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A Level Art Coursework: help for A2 Art students

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Fraud Prevention We may use Personal Information for investigations or prevention of fraud or network abuse. Her responses about first-hand observation and how she approached her themes are particularly valuable. It is important for high school Art projects to work from first-hand observation and respond to the world around them.

It is sometimes unclear how this applies to a Textiles project. Please explain how you were influenced and inspired by first-hand observation. This way of working has fed itself through my textiles and art to this day. Through my A Level Textiles course I was able to embrace the notion that textiles has much more to offer than making clothes; it is about working with materials and surfaces sculpturally to discover endless possibilities to explore.

As artists we should embrace the sensuous experience, especially within the context of research in textiles. It is not only about how things look but also the way the feel, smell, sit or can be handled. Each of these qualities can provide such rich information about texture, shape, form, colour and structure to inspire work.

I went looking around forests and outdoor areas to find examples of fungi in the natural setting. The tremendous scale, smell and slime that I often saw growing around these forms — observations I could not have made through photographs — inspired my work greatly as I experimented with material qualities. I feel one of the main reasons that I was able to explore so much in my A Level Art and Textile projects was that not only did I actively take a part in searching for this first-hand experience, but I enjoyed it as part of the natural process of making.

The records that I made in drawings and notes also became important references for later. Within my work, observing and taking note of processes and the way in which things happen every day helped to widen my perspective. I believe there is a beauty in taking something ordinary and often unnoticed and being able to comment on it, transforming it to make it important and notable.

As I moved on to the second year of the A Level Textiles course, my observations of first-hand resources underpinned my practical work and the exhaustive reflection necessary within my Coursework contextual essay. I was primarily interested in the sequential process of metamorphosis in butterflies and in order to understand this I purchased a small butterfly hatching kit.

The insects came in a pot and I observed closely their cocooning, hatching and release. The inspiration I gained from this experience was invaluable.

It was breathtaking to see such intricacy and awe in something that happens every single day. The cocooning concept provided the basis for my project, as I was fascinated by this idea of a container with connotations of entrapment and protection. I reflected on how I, too, containing these animals in an artificial setting, had meddled with the boundary between appreciation and being harmful.

The commonalities and contradictions in placing these two issues alongside each other was interesting and I was able to use the imagery of the metamorphosis and insect infestation to convey the concepts of compulsive hoarding in a creative way, initially unexpected to even myself.

Your work uses a beautiful array of mixed media. Please talk to us about the materials and mediums you used and why you selected these. The observations I made in my drawings led organically to textile samples, For example, using wadding to make trappings conveys the quality of translucency and the idea of entrapment that I observed in the compacted wings of the butterfly folded within the cocoon. On reflection, much of my work and drawings strive from a place within me where I am trying to understand or describe, through marks, a certain texture or form.

When working from the inspiration of fungi, the qualities within the form influenced the mediums and marks I chose. In my experiments — and then my final piece — I used different colours of felt melted together within a sandwich of cling film and then free machine stitched over to create a simple line drawing.

I wanted to evoke a tactile moss-like quality that was alluring, despite being inspired by the slimy, almost repulsive texture of the fungi. For me, there is something compelling about taking textile methods and processes and subverting their functional purpose or worth in more fine art pieces, such as installations or 3D mixed media drawings. Within a fine art setting there can be an unspoken rule of distance between a viewer and the work: My material sampling developed from basic introductions to processes to those that I discovered on my own.

Experimenting with processes and combining different materials through simple actions often provided me with more insightful concepts to push further. I am fascinated by the idea that in each cut, stitch, tear or mark the viewer sees the maker manifested physically. It is incredible how the mind leads the hands and body to create something entirely new.

Looking at the work of others with this perspective, an understanding of textiles is universal, as we all are capable of using our hands and challenging the ways we do this. This is why I am drawn to mixed media, as it requires so much workmanship and this attention is visible at the immediate surface.

In my work I always try to convey something fluid; a regeneration or degeneration of materials. I feel there is honesty in materials that are in a state of disrepair or ruin.

They reflect a journey and the idea of a coming apart. With my Decay final piece, there is an organic growth and undulation of the 3D textile elements emerging from the drawing and painted marks. The elements of stitched and torn paper that give texture to the drawing help to create an illusion of different 2D and 3D levels. The textile components of the piece are made up of three main techniques.

As I researched the concept of degeneration, I began to think about status. This led me to consider Tudor garments and how they convey excess, worth and importance. Interestingly, I discovered a Tudor slashing process, in which clothes are layered and the top material is cut to reveal even more layers of luxury. This emergence interested me and I was drawn to the idea of combining levels of different material qualities. I also incorporated different sized Suffolk puffs which were very quick and easy to make and produce multiples for the scale I desired.

The main part of the textile extension of this drawing was made up of many cup-shaped pieces. I found a netted mesh-like material which held the form of a shape when wet and moulded around it. As I researched armour I saw traditional metal suits and shields, but also discovered ancient Middle Eastern armoury and weapons. The irony is that weapons and objects that featured within ancient battlefields — places of such irreprehensible damage — were so beautiful and skilfully crafted.

I was inspired by the beauty and strength and wanted to explore these ideas of mixing hard and soft. I began creating panels out of free machine-stitched patterns on muslin and then wired them to give shape around the arm. I also experimented using patterns in a more subtle way, polyprinting onto brown leather. I created the print by softly drawing into a piece of polystyrene and then printing the negative image. The leather was a compelling material to me, as not only was it strong and felt authentic as an ethnic armoury, but it also suggested the idea of a skin.

When I looked at the exoskeleton of the beetles and scorpions I was fascinated by having an armoury as a second skin.

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I am struggling with how to present my a level textiles coursework as in other years it has been quite basic and used the same templates. Could anyone tell.

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A Level Textiles Coursework Help a level textiles coursework help e learning thesis phd A Level Textiles Coursework Help best resume writing services federal building dissertationIn textiles i am designing a pair of againhow.gq and Technology: Product Design (Textiles) A-level helps students develop key skills and knowledge. As part of their A Level Art Coursework, students must submit: 1 x project (a two or three-dimensional final work, maximum weight kgs and maximum dimension in any direction of mm); 1 x folder of supporting work (maximum of 10 x A1 sheets).