Entry Level Certificate

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Entry Level Certificate

Specification

Art and Design

For assessment September 2011 onwards

For certification June 2013 onwards

Entry Level Certificate in Art and Design for assessment from September 2011

onwards

Qualification Accreditation Number: 600/2117/2

Every specification is assigned a national classification code indicating the subject area to which it belongs. To obtain specification updates, access our searchable bank of frequently asked questions, or to ask us a question, register with Ask AQA: aqa.org.uk/ask-aqa/register

You can also download a copy of the specification and support materials from our website:

www.aqa.org.uk/elcart

The Unit Award Scheme provides the facility for students to receive credit for each individual component unit which they complete as they progress through the Entry Level Certificate course. Centres wishing to enter candidates for the complementary Unit Award scheme units should check the evidence required at

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Entry Level Certificate

Specification

Art and Design

5920

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Our specification is published every year on our website (http://www.aqa.org.uk). We will let centres know in writing about any changes to the specification. We will also publish changes on our website. The definitive version of our specification will always be the one on our website, this may differ from printed versions.

You can get further copies of this specification from: AQA Logistics Centre (Manchester)

Unit 2

Wheel Forge Way Ashburton Park Trafford Park Manchester M17 1EH

AQA retains the copyright on all its publications, including the specifications. However, registered centres for AQA are permitted to copy material from this specification booklet for their own internal use.

The Assessment and Qualifications Alliance (AQA), is a company limited by guarantee registered in England and Wales (company number 3644723), and a registered charity (registered charity number 1073334).

Registered address: AQA

Devas Street, Manchester M15 6EX

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Scheme of Assessment

24 4.1 Aims 24 4.2 Assessment Objectives 25 4.3 Assessment Criteria 25 4.4 Requirements 27 4.5 Differentiating Factors 29 4.6 National criteria 29

4.7 Previous learning requirements 29 4.8 Equality, access and inclusion 30

4.9 Progression 30

5 Administration

31

5.1 Availability of assessment units and certification 31

5.2 Entries 31

5.3 Private candidates 31

5.4 Access arrangements, reasonable adjustment and special consideration 31

5.5 Examination language 32

5.6 Qualification titles 32

5.7 Awarding grades and reporting results 32

5.8 Re-sits 32

6

Internally assessed work administration

33 6.1 Authenticating that internally assessed work is genuine 33

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ELCArt and Designfor first teaching from September 2011 (Version 1.0)

6.5 Annotation of internally assessed work 35 6.6 Submitting confirmation of achievement 35 6.7 Factors affecting individual candidates 35

6.8 Keeping candidates’ work 35

7

Moderation

36

7.1 Moderation procedures 36

7.2 Procedures after moderation 36

Appendices

37

A Entry Level Descriptors 37

B Spiritual, moral, ethical, social, legislative, sustainable development,

economic and cultural issues, and health and safety considerations 38

C Record Forms 39

D Wider Key Skills – Teaching, developing and providing opportunities for

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1

Introduction

1.1

Why choose AQA?

We are proud to be one of the United Kingdom’s largest awarding bodies with 3.5 million students sitting their examinations with us in any given year.

As an independent registered educational charity, we invest all our income in the running of our

examinations and in research and development to improve our qualifications and services. We focus on promoting education for the benefit of the public, drawing on years of experience of setting and marking public exams. We don’t aim to profit from education, we want you to.

We are committed to delivering a straightforward and simple teaching experience, in a manageable timescale.

Why choose AQA’s Entry Level Qualifications?

We work closely with teachers to make sure the introduction of a new qualification is straightforward, providing free resources to help them get ready to teach, and ongoing support throughout the life of the qualifications. We refine and develop qualifications which: can help students to achieve their full potential

are relevant to today’s challenges are manageable for schools and colleges facilitate progression

are affordable and value for money.

Other benefits of choosing our qualifications include: access to subject departments

training for teachers, including practical teaching strategies and methods, presented by senior examiners

support for controlled assessment

24 hour support through our website and Ask AQA – an on-line searchable bank of frequently asked questions

a wide range of printed and electronic resources.

We are an educational charity focused on the needs of the learner. All our income is spent on improving the quality of our specifications, examinations and support services. We don’t aim to profit from education, we want you to.

If you are already a customer we thank you for your support. If you are thinking of joining us we look forward to welcoming you.

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1.2

Why choose Entry level Art and Design?

This specification provides students with creative and exciting opportunities to begin their exploration of Art and Design

The increased choice in the new specification allows students to follow programmes of study that suit their strengths and interests. It also allows teachers to tailor their courses to suit the needs of their students

The flexibility and choice within the specification make it suitable for those students with special educational needs as well as those seeking a progression route to GCSE Art and Design

This specification allows progression to GCSE level. It can be seen as a destination in itself or a stopping off point in the student’s journey to greater understanding of Art and Design. There is a similarity with GCSE Art and Design in the content of the Assessment Objectives which will assist those teachers and students wanting to make the transition from ELC to GCSE.

We have retained some familiar features, for example:

some of the popular themes, such as ‘Myself’ and ‘Reflections and Mirror Images’ have been included in our list of 15 creative and inspiring themes

support for teachers from the Teacher Resource Bank (TRB) published on AQA’s website, from Subject Advisors and from the Art and Design Subject Department at AQA

free of charge teacher standardisation meetings. What is new?

The requirement to complete two compulsory units has been removed. Candidates may now select from 6 component units and 15 different themes

Candidates respond to two component units and three themes

We have listened to teachers’ views and increased the variety of themes offered for ELC Art and Design Candidates explore the same areas of study as candidates studying GCSE Art and Design enabling

teachers to teach ELC students alongside those entering GCSE The work is marked holistically out of a maximum of 60 marks

New support materials available on the AQA website, www.aqa.org.uk, as part of the Teacher Resource Bank.

1.3 How to start using this specification?

You need to register at www.aqa.org.uk/askaqa.php to ensure that you receive regular updates and have access to the various resources available.

Once you have decided to enter candidates you need to tell us so we can make sure that you get all the material you need for the examinations. This is very important where examination material is sent to you before the final entry deadline. You can let us know by filling in the appropriate ‘Intention to Enter’ and ‘Estimated Entry’ forms. If your centre is registered on e-AQA you will receive an email prompting you to submit entry information on-line. If you are not e-AQA registered we will send copies to your exams officer. Both forms can be downloaded from our website (www.aqa.org.uk/admin/p_entries.php).

If your centre has not used AQA for any examinations in the past, please contact our centre approval team

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1.4 How can I find out more?

You can choose to find out more about this specification or the services that AQA offer in a number of ways.

