ARLEYART MOTIVATIONAL PRINTS

 ArleyArt.com offers wall decor with unique presentations at reasonable prices. All artwork is printed to order on heavyweight satin (semi-gloss) photo paper, inserted into a 100% archival safe, acid-free clear sleeve, and a flat mailer or rolled if the poster is larger than 11x14". The prints are carefully packaged to ensure safe delivery. Each print is ready-to-frame, and items are usually shipped within 1-2 business days of payment confirmation. Personalized and custom photo items may take longer. ArleyArt prints are available in sizes 8x10", 11x14", and 13x18", though not all products are available in all sizes. The images used in each product are Arley's own work, in the public domain, licensed, or used with permission. Custom posters can be created from your favorite quote or athlete

 It is essential to demonstrate a clear personal connection to the theme/s explored in your sketchbook. You can do this by drawing from first-hand observation; working from original photographs; documenting personal visits to galleries, historic places, museums, or design sites; and explaining the personal context surrounding your work (how the work is relevant to you and your life).

 A project based solely on secondary sources (such as images from the internet, books, or magazines) is typically frowned upon by examiners and may lead to superficial work, a lack of engagement, and plagiarism. (Relying upon second-hand imagery is one of the Top 10 Mistakes made by art students.)

 These sketchbook pages by Jack Broad include clear evidence of first-hand engagement with subject matter, with observational drawings from primary sources.

 An important role of the sketchbook is to aid the planning and refining of larger artworks. This might include composition studies, thumbnail sketches, or layout drawings (exploring format, scale, enlargement, cropping, proportion, viewpoint, perspective, texture, surface, color, line, shape, form, space, and so on); design ideas; photographs of conceptual models or mock-ups; storyboards; photographic contact sheets; analysis of accompanying portfolio work; and many other forms of visual thinking.

 These IGCSE Art and Design sketchbook pages by Manisha Mistry, ACG Strathallan College, show composition development for a final painting. Thumbnail drawings refine structure, layout and choice of color. You may wish to view more of Manisha’s A* Coursework project.

 Fill your sketchbook with original visual material—particularly work that is exploratory, incomplete, and experimental (as opposed to finished artwork). Visual material should support the theme of the project, rather than depict a random collection of unrelated subject matter.

 These A Level Fine Art sketchbook pages by Nichole Choi are brimming with original observational drawings. Note how the drawings of chicken bones are not ‘finished pieces’ but rather rich, exploratory investigations of tone, texture, and form – sprawling across the page, without clear boundaries. Continuous line drawings emphasize marks and textures upon the surface of the bone.

 Your sketchbook should contain a wide range of media and materials, as appropriate for the project and area of specialty. Include photographs of any three-dimensional exploration. A broad list of possible media and materials is listed below:

 Drawing and painting surfaces: colored and textured papers of varying weights, such as tissue paper, watercolor paper, newsprint, or cartridge; cardboard; transparent sheets, plastic overlays, or tracing paper; discarded wallpaper, patterned paper, or printed sheets; photographic paper or other specialized printing papers; painted or prepared grounds; masking tape or other adhesive surfaces; collaged materials; dried textures created with acrylic pastes or compounds; canvas, hessian, or other fabrics; other appropriated items. (See more examples of drawing and painting surfaces in our four-part Creative Use of Media series for high school art students.)

 Drawing and painting media: graphite pencil; colored pencil; ballpoint pen; ink pen; calligraphy pen; marker pen; chalk; charcoal; crayon; pastel; drawing ink; printing ink; natural or manmade dye, such as from commercial pigments, walnut skins, coffee stains, or food dye; gouache; watercolor; acrylic paint; oil paint; spray paint; house paint; shellac/varnish; fixative; wax; painting mediums, such as thinners, gel/gloss, glazes, drying retarders, textural pastes, or modelling compounds.

 Threads and textiles: natural fibers, such as cotton, silk, flax, or raffia; wool and other animal hair, furs, or leather; synthetic threads, such as nylon, acrylic, or polyester; textiles of different weights, weaves, patterns, prints, or colors; upcycled fabric, including from non-traditional sources such as repurposed woven plastic bags; elastic; sewing threads; embroidery threads; string; rope; beads.

