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This outstanding International GCSE Art and Design Coursework project was completed by Manisha Mistry in 2003, while studying IGCSE Art and Design (CIE 0400) at ACG Strathallan College, Auckland, New Zealand.
Note: In 2003 the Coursework requirement was for a final project + sketchbook, rather than the A2 portfolio of 4 sheets (8 sides) that is the maximum requirement today.
It is hoped that this case study will benefit a range of high school Art students, including those who study GCSE Art and IGSCE Art and Design. Experimentation and media trials are an important part of the IGCSE Art and Design (CIE) course. Manisha’s International GCSE Art sketchbook layout is clean and uncluttered, without unnecessary decoration.
It is important that International GCSE art projects contain experimentation with a wide range of media. On this page of this outstanding International GCSE Art sketchbook, Manisha drew from the weaving she had made in the previous assignment.
This page in Manisha’s International GCSE Art sketchbook helps to demonstrate that both contemporary and historical artists are being referenced. A visual investigation into Maori art, with emphasis on fishing hooks: an excellent example of an International GCSE Art sketchbook page. As part of the IGCSE Art and Design syllabus, students are required to experience and learn from artworks first-hand. Even simple International GCSE Art sketchbook work, such as this page, shows a competent and sophisticated development of ideas for the final piece. A stunning and comprehensive body of work, Manisha’s IGCSE Art and Design Coursework has been admired by many of my students over the past few years.
If you would like more help with the presentation of your own sketchbook, please read Tips for Producing an Amazing GCSE or A Level Sketchbook. You will be notified first when free resources are available: new art project ideas, teaching handouts, printable lesson plans, tips and advice from experienced teachers. The A3 sketchbook examples shown in this blog post were created by my sister Heather Garland (aged seventeen) and I, prior to my first year of teaching IGCSE Art and Design (the International equivalent of GCSE Art, assessed by Cambridge University).
Note: In 2002 the CIE IGCSE Coursework requirement was for a final project + sketchbook, rather than the A2 portfolio of 4 sheets (8 sides) that is the [maximum] requirement today.
This International GCSE Art sketchbook example includes drawings of crumpled cans found at a local beach as well as watercolour paintings of shells. GCSE Art sketchbook ideas: Sometimes the simplest things can provide the best learning opportunity. This example of an International GCSE sketchbook page shows copies from artist model Raymond Ching. This sketchbook page introduces students to different ways of drawing water using various line techniques.
This International GCSE sketchbook page example includes graphite pencil drawings of water a€“ the top one completed on thick, high quality tracing paper, which provides a beautiful silky surface for students to draw on.


This International GCSE sketchbook page example explores wet on wet painting techniques using watercolour and acrylic – learning from artist models such as Hazel Soan.
This sketchbook page illustrates how a student might learn from artist model Sylvia Siddell. For her first sketchbook page Manisha arranged shells within cardboard boxes (giving her ample opportunity to practise the depiction of space), contrasting natural forms with the angular edges of boxes.
This sketchbook page includes confident and sophisticated experimentation with line (hatching and rendering techniques) as well as with several wet mediums, including acrylic paint, water colour and Indian ink. A great tip for International GCSE students is to use a range of grounds and drawing surfaces within their sketchbook.
Manisha has used a range of collaged mixed media to explore form and develop her ideas within her IGCSE art sketchbook. The drawings of seagulls morph into sketches that are influenced by the Cubism works to the left.
This sketchbook page was completed during a gallery visit, where students analysed the composition of artworks created by local artists.
As in other areas, Manisha excels in her understanding of composition and communication of ideas. Amiria has been a teacher of Art & Design and a Curriculum Co-ordinator for seven years, responsible for the course design and assessment of Art and Design work in two high-achieving Auckland schools. I employed Heather to work for me during the Christmas holidays: together we created sketchbook pages that could be used to inspire and guide my students.
It is hoped that these pages are of benefit to many high school Art students, as well as, of course, those studying or teaching GCSE Art or IGSCE Art and Design.
Observational studies such as this should form an integral part of an International GCSE Art sketchbook project. It allows students to practise a range of different mediums, including graphite pencil, coloured pencil and black pen. This photocopy of a shell (made by lying a shell directly onto the photocopier) is then cut, with removed portions redrawn using black pen. In addition to trialling a range of media and drawing techniques, students begin looking more closely at texture. The bottom left image is an acrylic painting of a shell, with details and additional rendering added with black pen. The manmade keys provide welcome variety to the natural forms that make up the majority of the sketchbook.
This crumpled up piece of newspaper resting on the sand allows students to practise drawing form, detail and space.
This sketchbook example page was created simply by laying found natural objects (grasses and seed pods found at the beach) upon the photocopier and created a black and white image.
She used a wash of earthy ochres and blues to create an acrylic ground, and used graphite and white paint over this to apply light and dark tone to the organic shell forms.


Manisha has used several different techniques, including applying paint with a stick, sponge and dripping splashes of ink onto a watery ground.
Traditionally printed photographs from the fish markets are included on this great example of an IGCSE Art Coursework page. In this assignment, Manisha referenced traditional Maori weavers and made a flax weaving of her own (flax is a common plant in NZ coastal regions, thus fitting into the overall Coastal Environment theme). This exercise allowed Manisha to practise the blending of tone in a range of different mediums – something at which she excelled.
This ensures that the artist models studied become an integral part of the Coursework project. This analysis then influences the composition ideas that are shown on the following page, where Manisha initiates ideas her final artwork – a painting that brings together many elements of the Coastal Environment theme. Amiria has a Bachelor of Architectural Studies, Bachelor of Architecture (First Class Honours) and a Graduate Diploma of Teaching. In 2002, the internet was not the wealth of resources it is today: I needed physical Painting and Related Media Coursework examples that my students could learn from. Charcoal drawings of textured surfaces, as well as an etching of a nautilus shell (with notes about the Golden Section) are included. The seaweed painting is students’ first introduction to working on a ground (undercoat).
Photocopiers create the most beautiful deep shadows and often unexpected blurring and marks – particularly when paper gets caught and crunched in the machine! She then photocopied this weaving to create strongly contrasting black and white images, which were then cropped carefully to create striking compositions. The image on the left is particularly successful, involving a photocopy that has pieces cut away, with the gaps redrawn. The year’s course was broken into a number of smaller assignments that were explored over the following sketchbook pages. In this sketchbook page, Manisha has glued a piece of brown paper to the left hand side of the page and used this as a mid-tone ground for a black and white charcoal drawing. While the focus of this sketchbook page is upon accurately depicting of shape, proportion and tone, some of the shell drawings (those in groups, with shadows) allow students to also represent space and depth. Note that the beautiful observational drawings of natural forms (a skull on the left and a dried fish carcass on the right) are both drawn directly from life, rather than second hand imagery.



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