Ask AQA

You have 24-hour access to useful information and answers to the most commonly asked questions at

www.aqa.org.uk/askaqa.php.

If the answer to your question is not available, you can submit a query through Ask AQA for our team. We will respond within 2 working days.

Speak to your subject team

You can talk directly to the Art and Design subject team about this specification either by emailing [email protected] or by calling 01483 556 432.

Latest information online

You can find out more including the latest news, how to register for support and downloadable resources on our website at www.aqa.org.uk

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2

Specification at a Glance

2.1 Specification at a glance

This is the only Entry Level specification offered by AQA in this subject. The Subject Code for entry for Entry Level Certificate Art and Design is 5920. Three levels of award are available: Entry 1; Entry 2 and Entry 3.

For the ELC Art and Design Award, candidates must present a Portfolio of Evidence from two different

component units and evidence a choice of three different themes in their total submission. Candidates may use the same component unit to evidence two different themes.

Candidates who do not submit two different component units and evidence from three different themes, will not be eligible for the ELC Art and Design Award and will receive a mark of zero.

Component Units

Applied

Candidates must select two

different component units for study. Fine Art Graphic Communication Photography Textile Design Three-Dimensional Design I plus I Themes 1 Myself

Candidates must respond to their

two component units using three

different themes. 2 Advertising 3 Environment 4 Holidays 5 Theatre 6 Animals

7 Colour and Pattern

8 Buildings and Interiors

9 Fashion 10 Food

11 Reflections and Mirror Images

12 Toys and Games

13 Ceremonies, Festivals and Celebrations

14 Sport and Leisure

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3

Subject Content

Subject

Content

Candidates should develop knowledge, understanding and skills relevant to their chosen component units that encourage direct engagement with original works and practice.

Candidates may work with both traditional and/or new media, within any of the component units, provided the assessment objectives are met and may explore and develop ideas by combining or overlapping their chosen areas of study.

Art based study can be defined as practice that usually involves the development of personal work and lines of enquiry determined by the need to explore an idea, convey an experience or respond to a theme or issue.

Craft based study can be defined as practice that usually involves making activities that draw upon knowledge

of tools, materials and processes and associated creative and practical skills.

Design based study can be defined as practice that usually involves developing a response to a specific need,

brief or starting point, taking account of established requirements and constraints.

3.1 Component Units – Summary of Content

Component Unit 1 Applied

Candidates should produce outcomes in response to project briefs, provided by the centre, that are specifically vocational in nature with content reflecting work-related and client-orientated contexts. They can work in two and/or three dimensions using appropriate art, craft and design materials and working methods.

Component Unit 2 Fine Art

Candidates should produce work relevant to this area of study including one or more of the following: drawing and painting, mixed media, sculpture, land art, installation, printmaking, lens-based and/or light-based media: film, television, animation, video and photography.

Component Unit 3 Graphic Communication

Candidates should produce work relevant to this area of study including one or more of the following: illustration, advertising, packaging design, design for print, communication graphics, computer graphics, multimedia, web design, lens-based and/or light-based media: film, television, animation, video and photography.

Component Unit 4 Photography

Candidates should produce work relevant to this area of study including one or more of the following: theme-based photography (portrait, landscape, still-life), documentary photography, photo-journalism, narrative photography, experimental imagery, photographic installation, new media practice, video, television and film.

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Component Unit 5 Textile Design

Candidates should produce work relevant to this area of study including one or more of the following: fashion and costume, printed and/or dyed fabrics and materials, domestic textiles, constructed and/or stitched and/or embellished textiles.

Component Unit 6 Three-Dimensional Design

Candidates should produce work relevant to this area of study including one or more of the following: ceramics, sculpture, installation, jewellery, body adornment, designing for theatre, television and film, interior design, product design, environmental art and design and architectural design.

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3.2 Assessment

Evidence

Requirements

Candidates should present one Portfolio of Evidence for assessment. This will comprise evidence from their choice of two different component units in response to three different themes. The content of the Portfolio of Evidence will be determined by the particular requirements of the selected component units and the themes chosen for study. Within each of the component units candidates may explore and develop ideas by combining or overlapping their chosen areas of study. Candidates should produce work which covers the Learning Content of their chosen component units and the requirements of the four Assessment Objectives.

Candidates must choose three different themes. Two of these themes should inform their response to one of their two selected component units. The third theme should be used to inform their response to their second component unit ie:

Chosen Component Unit (maximum of two in total)

Chosen Theme (maximum of three in total)

Component Unit 1 Theme 1 Theme 2

Component Unit 2 Theme 3

Each theme features suggested starting points. Candidates may use any of these starting points for their work, or they may develop their own personal response using appropriate contextual references, media and

techniques.

Teachers must ensure that the Portfolio of Evidence is arranged in such a way that it is clear to the moderator which component units and themes have been covered.

There is no restriction on the scale of work produced or the type of media used. (See section 7.1) Candidates must include in their Portfolio of Evidence:

a range of work that demonstrates the breadth and depth of the course of study

a personal response which reflects the component units and themes selected for study

evidence of research and the development and refinement of ideas from initial ideas or project briefs to the realisation of intentions

clear evidence of the relationship between process and outcome presented in such forms as sketchbooks, visual diaries, design sheets, design proposals, preparatory studies and annotated sheets

evidence of experimentation with materials, working methods and techniques evidence of any collaborative work and their specific role in this activity.

Candidates may include in their Portfolio of Evidence:

models, maquettes, prototypes, sculptures and ceramic forms. Photographic records of outcomes such as transient constructions and site specific installations, or oversize or fragile work, are acceptable

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3.3 Rationale

It is recognised that GCSE Art and Design is too demanding for some candidates. ELC Art and Design is designed as a qualification that offers candidates who are unlikely to achieve grade G in GCSE Art and Design the opportunity to achieve a certificated award. This specification has been designed to build on work undertaken at Key Stage 3. The specification has been developed with reference to National Curriculum Attainment Targets and GCSE subject criteria for Art and Design. It is intended that it can be used in conjunction with any GCSE Art and Design specification, particularly those offered by AQA. It therefore offers opportunities for candidates to work alongside those following a GCSE course in Art and Design.

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3.4 Individual component unit content

Component Unit 1 Applied Overview

The Applied project briefs should be provided by the centre and should be specifically vocational in nature with content reflecting work-related and client-orientated contexts. Candidates can work in two and/or three dimensions using appropriate art, craft and design materials and working methods and may explore and develop ideas by combining or overlapping areas of study as appropriate to the Applied component unit. This work should include their development and refinement of ideas, reference to appropriate sources and realisation of intentions.

