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A Level Art Coursework: help for A2 Art students

a level textiles coursework help

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Turn on thread page Beta Toggle. A Level Textiles Coursework help watch. Starting uni is full of surprises: Start new discussion Reply. Follow 1 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 me how they have presented their coursework of send me pictures of theirs? A level choices HELP!!! This forum is supported by: GF never initiates sex. Part 35 Started by: Advice Please Started by: Advice on everyday issues Replies: Teacher training, teaching and education jobs Replies: Model House of Commons Replies: The Left should learn from Donald Trump Started by: University of Cambridge Replies: 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.

For my A2 Textiles Coursework, I looked at cocoons and the idea of collecting and hoarding. My ideas and sampling led me to consider making an installation piece. I wanted to create containers to represent the cocoon shells that were to become vessels for collected objects that were important and therefore safeguarded and protected. With this in mind, the techniques that I used to make pods were very careful and time consuming.

I had never done any pattern cutting before, however I wanted to challenge myself and found, with time, I picked it up. I found these forms to be elegant and delicate when made in translucent and soft organdies and silks. These luxurious materials and the care the vessels took to create symbolised the attention a collector takes in preserving items of worth. With these pods I wanted to evoke a sense of accumulation, as occurs with the process of obsessive hoarding, where items with value are lost beneath the rubble of everyday rubbish.

I decided to tie the delicate, finely constructed pods with more expressive and messy containers crafted from the collected materials themselves. With the collections becoming the materials, the cocoons are left hollow, just as the collector is left feeling empty emotionally after becoming consumed by these meaningless scraps.

To create these more exciting and tactile pieces, I began dying materials using batik to create negative resist images of fragmented wing patterns. I also stitched these butterfly patterns onto a vanishing plastic material, so that when completed the fabric dissolved with water, leaving the fragile skeletal stitched drawing. How have these influenced and shaped your work? As part of the process of generating textiles, I continually collect visual information, especially inspiration from other artists or designers.

I think it is also important not to limit the sources in which inspiration or ideas can come. Because I also studied Fine Art, I drew ideas from sculptors, painters or installations, as well as textile and fashion work. I saw the Future Beauty: Despite there not being any immediate connection with my work, I absorbed as many influences as I could. Within the exhibition, the pieces featured a clean and simple elegance and aesthetic. There were very prominent sculptural qualities in the way the designers addressed the body and created shape and form.

I was particularly fascinated by the curled undulating textures within a dress made from wired mesh and the honeycomb structures in skirts. These fluid forms resonated with me and I began looking at simple materials in new ways. I found very small paper cups and began cutting and twisting them around each other to respond to the shapes I had seen. As I reflected on my work, this gave direction to my final piece, where I experimented with different ways to create the cup form and, through multiples, convey a sense of growing decay.

For my Armoury project I began looking at metal suits and observed how panels were built up in layers and how the composition of the suit featured strong shapes and lines. They exuded vibrant blocks of colour and colliding fragmented shapes that became an almost abstract pattern. I developed the idea of a deconstructed armoury along with the patterns from the eastern shields I had seen.

The designs of Hussein Chalayan were extremely inspiring to this work. The way in which he draped the fabrics, with their extremely embellished surfaces, felt very protective and he toyed with the concept of lighter layers being tied and joined to become a chunkier form around the body. Yong addresses the idea of cocooning, with a sinister edge. Tartan prints shroud and restrain the body, challenging the idea of form and function, as the form beneath is immobilised.

Through the designs, Yong creates a feeling of sheltering and suppression within a single body. Both express ideas of repetition, obsession and excess.

I was fortunate to be able to see the work of both first-hand and the experience of viewing their work was significant. The pieces were entirely immersive; the scale and the way the space was addressed created a suppressive and consuming atmosphere for all. This resonating impact affected my work extensively as I took my textile samples and looked to construct an installation of my own. What advice do you have for other high school Art students who wish to gain excellent grades in a Textiles project?

For me it was always more about personal attainment and whether the work conveyed what I needed it to. I have found it is better to become so involved in the work and process that the grade comes as a secondary result.

Exploring something in your work that you are genuinely interested in — or that fascinates you — allows the work to come more easily and organically.

When you are pushing for ideas and it becomes a chore, this shows through in what you make. Within A Level Textiles I would say that it is crucial to show lots of experimentation, processes and ideas, but then be able to reflect on the work and isolate the most successful elements to be pushed forward. Try not to think of the end results at the beginning of the project — allow yourself to be guided and these changes will make for a more exciting final piece. By having a concrete idea of what the work should be you can close yourself off from truly experimenting and learning.

Being able to demonstrate different techniques and skills is also important. For example, it is okay to have something appear messy or raw if this is justified for your purpose and you have shown you are capable of doing it in other, possibly more refined ways.

It is often exciting to show contrasts and juxtaposition of different processes in a textile work.


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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 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).