Writing coursework, especially in subjects like Art Textiles for GCSE, can be a challenging and time-

consuming task. It requires a combination of creativity, technical skills, and the ability to articulate
your thoughts effectively. Here are some reasons why students may find Art Textiles GCSE
coursework challenging:

1. Creativity and Originality:Art Textiles coursework often demands a high level of creativity
and originality. Students need to come up with unique ideas for their projects, blending
artistic vision with technical skills.
2. Research and Analysis: Students are required to conduct thorough research on relevant
artists, techniques, and styles in the realm of textiles. Analyzing and applying this knowledge
to their own work can be a complex process.
3. Technical Skills: Art Textiles coursework involves practical skills such as sewing, fabric
manipulation, and other textile techniques. Mastering these skills requires time and
dedication.
4. Time Management: Balancing the practical work, research, and documentation can be
challenging. Students must manage their time effectively to ensure they meet deadlines
without compromising the quality of their work.
5. Documentation: Coursework typically requires detailed documentation of the creative
process, research, and reflections. Expressing thoughts coherently and concisely in writing is
an additional challenge.

Given these challenges, some students may seek external help to ensure the success of their
coursework. One option is to consider professional assistance from sites like ⇒ HelpWriting.net
⇔. These platforms often provide custom writing services that can aid students in completing their
coursework successfully. However, it's important for students to approach such services with caution,
ensuring that the assistance received aligns with their educational institution's guidelines and ethical
standards.

Remember that seeking help is not a substitute for personal effort and learning. It's essential for
students to engage with the coursework process actively, developing their skills and understanding
of the subject matter.
I wanted to evoke a tactile moss-like quality that was alluring, despite being inspired by the slimy,
almost repulsive texture of the fungi. Empty reply does not make any sense for the end user Submit
reply Cancel pjohotmailcom 5 years ago report 5 excellent resource which helped a most able student
who did not know how to do it. 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 a useful support document for DT textiles teachers who have suddenly
found themselves having to deliver Art Textiles because DT textiles has been scrapped. This book
has high-resolution images so that fine details and annotation are clear, making it an excellent
resource for students and schools. Please talk to us about the materials and mediums you used and
why you selected these. I have taken the topics for this project from previous exam papers. I really
enjoyed the whole project and i hope you do too. 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 records that I made in drawings and
notes also became important references for later. I found a netted mesh-like material which held the
form of a shape when wet and moulded around it. Even if they do not understand what you had
intended for the work to be about, as creative individuals they can suggest something to research
further and develop within your work. Tartan prints shroud and restrain the body, challenging the
idea of form and function, as the form beneath is immobilised. Halima gained an A Level Art
Scholarship and went on to gain a Distinction for her Art Foundation year. These luxurious materials
and the care the vessels took to create symbolised the attention a collector takes in preserving items
of worth. The insects came in a pot and I observed closely their cocooning, hatching and release. 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. Reviews 5 Select overall
rating (no rating) Your rating is required to reflect your happiness. This led me to consider Tudor
garments and how they convey excess, worth and importance. See other similar resources ?20.00 (no
rating) 0 reviews BUY NOW Save for later Not quite what you were looking for. My ideas and
sampling led me to consider making an installation piece. I went looking around forests and outdoor
areas to find examples of fungi in the natural setting. Within a fine art setting there can be an
unspoken rule of distance between a viewer and the work: with my textile pieces I am really trying
to challenge and evoke this desire to connect through touch. 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. Here are the examples of the GCSE coursework from 2014, well done to all of the hard
working students. I found very small paper cups and began cutting and twisting them around each
other to respond to the shapes I had seen. With this in mind, the techniques that I used to make pods
were very careful and time consuming. I feel there is honesty in materials that are in a state of
disrepair or ruin.