Learning content Skills and Techniques

Candidates will be expected to demonstrate and evidence the following skills and techniques: Investigating different ways of working within a work related or client orientated context through experimenting with appropriate resources, media, materials, techniques and processes

Interpreting a brief and working within its constraints

Appropriate use of line, tone, colour, texture, pattern, shape, scale, form and structure Awareness of the intended audience or purpose of their work

Different approaches to recording information, such as observation and imagination Awareness of working methods and the appropriate use of materials, tools and techniques The use of safe working practices.

Knowledge and understanding

Candidates will be expected to show knowledge and understanding of:

how artists, craftspeople and designers plan and develop their work in order to meet project briefs and clients’ needs

why a project brief is needed and why ‘meeting the brief’ is so important a range of art, craft and design processes

a variety of approaches and methods of contemporary and historical artists, craftspeople and designers the vocabulary and specialist terms relating to the Applied area of study.

Assessment requirements

Candidates should produce work relevant to this component unit in response to project briefs, provided by the centre, which are specifically vocational in nature with content reflecting work-related and client-orientated contexts. They can work in two and/or three dimensions using appropriate art, craft and design materials and working methods. Candidates’ evidence for this component unit should show coverage of the Learning Content (as above) and the Assessment Objectives (section 4.2) in response to their choice of the 15 themes (section 3.5).

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Component Unit 2 Fine Art Overview

Fine Art covers a range of different media, techniques and processes, both traditional and new technology and candidates should be introduced to a variety of these in their study. They should explore relevant images, artefacts and resources relating to a range of Fine Art and may explore and develop ideas by combining or overlapping areas of study. This work should include their development and refinement of ideas, reference to appropriate sources and realisation of intentions.

Candidates will be expected to demonstrate and evidence the following skills and techniques:

Investigating different ways of working through experimenting with appropriate resources, media, materials, techniques and processes

Appropriate use of line, tone, colour, texture, pattern, shape, scale, form and structure in the context of Fine Art

Different approaches to recording information, such as, observation and imagination Awareness of working methods and the appropriate use of materials, tools and techniques The use of safe working practices.

Knowledge and Understanding

how ideas, feelings and meanings are conveyed in images, artefacts and products within Fine Art a range of art, craft and design processes

a variety of approaches and methods of contemporary and historical artists, craftspeople and designers the vocabulary and specialist terms relating to the study of Fine Art.

Assessment requirements

Candidates should produce work relevant to this component unit by evidencing coverage of the Learning Content (as above) and the Assessment Objectives (section 4.2) in response to their choice of the 15 themes (section 3.5). They may use one or more of the following: drawing and painting, mixed media, sculpture, land art,

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Component Unit 3 Graphic Communication Overview

Graphic Communication covers a range of different media, techniques and processes, both traditional and new technology and candidates should be introduced to a variety of these in their study. They should explore relevant images, artefacts and resources relating to a range of Graphic Communication and may explore and develop ideas by combining or overlapping areas of study. This work should include their development and refinement of ideas, reference to appropriate sources and realisation of intentions.

Appropriate use of line, tone, colour, texture, pattern, shape, scale, form and structure in the context of Graphic Communication

Awareness of the intended audience or purpose of their work

Knowledge and Understanding

how ideas, feelings and meanings are conveyed in images, artefacts and products within Graphic Communication

a range of art, craft and design processes

a variety of approaches and methods of contemporary and historical artists, craftspeople and designers the vocabulary and specialist terms relating to the Graphic Communication area of study.

Assessment requirements

Candidates should produce work relevant to this component unit by evidencing coverage of the Learning Content (as above) and the Assessment Objectives (section 4.2) in response to their choice of the 15 themes (section 3.5). They may use one or more of the following: illustration, advertising, packaging design, design for print, communication graphics, computer graphics, multimedia, web design, lens-based and/or light-based media: film, animation, video and photography.

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Component Unit 4 Photography Overview

Photography covers a range of different lens-based and light-based media, techniques and processes, both traditional and new technology and candidates should be introduced to a variety of these in their study. They should explore relevant images, artefacts and resources relating to a range of lens-based and light-based media and may explore and develop ideas by combining or overlapping areas of study. This work should include their development and refinement of ideas, reference to appropriate sources and realisation of intentions.

Appropriate use of line, tone, colour, texture, pattern, shape, scale and form in the context of Photography Awareness of working methods and the appropriate use of materials, tools and techniques

Understanding of the developing, printing, manipulation and production qualities of still and moving images where appropriate

The use of safe working practices.

Knowledge and Understanding

how ideas, feelings and meanings are conveyed in images, artefacts and products within Photography a variety of approaches and methods of contemporary and historical artists, craftspeople and designers the vocabulary and specialist terms relating to the study of Photography.

Assessment Requirements

Candidates should produce work relevant to this component unit by evidencing coverage of the Learning Content (as above) and the Assessment Objectives (section 4.2) in response to their choice of the 15 themes (section 3.5). They may use one or more of the following: theme-based photography (portrait, landscape, still-life), documentary photography, photo-journalism, narrative photography, experimental imagery, photographic installation, new media practice, video, television and film.

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Component Unit 5 Textile Design Overview

Textile Design covers a range of textile media, techniques and processes, both traditional and new technology and candidates should be introduced to a variety of these in their study. They should explore relevant images, artefacts and resources relating to art and design. They may explore and develop ideas by combining or overlapping areas of study. This work should include their development and refinement of ideas, reference to appropriate sources and realisation of intentions.

Candidates will be expected to demonstrate the following skills and techniques:

Appropriate use of colour, line, shape, texture, pattern, contrast and/or repetition in the context of Textile Design

Knowledge and Understanding

how ideas, feelings and meanings are conveyed in images, artefacts and products within Textile Design a range of art, craft and design processes

a variety of approaches and methods of contemporary and historical artists, craftspeople and designers the vocabulary and specialist terms relating to the study of Textile Design.

Assessment requirements

Candidates should produce work relevant to this component unit by evidencing coverage of the Learning Content (as above) and Assessment Objectives (section 4.2) in response to their choice of the 15 themes (section 3.5). They may use one or more of the following: fashion and costume, printed and/or dyed fabrics and materials, domestic textiles, constructed and/or stitched and/or embellished textiles.

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Component Unit 6 Three-Dimensional Design Overview

Three-Dimensional Design covers a range of media, techniques and processes, both traditional and new

technology and candidates should be introduced to a variety of these in their study. They should explore relevant images, artefacts and resources relating to art and design. They may explore and develop ideas by combining or overlapping areas of study. This work should include their development and refinement of ideas, reference to appropriate sources and realisation of intentions.