 Sculptural materials: glues or adhesives; papier-mâché; salt dough; modelling clays or ceramics; feathers, bone, or other animal materials; food; seeds, leaves, cane, balsa, or other woods; sand, earth, pumice, rocks, or stone; wax; plaster; latex; Styrofoam; plastics; resin; concrete; fiberglass; wire, foil, or other metals; ice; light; other organic and manmade found materials.

 Tools and technology: brushes; airbrushes; sponges; paint rollers; palette knives; craft knives; scissors; stencils; engravers; sandpaper; chisels, pliers, or other woodworking tools; metalworking tools; paper trimmers; pottery wheels; crochet hooks, needles, sewing machines, or overlockers; looms; traditional or digital cameras; darkroom equipment; kilns; printing presses; photocopiers; scanners; computer-aided design (CAD) software such as Adobe Photoshop, Adobe InDesign, or SketchUp Pro; computer-aided manufacture (CAM) equipment such as 3D printers and laser cutters.

 The techniques, processes, and practices explored in your sketchbook should be appropriate for the project and area of specialty. Try to use both traditional and contemporary approaches. These should be informed by the study of relevant artists and first-hand practical experimentation. Complex processes can be documented using diagrams, annotated screenshots, or photographs of work in progress (this can help to prove that the finished pieces are your own work). Don’t document every technique at every stage of production. This is a space-filling device that pushes out more relevant content.

 This IB Visual Art sketchbook page is by Allison Ho from Sha Tin College. Note how screenshots of work in Adobe Photoshop (top right) document stages of progress. This helps to verify authenticity of work, so that examiners are clear that the work was produced by the student. Allison received the highest grade (level 7) for her IB Visual Arts course. You can view more of Allison’s excellent sketchbook pages here.

 The sketchbook is an excellent place to document learning from the work of artists. This might include whole or partial copies of relevant artwork accompanied by critical analysis and practical experimentation where appropriate. Artists should be selected purposefully and offer valuable learning opportunities in their approach to subject-matter, composition, technique, or use of media. Aim to study the work of both historical and contemporary artists from a range of different cultures. Avoid bulking up the sketchbook with gallery pamphlets, fliers, brochures, or other printed material from secondary sources.

 These A Level Art artist research sketchbook pages by Nikau Hindin show analysis of paintings by Janet Fish. Nikau has created drawings and acrylic copies of part of Fish’s paintings (there is rarely any need for students to slavishly replicate an entire painting – a small portion is enough for students to gain an understanding of the techniques and processes used). You may wish to view more of Nikau’s A* Cambridge A Level Art project.

 These sketchbook pages are by Pallas Yiu, completed while studying Edexcel GCSE Art and Design at Sha Tin College, Hong Kong. Pallas contrasts and compares the work of Albrecht Dürer with Zhao Fang. Imitations of artist work accompany detailed critical analysis. You can view more of Pallas’s A* GCSE Art sketchbook in our publication: Outstanding High School Sketchbooks.

 A high school sketchbook should be reminiscent of the kind of document that an artist or designer might create. It does not need to be overworked, perfect, or polished. The following tips provide broad guidance in terms of page layout and presentation style.

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 Avoid intrusive lettering, elaborate front covers, decorative borders, over-the-top backgrounds, or unnecessary framing or mounting. Fold-out tabs add an interactive element but risk examiners missing work, so are best avoided.

 Use small, legible handwriting—this way, any spelling or grammatical errors are less distracting. Write with graphite pencil or black, grey, or white pen.

 Do not spend weeks dreaming up inventive layouts or researching presentation ideas on the internet. Focus on what matters: producing quality art and design work.

 Your sketchbook can be a straightforward, ordered presentation of your work, research and insights: Let your images do the impressing. Overly designed pages can often take too long and be a distraction to the viewer.

 These sketchbook pages by Leonardo da Vinci provide a great example of what a quality high school art sketchbook page should look like: overlapping, incomplete sketches, surrounding by handwritten notes.

 Some students favor hard-edged, ‘cleaner’ presentation methods; others prefer a messier, gestural style. Neither is better than the other: both can be executed well. Jumping from one presentation style to another, however, may result in a submission that is distracting and disjointed.

 Some sketchbook pages should have many illustrations, others a single artwork, and the remainder something in between. Vary the positioning of images and text on the page. Don’t be afraid of white space.

