomes, were less successful.

Centres encouraged candidates to use a wide range of media and styles including traditional
mark-making approaches and modern ICT-based technology. Candidates showed strong skill
levels where they worked from direct observation. Photography was very well used as a means
of gathering primary source material for drawing, for recording visits and recording work in
progress.

There was some excellent concise annotation but some candidates had written far too much,
some of which was irrelevant. Some centres should advise students with illegible writing to word
process their annotation and be more aware of client presentation.

Whilst there was some very good work seen, the standard of work presented for moderation this
session was variable. Centres need to be aware of the clear distinction between AS and A2 in
relation to the skill level when assessing candidates’ work, as it was common to for centres to
over-mark on AO2. Work tended to be of a higher quality when the brief suited the candidate’s
strengths. Some candidates work could be improved by completing more relevant research
rather than producing lots of “cut and paste” from magazines, and by having a clearer brief.

The most successful candidates showed an increase in the skill level from AS to A2 as they had
matured and improved. Work was thoroughly researched and showed mature, in-depth
development of ideas. Relevant, concise annotation and evaluation was evident with clear
understanding. The selection and presentation of work showing strong vocational influence
being both professional and suitable for the client. Candidates achieved best where centres had
set briefs with specific constraints, enabling candidates to achieve highly in the vocational aspect
of the specification.

13
Report on the Units taken in June 2007

F150 Decorative Imagery

This unit should provide scope for every A2 candidate. The gathering of research and resource
material was often successful, especially where there was not an over reliance on downloaded
internet imagery. There were some inventive outcomes where candidates had designed and
made high-quality wrapping paper and decorative chests. However, in some instances
candidates were unable to develop suitable vocational outcomes; this does not fulfil the
requirements of the Assessment Objectives.

F151 Multi Media

Little work was seen but there were some interesting examples of animation, showing good level
of skill.

F152 Spatial Design

Some interesting work was seen based on the design of outdoor space following a visit to a
stately home. There were film/stage-set related projects and candidates designed seating areas
for cafés. Whilst these projects were vocationally appropriate, the quality of 3D model making
was variable.

F153 Fashion Design

Good research with interesting historical and contemporary designer connections produced
promising preliminary design work but in some centres candidates did not always produce high-
quality outcomes due to lack of dressmaking and needlework skills. At A2, the quality of finished
garments should be evident and appropriate to the specialism.

F154 Graphic Design

There were some successful candidate submissions for this unit that showed very good IT
developmental work. However, there was also some poor presentation, which was surprising
given the natural vocational nature of this Unit. Some centres with strong Fine Art based
strengths followed an illustration pathway, but illustrative results were of variable quality with the
most successful candidates showing good technical skills.

F155 3D Craft
Only a small number of ceramic submissions were seen, but the most successful candidates
had made artefacts using a combination of traditional methods, such as slab building, moulding
and coiling, decorating them with a range of slip and glazes. One centre did an interesting
project based on chairs, where candidates designed and constructed some weird and wonderful
life-sized seating using found materials, card and paper maché.

F156 Fine Art

Variable results seen, the more successful exhibited strong vocational links, showing good skill
levels and good presentation qualities. A wide range of media and styles were seen, with some
candidates producing some excellent large-scale work, particularly when working from direct
observation.

F157 Textiles
A popular optional unit. The quality of submissions often reflected individual centre teaching
skills and resources. This was usually found to be one of the most successfully delivered and
assessed A2 units.

14
Report on the Units taken in June 2007

Advanced GCE Art & Design (H413/H613)

June 2007 Assessment Session

Unit Threshold Marks

Unit Maximum a b c d e u
Mark
Raw 100 80 70 60 50 40 0
F149
UMS 100 80 70 60 50 40 0
Raw 100 80 70 60 50 40 0
F150
UMS 100 80 70 60 50 40 0
Raw 100 80 70 60 50 40 0
F151
UMS 100 80 70 60 50 40 0
Raw 100 80 70 60 50 40 0
F152
UMS 100 80 70 60 50 40 0
Raw 100 80 70 60 50 40 0
F153
UMS 100 80 70 60 50 40 0
Raw 100 80 70 60 50 40 0
F154
UMS 100 80 70 60 50 40 0
Raw 100 80 70 60 50 40 0
F155
UMS 100 80 70 60 50 40 0
Raw 100 80 70 60 50 40 0
F156
UMS 100 80 70 60 50 40 0
Raw 100 80 70 60 50 40 0
F157
UMS 100 80 70 60 50 40 0

Specification Aggregation Results

Overall threshold marks in UMS (ie after conversion of raw marks to uniform marks)

Maximum A B C D E U
Mark
H413 600 480 420 360 300 240 0

Maximum AA AB BB BC CC CD DD DE EE U
Mark
H613 1200 960 900 840 780 720 660 600 540 480 0

15
Report on the Units taken in June 2007

The cumulative percentage of candidates awarded each grade was as follows:

A B C D E U Total
Number of
Candidates
H413 15.9 35.5 64.5 86.0 95.3 100.0 115

AA AB BB BC CC CD DD DE EE U Total
Number of
Candidates
H613 13.8 21.9 32.1 48.5 62.8 75.0 88.8 95.4 97.4 100.0 218

For a description of how UMS marks are calculated see;

www.ocr.org.uk/OCR/WebSite/docroot/understand/ums.jsp

Statistics are correct at the time of publication

16
Report on the Units taken in June 2007

Advanced GCE Art & Design (H013/H213)

June 2007 Assessment Session

Unit Threshold Marks

Unit Maximum a b c d e u
Mark
F140 Raw 100 81 71 61 51 41 0
UMS 100 80 70 60 50 40 0
F141 Raw 100 81 71 61 51 41 0
UMS 100 80 70 60 50 40 0
F142 Raw 100 81 71 61 51 41 0
UMS 100 80 70 60 50 40 0
F143 Raw 100 81 71 61 51 41 0
UMS 100 80 70 60 50 40 0
F144 Raw 100 81 71 61 51 41 0
UMS 100 80 70 60 50 40 0
F145 Raw 100 81 71 61 51 41 0
UMS 100 80 70 60 50 40 0
F146 Raw 100 81 71 61 51 41 0
UMS 100 80 70 60 50 40 0
F147 Raw 100 81 71 61 51 41 0
UMS 100 80 70 60 50 40 0
F148 Raw 100 81 71 61 51 41 0
UMS 100 80 70 60 50 40 0

Specification Aggregation Results

Overall threshold marks in UMS (ie after conversion of raw marks to uniform marks)

Maximum A B C D E U
Mark
H013 300 240 210 180 150 120 0

Maximum AA AB BB BC CC CD DD DE EE U
Mark
H213 600 480 450 420 390 360 330 300 270 240 0

17
Report on the Units taken in June 2007

The cumulative percentage of candidates awarded each grade was as follows:

A B C D E U Total
Number of
Candidates
H013 15.7 34.5 59.2 79.4 87.0 100.0 231

AA AB BB BC CC CD DD DE EE U Total
Number of
Candidates
H213 16.7 24.0 34.7 43.3 58.7 71.3 81.3 88.7 96.0 100.0 160

For a description of how UMS marks are calculated see;

www.ocr.org.uk/OCR/WebSite/docroot/understand/ums.jsp

Statistics are correct at the time of publication

18
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