Appropriate use of colour, line, tone, texture, shape and form, decoration, scale and proportion in the context of Three-Dimensional Design

Knowledge and Understanding

how ideas, feelings and meanings are conveyed in images, artefacts and products within Three-Dimensional Design

a variety of approaches and methods of contemporary and historical artists, craftspeople and designers a range of art, craft and design processes

the vocabulary and specialist terms relating to the Three-Dimensional Design area of study.

Assessment requirements

Candidates should produce work relevant to this component unit by evidencing coverage of the Learning Content (as above) and Assessment Objectives (section 4.2) in response to their choice of the 15 themes (section 3.5). They may use one or more of the following: ceramics, sculpture, installation, jewellery, body adornment, designing for theatre, television and film, interior design, product design, environmental art and design and architectural design.

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3.5 Themes

Once candidates have selected their two different component units for study they must then select three of the following themes.

1. Myself 9. Fashion

2. Advertising 10. Food

3. Environment 11. Reflections and Mirror Images 4. Holidays 12. Toys and Games

5. Theatre 13. Ceremonies, Festivals and Celebrations 6. Animals 14. Sport and Leisure

7. Colour and Pattern 15. Fantasy 8. Buildings and Interiors

Work produced in response to the candidate’s chosen themes must evidence the Learning Content for the selected Component Unit.

Within each theme candidates may use any of the starting points listed to inform their work or they may develop their own personal response using appropriate contextual references, media and techniques.

1. Myself

Candidates should research a variety of approaches to the theme of Myself and produce work which includes their development and refinement of ideas, reference to appropriate sources and realisation of intentions using one of the component units.

Candidates could:

produce a self-portrait with reference to the work of artists such as Mary Cassatt and Henry Moore or textile designer Alice Kettle

study paintings such as Ford Madox Brown’s The Last of England, Mary Cassatt’s Mother and Child and Jan van Eyck’s Marriage of the Arnolfini and produce figurative work based on family and friends. Other suitable sources include the work of sculptors such as Elisabeth Frink, Alberto Giacometti, Antony Gormley and Auguste Rodin

produce work based on their own personal interests, possessions and hobbies with reference to artists such as Joseph Cornell and Michael Rothenstein who produced work in boxes and Lisa Milroy, Robert Rauschenberg and Eduardo Paolozzi who based their work on found objects produce work based on their own identity, memories or personal surroundings. Works such as

Bedroom at Arles by Vincent van Gogh could be used for reference. Research into native North American totem poles could lead to the development of their own totem pole in which they might represent themselves or family and friends. Alternatively, candidates may produce a family photograph album or poster inspired by research into Aztec Codices.

2. Advertising

Candidates should research a variety of approaches to the theme of Advertising and produce work which includes their development and refinement of ideas, reference to appropriate sources and realisation of intentions using one of the component units.

Candidates could:

evaluate advertisements on television and design an advertisement for a food product to be shown during a children’s television programme. This could be realised by candidates in the form of a short promotional film or a storyboard

design promotional material for a chocolate shop with an Art Nouveau interior having researched the work of designers such as Alphonse Mucha to inform their work

design a carrier bag and additional publicity material for a gallery or shop using research into the work of artists such as Barbara Kruger, Roy Lichtenstein and Pablo Picasso

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3. Environment

Candidates should research a variety of approaches to the theme of Environment and produce work which includes their development and refinement of ideas, reference to appropriate sources and realisation of intentions using one of the component units.

Candidates could:

study the work of artists such as Andy Goldsworthy and LS Lowry who have been inspired by rural or urban environments and produce work inspired by their own locality

look at native or exotic plants and trees with reference to the work of photographer Karl Blossfeldt or painter Margaret Mee. Elizabeth Blackadder, William Morris and Georgia O’Keeffe have been inspired by trees and flowers and candidates could study suitable examples and develop their own studies of trees and flowers

study the work of garden designer Lancelot “Capability” Brown and the artists Katsushika Hokusai and Hiroshige who produced work based on gardens and develop their own work

look at the work of artists such as Anthony Caro, Patrick Heron and Claes Oldenburg and develop work inspired by the visual qualities of either natural or manufactured forms

develop work in response to an environmental issue such as global warming, destruction of the rain forests or pollution and its effect on the environment. This could take the form of a sculpture for a local park, a mural in a shopping centre or promotional materials for a recycling facility. Candidates could look at the work of Kurt Schwitters who has worked with material that society throws away and objects from the environment.

4. Holidays

Candidates should research a variety of approaches to the theme of Holidays and produce work which includes their development and refinement of ideas, reference to appropriate sources and realisation of intentions using one of the component units.

Candidates could:

take as their starting point a favourite holiday destination or a place they would like to visit. Reference to coastal features, canals or rivers as well as theme parks and fairgrounds might inspire their work

produce a display for a tourist information office or an illustrated leaflet designed to promote what a particular locality has to offer

study a notable landmark or place of special interest and design the cover of a leaflet advertising their chosen location

think about travelling to a holiday destination, either real or imaginary, and produce work inspired by artists such as David Bomberg, Richard Long and JMW Turner or relevant examples of Chinese and Aboriginal Art

study the use of collage in the work of artists such as Peter Blake, Eduardo Paolozzi and Robert Rauschenberg and develop their own collaged response incorporating items such as holiday souvenirs, postcards and personal memorabilia.

5. Theatre

Candidates should research a variety of approaches to the theme of Theatre and produce work which includes their development and refinement of ideas, reference to appropriate sources and realisation of intentions using one of the component units.

Candidates could:

research masks such as African spirit masks, Chinese dragon masks, Egyptian death masks and Venetian carnival masks and produce their own mask inspired by their chosen examples

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6. Animals

Candidates should research a variety of approaches to the theme of Animals and produce work which includes their development and refinement of ideas, reference to appropriate sources and realisation of intentions using one of the component units.

Candidates could:

produce work in response to domestic, wild or imaginary animals. Work could be inspired by family pets or visits to farms, zoos, safari parks and wildlife conservation areas

study the representations of animals found in many examples of Native North American, Australian Aboriginal, Japanese, Chinese, Indian and Egyptian art and textiles and develop work inspired by animal forms

study animal anatomy and features such as claws, feathers, shells and skin. Candidates may produce work that could take the form of a decorative piece of jewellery or a piece of body armour to be worn by the candidate and inspired by the protective shells of tortoises, crabs or lobsters look at the way animals move. Sculptors such as Lynn Chadwick and Elisabeth Frink have been inspired by animals moving and candidates could produce work which is inspired by their own observations

look at the work of Bernard Palissy who designed plates and bowls containing three-dimensional modelled forms such as snakes and design their own three-dimensional work incorporating references to animal forms

study gargoyles and develop a personal response inspired by grotesque, mythological animal forms.