 Some sketchbook pages should have many illustrations, others a single artwork, and the remainder something in between. Vary the positioning of images and text on the page. Don’t be afraid of white space.

 Although a sketchbook is an informal, free-flowing document, it is important to remember that an examiner picks it up and ‘reads’ it in a short period of time. Structure the sketchbook in a way that reflects the overall development of your project.

 Weak work sets off alarm bells for an examiner, alerting them to be on the lookout for weaknesses elsewhere. This does not mean that anything ‘less than perfect’ should be discarded. Mistakes provide valuable learning opportunities and cues for how subsequent learning took place. However, you must discriminate. If an image is glaringly worse than others, consider improving or eliminating it. Seek your teacher’s guidance before removing any artwork; improving existing work is often much faster than starting afresh.

 The sketchbook offers an opportunity to remind the examiner that you are a dedicated, hard-working student, and that you care about the subject. This does not mean you must cram your sketchbook with intense, labored work (sometimes an expressive two-minute charcoal drawing is all that is needed), but rather that the sketchbook should speak of your effort, commitment, and passion.

 You may also be interested in reading How to annotate a sketchbook, which contains illustrated examples from high-achieving students around the world.

 For convenience, most students select a sketchbook that is A4 (8.5 x 11 in) or A3 (11 x 17 in) in size. An A4 sketchbook fits in a schoolbag and is thus less likely to be lost or damaged during transit. An A3 sketchbook fits more work per page and provides space for larger artworks. If the sketchbook contains all preparatory material without any additional sheets of developmental work required, an A2 (17 x 22 in) sketchbook may be appropriate. Non-conventional sizes or electronic submissions may also be possible. Remember that format requirements are often set by an examination board, teacher, or school.

 Regardless of the sketchbook size, it is best to work consistently in portrait or landscape orientation, rather than alternating from page to page. Consistent page orientation makes it easier for an examiner to flip through the sketchbook and view your work. Landscape orientation is preferable for electronic submissions, as this displays well on digital screens.

 Pre-bound sketchbooks should contain quality artist paper suitable for both wet and dry media. A minimal appearance is best: choose a sketchbook with a plain cover, without distracting logos or ornamentation. A spiral-bound book allows you to remove pages easily.

 The main disadvantage of a pre-bound sketchbook is that it is difficult to work with wet media on several pages at once. (Moving quickly between pages saves time, aids the development of ideas, and facilitates connections between pieces.) Nonetheless, pre-bound sketchbooks are the most popular format due to their convenience and wide availability.

 Two examples of pre-bound sketchbooks are illustrated above. These brands have been thoroughly tested in a classroom situation, by experienced teachers. The left-hand mage is a NAS Workbook available from National Art Supplies in Auckland, New Zealand. This sketchbook has 50 pages of 140gsm wet-strength cartridge, suitable for both wet and dry media. The NAS Workbook is white, plain and minimalist in appearance, with no distracting logos. The heavy, cardboard cover is durable and resilient – able to withstand being dragged around by students – and can be drawn or painted upon if desired. It is spiral bound, allowing pages to be removed easily. The NAS Workbook is available in A4 portrait, A3 landscape and A2 landscape sizes. This product is used year after year by many high schools in New Zealand. The low cost means that this sketchbook is suitable for use with stationery kits and class sets. The example illustrated is an A3 art sketchbook (landscape in format) and was part of an A* International GCSE Art and Design coursework project completed by Manisha Mistry, ACG Strathallan College. A photograph of the final artwork has been laminated and glued to the sketchbook cover to create a simple title page. You may wish to view more of Manisha’s A* IGCSE Art project. The right-hand image shows an A4 Moleskine sketchbook. Moleskine folio sketchbooks are top-of-the-line artist sketchbooks, with 160gsm acid free pages, suitable for painting or drawing. The thickness of the paper means that wet mediums rarely bleed. Moleskine sketchbooks are well-made and beautiful, with a plain black cover. They are a durable, premium line of sketchbooks and are available as both an A4 sketchbook and A3 sketchbook. If you are a senior high school students who is considering pursuing Art and Design at university or college level, you may feel able to justify the expense. There are many other inexpensive options available.