I decided to tie the delicate, finely constructed pods with more expressive and messy containers
crafted from the collected materials themselves. Includes all of coursework examples, including
product analysis and sketches. This led me to look at Robert Delaunay and Marcel Duchamp ’s
cubist paintings. I had never done any pattern cutting before, however I wanted to challenge myself
and found, with time, I picked it up. The support document ensures that students address the four
Assessment Objectives and are reflective in the way that they progress their work. A journey that
begins with first-hand observation and ends with complex, three-dimensional pieces, Halima’s AS
and A2 Textiles projects are superb exemplars for others: some of the best A Level Textile
sketchbooks that I have seen. With this in mind, the techniques that I used to make pods were very
careful and time consuming. 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. 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. I feel there is honesty in
materials that are in a state of disrepair or ruin. It is sometimes unclear how this applies to a Textiles
project. 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. Thank
you Empty reply does not make any sense for the end user Submit reply Cancel Report this resource
to let us know if it violates our terms and conditions. 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. 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.
The pages also double up as a good objective page to have on the board to match students work and
has good uniformity with the work and tasks students are working on with exemplars available.
Working with undulating stitched and torn paper, organic forms emerge from painted and drawn
marks; fabric is cut, slashed, folded and moulded into shapes that are born from the mushrooms
analysed in the early phase of the project. 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. The
records that I made in drawings and notes also became important references for later. I think it is
also important not to limit the sources in which inspiration or ideas can come. 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 led me to consider Tudor garments and how they convey excess,
worth and importance. The pieces were entirely immersive; the scale and the way the space was
addressed created a suppressive and consuming atmosphere for all. 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. 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. By having a concrete idea of what
the work should be you can close yourself off from truly experimenting and learning. See other
similar resources ?4.70 (no rating) 0 reviews BUY NOW Save for later Not quite what you were
looking for. Our customer service team will review your report and will be in touch. ?4.70 (no rating)
0 reviews BUY NOW Save for later ?4.70 (no rating) 0 reviews BUY NOW Save for later Last
updated 22 February 2018 Share this Share through email Share through twitter Share through
linkedin Share through facebook Share through pinterest adele1818 4.20 7 reviews Not the right
resource. 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.
Reviews Select overall rating (no rating) Your rating is required to reflect your happiness.
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 resource hasn't been
reviewed yet To ensure quality for our reviews, only customers who have purchased this resource can
review it Report this resource to let us know if it violates our terms and conditions. Within my work,
observing and taking note of processes and the way in which things happen every day helped to
widen my perspective. It is not only about how things look but also the way the feel, smell, sit or can
be handled. 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. Each of these
qualities can provide such rich information about texture, shape, form, colour and structure to inspire
work. Reviews 5 Select overall rating (no rating) Your rating is required to reflect your happiness.
This is why I am drawn to mixed media, as it requires so much workmanship and this attention is
visible at the immediate surface. Please explain how you were influenced and inspired by first-hand
observation. A journey that begins with first-hand observation and ends with complex, three-
dimensional pieces, Halima’s AS and A2 Textiles projects are superb exemplars for others: some of
the best A Level Textile sketchbooks that I have seen. Homework and research will be set to
accompany project along with an A1 development sheet. This led me to consider Tudor garments and
how they convey excess, worth and importance. Our customer service team will review your report
and will be in touch. ?4.70 5.00 3 reviews BUY NOW Save for later ?4.70 5.00 3 reviews BUY
NOW Save for later Last updated 22 February 2018 Share this Share through email Share through
twitter Share through linkedin Share through facebook Share through pinterest adele1818 4.20 7
reviews Not the right resource. Reviews Select overall rating (no rating) Your rating is required to
reflect your happiness. This emergence interested me and I was drawn to the idea of combining
levels of different material qualities. I reflected on how I, too, containing these animals in an
artificial setting, had meddled with the boundary between appreciation and being harmful. I also
experimented using patterns in a more subtle way, polyprinting onto brown leather. Reviews Select
overall rating (no rating) Your rating is required to reflect your happiness. Tartan prints shroud and
restrain the body, challenging the idea of form and function, as the form beneath is immobilised. The
pieces were entirely immersive; the scale and the way the space was addressed created a suppressive
and consuming atmosphere for all. Share to Twitter Share to Facebook Share to Pinterest. Write a
review Update existing review Submit review Cancel It's good to leave some feedback. It was
breathtaking to see such intricacy and awe in something that happens every single day. I was
particularly fascinated by the curled undulating textures within a dress made from wired mesh and
the honeycomb structures in skirts. It is often exciting to show contrasts and juxtaposition of
different processes in a textile work. This is a useful support document for DT textiles teachers who
have suddenly found themselves having to deliver Art Textiles because DT textiles has been
scrapped. Includes all of coursework examples, including product analysis and sketches. It is
sometimes unclear how this applies to a Textiles project. I had never done any pattern cutting before,
however I wanted to challenge myself and found, with time, I picked it up. A quote that I found
inspiring is from graphic designer David Carson.