7. Colour and Pattern

Candidates should research a variety of approaches to the theme of Colour and Pattern and produce work which includes their development and refinement of ideas, reference to appropriate sources and realisation of intentions using one of the component units.

Candidates could:

study the decorative, symbolic or mood forming aspects of colour with reference to an art movement such as Fauvism, Expressionism, Impressionism, Pointillism or the Bauhaus and develop work on the theme of Colour and Pattern

study the work of embroiderers and weavers Tadek Beutlich and Eirian Short who focus on the colours and textures of thread in their work and ceramicists Elizabeth Fritsch and Kate Malone who apply coloured glazes and surface treatments to their sculptures and vessels. Candidates could develop their own work in which colour provides a significant focus

consider the use of colour in the work of Paul Klee and Georg Muche and develop abstract patterns in which vivid colours are used. They might study how artists such as Francis Bacon, El Greco, Mathis Grünewald and Edvard Munch have used strong colours to express emotions in their paintings and express their own emotions through the use of colour and pattern

look at how Pop Artists used everyday objects in their work in very colourful ways, often making ordinary things seem extraordinary. They were inspired by comic strips, posters, labels and other everyday objects. Candidates could base their work on today’s consumer objects with a view to making the everyday appear unusual

examine colour and pattern on manufactured forms including buildings, fabrics and ceramics. This could include research into stained glass windows, mosaics and tiles that are often fitted together to form an overall design

look at the patterns found in natural forms such as the circles and spirals seen in seashells, fir cones, pineapples and seed pods. Candidates might study the work of sculptors Alexander Calder and Peter Randall-Page and the architect Vladimir Tatlin and develop their own work inspired by patterns in nature.

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8. Buildings and Interiors

Candidates should research a variety of approaches to the theme of Buildings and Interiors and produce work which includes their development and refinement of ideas, reference to appropriate sources and realisation of intentions using one of the component units.

Candidates could:

study interiors of houses, schools or places of interest. Artists such as Patrick Caulfield, Anthony Green and David Hockney have used interiors in their paintings. Sculptural assemblages have featured in the work of Louise Nevelson and installation artist Judy Pfaff. Rachel Whiteread has been inspired by negative spaces in buildings and interiors

look at the interior designs of William Morris and the work of other designers who have used colour and materials effectively within interiors

take as their starting point a view through an archway, doorway or window and use the shapes and spaces they create as inspiration for their own work

visit appropriate buildings and make studies of the architectural details and decorative elements. They could look at the differences between the fronts and backs and the insides and outsides of public buildings such as churches, museums and town halls. These often have interesting decorative features such as stone or wood carvings, textiles or stained glass.

9. Fashion

Candidates should research a variety of approaches to the theme of Fashion and produce work which includes their development and refinement of ideas, reference to appropriate sources and realisation of intentions using one of the component units.

Candidates could:

study fashion through the ages, concentrating on such items as uniforms, casual wear, formal wear, sportswear or clothes for special occasions such as wedding attire

research the work of designers who have been inspired by art movements. For example, Gianni Versace was influenced by Baroque Art, Peter Carl Fabergé by Art Nouveau and Mary Quant by Op Art. Candidates may choose to study items from a particular period such as Victorian embroidered and beaded bags; they could then design and produce a fashion item or fashion accessory such as a bag or scarf

candidates could design and make their own jewellery from found objects inspired by a contemporary maker or could research Coco Chanel's cocktail jewellery of the 1920s or Alfred Cartier's Art Deco style jewellery

look at the work of hat designers Stephen Jones, Philip Treacy and Graham Smith and design and make a hat, fascinator or fashion accessory for a special occasion

look at a range of ceremonial dress and armour and study appropriate cultures and artefacts such as Benin bronzes, Chinese terracotta warriors or Aztec sculptures. They could go on to produce decorative body ornamentation, headwear or masks.

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10. Food

Candidates should research a variety of approaches to the theme of Food and produce work which includes their development and refinement of ideas, reference to appropriate sources and realisation of intentions using one of the component units.

Candidates could:

explore the visual characteristics of food from around the world such as tropical fruits, Asian spices or Scandinavian fish and develop personal work inspired by the shapes, colours, textures and/or forms that they study

research artists that have used food and/or food packaging as a theme for still-life, such as, Juan Sánchez Cotán, René Magritte, Claes Oldenburg and Andy Warhol and produce their own still-life of food and/or food packaging

look at the work of Giuseppe Arcimboldo who used meat, fish, cheese, fruit and vegetables to compose his paintings of people. Having studied his work, candidates could produce imaginative images that combine foods creatively

investigate the way food appears in contemporary advertisements and produce a brochure, menu or poster to advertise a chosen food product or design proposals for a new themed restaurant look at market stalls that contain a rich variety of food in crates and boxes and produce work in any

suitable media.

11. Reflections and Mirror Images

Candidates should research a variety of approaches to the theme of Reflections and Mirror Images and produce work which includes their development and refinement of ideas, reference to appropriate sources and realisation of intentions using one of the component units.

Candidates could:

consider the paintings of artists such as Salvador Dalí, Jan van Eyck, René Magritte and Diego Velázquez who have sometimes included mirrors and reflections in their work. Study paintings by Claude Monet and JWM Turner that record the effects of light on water or different atmospheric conditions. Candidates might produce their own response inspired by reflections and/or

atmospheric conditions

study buildings in which reflections of surroundings can be seen in windows and other surfaces and develop their own imaginative interpretation inspired by Reflections

think about how reflections sometimes give rise to unexpected shapes and patterns and the distorted reflections seen in spoons, some types of mirror, sunglasses and chrome. They might take photographs or record in other ways images of people or objects reflected in shop windows consider the decorative qualities seen in shiny and reflective surfaces. They could study how

designers often take inspiration from shiny and reflective surfaces when producing designs for wallpaper or fabrics and develop their own work

study how objects are reflected in water or on shiny surfaces to produce mirror images, such as a bridge over a river being reflected in the water below it to produce a mirror image or a mountain range being reflected in the sea next to it. Candidates could use the symmetry seen in these mirror images as a basis to create repeat patterns.

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12. Toys and Games

Candidates should research a variety of approaches to the theme of Toys and Games and produce work which includes their development and refinement of ideas, reference to appropriate sources and realisation of

intentions using one of the component units. Candidates could:

investigate the Kachina dolls of the Hopi people of North America. They could then design their own doll representing aspects of their own lives leading to the production of a contemporary equivalent of a Kachina doll

research toys from different times and cultures, taking their favourite toys from childhood as a starting point for the development of personal work

investigate the design and decoration of kites and produce their own kite design inspired by selected examples. For example, they could make a Japanese inspired fighting kite based on animal or bird designs, a Guatemalan circular kite made from colourfully patterned pieces of paper or a Korean rectangular styled kite with their own crest or emblem

focus on toy shops and the packaging and marketing of toys for inspiration and design a set of commemorative stamps based on toys and games

study The Card Players by Paul Cézanne and produce art work that shows people playing cards. Candidates could research European tarot, fortune or playing cards and relevant examples from the Indian sub-continent, the Mamluk people of Egypt and the Apache tribes of North America. They could go on to design their own playing cards with repeated symbols and patterns

research promotional material for electronic games and design the artwork to advertise the release of a new electronic game.

13. Ceremonies, Festivals and Celebrations

Candidates should research a variety of approaches to the theme of Ceremonies, Festivals and Celebrations

and produce work which includes their development and refinement of ideas, reference to appropriate sources and realisation of intentions using one of the component units.

Candidates could:

research ceremonial or commemorative vessels from different cultures, for example, Ancient Greece or Rome and produce their own commemorative vessel

think about how ceremonies are often a popular subject for photographers and documentary film makers. They could study appropriate sources and produce their own response documenting an event of their choice, such as a marriage or birthday

examine festivals and customs that are visually rich, colourful and exciting and produce work inspired by their research

design a poster combining image and text to advertise a festival of their own choice such as the Notting Hill Carnival, Glastonbury, the Winter Carnival in Venice or the Day of the Dead festival in Mexico

consider how, from the earliest times, artists have created works of art to celebrate a specific event or the achievements of a particular person. They could research appropriate examples such as the work of Lucian Freud, Anthony Green or Maggi Hambling and produce work that celebrates an important event in their own life, or of someone they know or someone famous.

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14. Sport and Leisure

Candidates should research a variety of approaches to the theme of Sport and Leisure and produce work which includes their development and refinement of ideas, reference to appropriate sources and realisation of

intentions using one of the component units. Candidates could:

produce designs for a poster to advertise a sporting event or to promote participation in certain sports. They could study suitable examples of existing posters and choose to highlight specific issues such as health and fitness

consider depictions of the human form in the work of artists such as Antony Gormley and Keith Haring that depict figures stretching, twisting, turning, falling or in motion. Candidates could go on to design a mural for a sports hall, community or leisure facility

research the work of sculptor Alexander Calder who created mobiles that were finely balanced and moved in air currents. Candidates could create their own mobiles based on their ideas for ball games such as tennis or football

take as their theme clothing for different sports and leisure activities such as football, motor racing, water sports, horse racing and going to the gym. Candidates might go on to produce designs for their own sportswear or leisurewear

research the friezes of the Parthenon which are in relief, catch the light and cast shadows.

Candidates could then create their own designs for a frieze based on sports equipment for a sports centre or school sports hall.

15. Fantasy

Candidates should research a variety of approaches to the theme of Fantasy and produce work which includes their development and refinement of ideas, reference to appropriate sources and realisation of intentions using one of the component units.

Candidates could:

study artists who have produced work in which the appearance of objects is not what they seem to be. Candidates could study Surrealist artists such as Salvador Dalí, René Magritte and Yves Tanguy to inspire their own work and produce outcomes based on the theme of Fantasy

focus on storytelling and look at fictional or non-fictional stories, taking inspiration for their own fantasy storyboards from such art works as the Bayeux tapestry, Aztec Codices and Aboriginal Dreamtime stories and contemporary comic strips

consider the work of Max Ernst and Leonardo da Vinci who both used their observations of patterns in wood grain to produce fantastic landscapes. Candidates could make studies of the surfaces of objects that have been corroded, withered, shrivelled, eroded or decayed and create their own fantasy landscape or world inspired by their research

make a box of memories with reference to Pandora’s Box and the work of artist Joseph Cornell and Michael Rothenstein.

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4

Scheme of Assessment

4.1 Aims

The ELC Art and Design specification should encourage candidates to develop:

creativity and imagination and the practical skills for communicating and expressing ideas, feelings and meanings in art, craft and design

investigative and experimental skills

knowledge, understanding and application of art, craft and design in contemporary societies and in other times and cultures

an awareness of the contexts in which art, craft and design operate

their experience of working with a broad range of media, materials and techniques, including, when appropriate, traditional and/or new media and technologies.

ELC Art and Design should also provide opportunities for candidates to:

gain a personal interest in why art and design matters and be inspired by studying a broad and satisfying course of study

gain understanding of art, craft and design processes, associated equipment and safe working practices.

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4.2 Assessment

Objectives

The component units will be assessed using the following assessment objectives in the context of the content and skills set out in Section 3 (Subject Content).

The assessment objectives identify those qualities which can be assessed. They are equally weighted and relate to the specification as a whole. They are not presented in any order of importance, neither is there any implied sequencing of activities. Candidates are free to develop their own routes through requirements, either singularly or in combination.

Candidates must evidence coverage of all of the assessment objectives in the work that is submitted for assessment. The approximate relationship between the relative percentage weightings of the Assessment Objectives (AOs) and the overall scheme of assessment is shown in the following table.

Assessment Objectives Overall weighting of AOs (%)

AO1 25 AO2 25 AO3 25 AO4 25

Overall Weighting (%) 100

Candidates must demonstrate their ability to:

AO1: Develop ideas by investigating and demonstrating understanding of appropriate sources

AO2: refine ideas through experimenting with appropriate resources, media, materials, techniques and processes

AO3: record ideas, observations and experiences in visual, and, if appropriate, other forms

AO4: present a personal response, realising intentions and make connections with selected sources, such as the work of artists, craftspeople and designers.

4.3 Assessment

Criteria

The following assessment criteria must be applied holistically to the assessment of the Portfolio of Evidence covering work from the two component units in response to three themes. The assessment objectives AO1 to AO4 are equally weighted. The following table indicates the levels of attainment expected and the equivalent marks awarded in the ranges shown.

Centres are required to provide a mark for each of the assessment objectives separately in accordance with the assessment criteria. A total mark out of 60 for the Portfolio of Evidence must be given to the work submitted in response to the selected component units.

This grid must be used to identify the candidate’s level of attainment in relation to each of the assessment objectives AO1 to AO4. Three assessment descriptions are provided (excluding the 0 mark band) with a range of marks for each of the four assessment objectives.

Candidates who do not submit two different component units and evidence from three different themes will not be eligible for the ELC Art and Design award and will receive a mark of zero.