With my Decay final piece, there is an organic growth and undulation of the 3D textile elements
emerging from the drawing and painted marks. When I looked at the exoskeleton of the beetles and
scorpions I was fascinated by having an armoury as a second skin. This resource hasn't been
reviewed yet To ensure quality for our reviews, only customers who have purchased this resource can
review it Report this resource to let us know if it violates our terms and conditions. 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. As with her AS Coursework project,
the pages include confident use of a wide range of mixed media. Within a fine art setting there can
be an unspoken rule of distance between a viewer and the work: with my textile pieces I am really
trying to challenge and evoke this desire to connect through touch. Working with undulating stitched
and torn paper, organic forms emerge from painted and drawn marks; fabric is cut, slashed, folded
and moulded into shapes that are born from the mushrooms analysed in the early phase of the
project. See other similar resources ?20.00 (no rating) 0 reviews BUY NOW Save for later Not quite
what you were looking for. Here are the examples of the GCSE coursework from 2014, well done to
all of the hard working students. Because I also studied Fine Art, I drew ideas from sculptors,
painters or installations, as well as textile and fashion work. Gaining inspiration from a range of
relevant artists and designers, she continues to produce fresh, innovative pieces that integrate
cohesively with her body of work. I have found it is better to become so involved in the work and
process that the grade comes as a secondary result. It is divided into the 4 sections of the exam board
( Research, development, practical, evaluation) and each page can also be used as objectives on the
board for the teacher, which links well to the booklet. The dress was under the category 'looking east'
and i chose the theme cherry blossom, the hat was my exam piece and it was under the category 'a
sense of place' so i chose skiing as i felt like it was somewhere that is personal to me and the scarf
was under the category of nature so i chose spiderwebs for this theme. These luxurious materials and
the care the vessels took to create symbolised the attention a collector takes in preserving items of
worth. Reviews Select overall rating (no rating) Your rating is required to reflect your happiness.
Reviews Select overall rating (no rating) Your rating is required to reflect your happiness. This
resource hasn't been reviewed yet To ensure quality for our reviews, only customers who have
purchased this resource can review it Report this resource to let us know if it violates our terms and
conditions. The designs of Hussein Chalayan were extremely inspiring to this work. It is not only
about how things look but also the way the feel, smell, sit or can be handled. 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. 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. Write a review Update existing review
Submit review Cancel It's good to leave some feedback. The insects came in a pot and I observed
closely their cocooning, hatching and release. This resource hasn't been reviewed yet To ensure
quality for our reviews, only customers who have purchased this resource can review it Report this
resource to let us know if it violates our terms and conditions. Reviews 5 Select overall rating (no
rating) Your rating is required to reflect your happiness. Nobody else can do that: nobody else can
pull from your background, from your parents, your upbringing, your whole life experience. I was
particularly fascinated by the curled undulating textures within a dress made from wired mesh and
the honeycomb structures in skirts. I decided to tie the delicate, finely constructed pods with more
expressive and messy containers crafted from the collected materials themselves. This emergence
interested me and I was drawn to the idea of combining levels of different material qualities.