Five marks are available for each mark band in each assessment objective. From lowest to highest the mark indicates the candidate has:

unevenly met the requirements for that mark range

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ELCArt and Designfor first teaching from September 2011 (Version 1.0) Ass ess men t Ob jective 4 Present a p e rsona l respo n se, realis in g inte nti ons an d make

connections with selected s

o urces, such as the w o rk of artists, craftspeop le a nd des ig ners. W o rk not worth y of any credit. Can d id ates pre s ent a perso na l respo n se re alis ing i n tenti ons to a limited extent. Con nectio n s made with sel e cted s ources ar e unc lear. Can d id ates pre s ent a moder at ely effective perso nal res pons e realis in g

intentions to some extent. Some conn

ectio n s made w ith sel e cted sources ar e rel e vant an d mod e rately clear. Can d id ates pre s ent an effectiv e perso nal res p o n se wh ich lar g ely realis es inte nti ons. Conn ecti ons made w ith sele cted sources a re consiste ntly rel e vant an d cle a r. Ass ess men t Ob jective 3 Recor d ide a s, observ a tions a nd exper ienc es in visual, a nd, if appr opri a

te, other forms.

W o rk not worth y of any credit. Can d id ates us e a restricted r ang e of simple tec hni q ues to record i deas, observ a tions a nd exp e rie n ces in visual and as a ppro p riate, oth e r forms. T e chniques ar e use d with very

limited effectiveness. Can

d id ates us e a rang e of si mple techni qu es to record i deas, observ a tions a nd exp e rie n ces in visual and as a ppro p riate, oth e r forms. T e chniques ar e use d with some effective

ness but inc

o n s istently. Can d id ates us e a rang e of si mple a nd

some more comple

x techniques to record i deas, o b servati ons a n d exper ienc es in visual and as appr opri a

te, other forms. T

e chni ques are use d with s o me effectiven ess and consiste ncy. Ass ess men t Ob jective 2 Refin e ide a s th roug h exp e rim entin g with ap propr iat e resourc e s, medi a, materials, tech niq ues a nd pro c esses. W o rk not worth y of any credit. Can d id ates co nduct restricte d exper imentati o n wit h a lim ited range of appro p ri ate resourc e s, medi a, materials, tech niq ues a nd pro c esses. Experim ents le ad to limite d re fineme n t of ideas w ith minima l effective ness. Can d id ates co nduct exp e rim ents in some deta il, wi th a range of appr opri a te res ources, med ia, materials, tech niq ues a nd pro c esses. Experim ents le ad to some refi neme n t of ideas w ith moder ate effecti v eness. Can d id ates co nduct det ail ed exper iments wi th a range of appr opri a te res ources, med ia, materials, tech niq ues a nd pro c esses. Experim ents typical ly le ad to clear and effectiv e refinem ent of id eas. Ass ess men t Ob jective 1 Devel op i d e a s by investi gatin g and demo n strating und erstan din g of appr opri a te so urces. W o rk not worth y of any credit. Can d id ates co nduct restricte d investi gatio ns i n to a rang e of appr opri a te so urces. Investig ations lea d to limited deve lopm ent o f ideas which demo n strate a minim a l und erstan din g of selected s o u rces. Can d id ates co nduct inv e stig a tions into a ran ge of appr opri a te so urces, in some deta il. Investigati ons le ad to some effective deve lopm ent o f ideas which demo n strate some und erstan din g of selected s o u rces. Can d id ates co nduct det ail ed investi gatio ns i n to a rang e of appr opri a te so urces. Investig ations typically l e a d to effective dev elo p ment of ideas w h ich demo n strate cl ear und erstan din g of selected s o u rces.

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4.4 Requirements

The scheme of assessment allows attainment to be recognised at Entry 1, Entry 2 and Entry 3. To be eligible for an award at Entry 1, 2 or 3 candidates should submit for assessment and moderation evidence from two different component units and three different themesin this specification.

Candidates should be encouraged to complete each component unit as fully as possible, as failure to do so will mean they do not demonstrate the requirements needed to reach Entry 1, 2 or 3. Candidates who do not submit a minimum of two different component units and three different themes will not be eligible for the ELC Art and Design Award and will receive a mark of zero.

Candidates may select any of the component units for study. There are no compulsory units. From the list of six component units candidates must select two to study.

The component units provide opportunities for candidates to study the following: Applied Fine Art Graphic Communication Photography Textile Design Three-Dimensional Design

A candidate’s Portfolio of Evidence should be marked out of a total of 60. Teachers are required to use the Assessment Criteria to identify the candidate’s level of attainment in relation to each of the Assessment Objectives AO1 to AO4. The level of award (Entry 1, Entry 2 or Entry 3) will be based on the candidate’s total mark out of 60.

AQA will review the relationship between the total mark thresholds and the level of award at an annual award meeting.

The level of award for the Entry Level Certificate will be approximately as follows:

Marks out of 60 Advisory Award

5 Entry 1

25 Entry 2

45 Entry 3

AQA reserves the right to amend the thresholds.

At the end of the course candidates must submit a Portfolio of Evidence. This Portfolio of Evidence will contain the development and refinement of ideas, reference to appropriate sources and realisation of intentions. Centres are normally required to provide annotation where necessary for each candidate’s work. This enables the moderator to check the centre’s assessments against the Assessment Objectives. Teachers may wish to provide separate annotation which will:

indicate where candidates have received help beyond the normal learning support which has influenced the outcomes

include any notes that will help the moderator to appreciate the reasons for the level of award recommended.

This information may be provided on the Candidate Record Form (CRF) or as an additional document. Candidate Record Forms are available via the AQA website at

http://web.aqa.org.uk/admin/p_course_crf_2012.php

All work will be marked by the teacher/lecturer, in accordance with instructions provided by AQA, and will subsequently be moderated by AQA.

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The conditions required for the supervision and authentication of internally assessed work are given in section 6.

Evidence must be presented for moderation for all component units undertaken. For all tasks, it must be clear which outcomes have been achieved and how marks have been awarded. The evidence for each component unit must match that stipulated under the section ‘Portfolio of Evidence requirements’.

Component units, once submitted for assessment, cannot be re-drafted, although candidates may attempt a different component unit, with the highest mark attained being submitted.

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4.5 Differentiating

Factors

This specification has been designed to allow the maximum flexibility for centres and candidates working in the subject area of art, craft and design.

The Subject Content for ELC Art and Design (see section 3) requires candidates to pursue integrated critical, practical and theoretical study in art, craft and design to allow them to produce work suitable for presentation and assessment as component units in ELC Art and Design. This will include knowledge and understanding of relevant materials, processes, technologies and resources, the ability to record experiences and observations mainly in visual form, to explore, analyse, evaluate, select and to communicate ideas in a range of visual forms. There is some overlap in skills and/or subject content with the GCSE Art and Design specification.

The ELC Art and Design specification requires candidates to submit evidence for two different component units and three different themes to gain the Entry Level Award. They will be able to choose from the following component units which are similar to the endorsements in the GCSE Art and Design specification:

Applied Fine Art Graphic Communication Photography Textile Design Three-Dimensional Design.

This will mean that teachers can teach ELC Art and Design candidates alongside those entering for GCSE Art and Design. ELC Art and Design incorporates broad-based themes and this should mean that teachers can plan lessons which are relevant to both ELC and GCSE candidates.

Although the Assessment Criteria reflect the requirements of the ELC Art and Design specification they have a similar structure and layout to GCSE Art and Design.

There is no externally set task to complete; candidates will compile a Portfolio of Evidence which covers their development and refinement of ideas, reference to appropriate sources and realisation of intentions for their choice of two different component units and threedifferent themes.

4.6 National

Criteria

This Entry Level specification complies with

• The Arrangements for the Statutory Regulation of External Qualifications in England, Wales and Northern Ireland: Common Criteria.

• The requirements for qualifications to provide access to Levels 1 and beyond of the National Qualifications Framework.

4.7 Previous Learning Requirements

There are no previous learning requirements.

Any requirements set for entry to a course based on this specification are at your centre’s discretion. However, it is recommended that candidates should have acquired literacy skills appropriate to the level at which each of the units is aimed. Numeracy skills are required where appropriate and may be relevant to any units where candidates are interpreting information.

Teachers should provide appropriate and adequate guidance about the demands of the specification before candidates embark on their studies.

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4.8 Equality, access and inclusion

Entry Level Qualification enable learners to gain the most from life, learning and work.

Entry Level qualifications often need to assess a wide range of competences. This is because they are general qualifications designed to prepare candidates for a wide range of occupations and further study. The revised qualification was reviewed to see whether any of the skills or knowledge needed by the subject

presented a possible difficulty to any candidates, whatever their ethnic background, religion, sex, age, disability or sexuality. If there were difficulties, the situation was reviewed again to make sure that such tests of specific competences were only included if they were important to the subject. The findings were discussed with groups who represented the interests of a diverse range of candidates.

Arrangements are made for candidates with special needs to help them access the assessments as long as the competences being tested are not changed. Because of this, most candidates will be able to access any part of the assessment. More details are given in Section 5.4.

4.9 Progression

The scheme of assessment allows attainment to be recognised at a standard broadly consistent with National Curriculum Level 1 and beyond. As an approved Entry Level Qualification, the specification provides excellent progression to GCSE studies particularly in Art and Design.

The skills and knowledge acquired will be relevant and transferable in both educational and career settings. The qualification, therefore, increases flexibility for candidates and makes a distinct contribution to the quality and coherence of qualifications on an identified progression pathway.

In addition, it provides a worthwhile course for candidates of various ages and from diverse backgrounds in terms of general education and lifelong learning.

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5

Administration

5.1 Availability of assessment units and certification

Certification for this specification is available once per year in the June series.

Work is combined to create a single unit and centres should submit this one mark for certification. The assignments are reviewed/replaced on a rolling programme.

5.2 Entries

Please check the current version of Entry Procedures and Codes for up-to-date entry procedures. The Subject Code for entry for this Entry Level Certificate is 5920.

5.3 Private

Candidates

This specification is not available to private candidates.

5.4

Access arrangements, reasonable adjustments and special

consideration

We have taken note of the equality and discrimination legislation and the interests of minority groups in developing and administering this specification.

We follow the guidelines in the Joint Council for Qualifications (JCQ) document: Access Arrangements, Reasonable Adjustments and Special Consideration: General and Vocational Qualifications. This document gives guidance to centres on how these arrangements should be administered. This is published on the JCQ website (www.jcq.org.uk) or you can follow the link from our website (www.aqa.org.uk).

Access arrangements

We can arrange for candidates with special needs to access an assessment.

An access arrangement which meets the needs of a particular disabled candidate would be a reasonable adjustment for that candidate. For example, a Braille paper would be a reasonable adjustment for a Braille reader but not for a candidate who did not read Braille. The Equality Act requires us to make reasonable adjustments to remove or lessen any disadvantage affecting a disabled candidate.

Special consideration

We can give special consideration to candidates who have had a temporary illness, injury or serious problem such as death of a relative, at the time of the examination. We can only do this after the examination.

The Examinations Officer at the centre should apply online for access arrangements and special consideration by following the e-AQA link from our website (www.aqa.org.uk).

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5.5 Examination

language

We will only provide component units for this specification in English.

5.6 Qualification

titles

The qualification based on this specification has the following title: AQA Certificate in Art and Design at Entry 1

AQA Certificate in Art and Design at

Entry Level Certificate

Entry Level Certificate

www.aqa.org.uk/elcart

Entry Level Certificate

Contents

Scheme of Assessment

Internally assessed work administration

Introduction

Why choose AQA’s Entry Level Qualifications?

Why choose Entry level Art and Design?

1.3 How to start using this specification?

You can choose to find out more about this specification or the services that AQA offer in a number of ways.

Speak to your subject team

Specification at a Glance

Component Units

Subject Content

3.1 Component Units – Summary of Content

Component Unit 1 Applied

Component Unit 4 Photography

3.2 Assessment

Chosen Component Unit (maximum of two in total)

3.3 Rationale

Component Unit 1 Applied Overview

Knowledge and understanding

Assessment requirements

Knowledge and Understanding

Component Unit 3 Graphic Communication Overview

Knowledge and Understanding

Assessment requirements

Knowledge and Understanding

Component Unit 5 Textile Design Overview

Knowledge and Understanding

Component Unit 6 Three-Dimensional Design Overview

Knowledge and Understanding

Assessment requirements

3.5 Themes

1. Myself

2. Advertising

3. Environment

4. Holidays

5. Theatre

7. Colour and Pattern

8. Buildings and Interiors

9. Fashion

11. Reflections and Mirror Images

12. Toys and Games

13. Ceremonies, Festivals and Celebrations

14. Sport and Leisure

15. Fantasy

Scheme of Assessment

4.2 Assessment

Assessment Objectives Overall weighting of AOs (%)

4.3 Assessment

4.4 Requirements

Marks out of 60 Advisory Award

4.5 Differentiating

4.6 National

4.7 Previous Learning Requirements

4.9 Progression

Administration

5.3 Private

Access arrangements

5.5 Examination