Level 2 Award and Diploma in Art & Design

Chief Examiner ’s Annual Report 2013/14

Statistical Information and Analysis

ConclusionExamples of Good Practice

Actions and Recommendations

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Commentary on Assessment EvidencePlanning and production

Research, development and problem solving

Practical skill and presentation

Evaluation and reflection

Assessment

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1.1

1.2

1.3

1.4

1.5

IntroductionChief Examiner summary

Overview of the qualifications

Centre type approvals and registration

Qualification support 2013—2014

External moderation

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Contents

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1.2 Overview of the qualificationThis is the second year of delivery for the UAL Awarding Body L2 Award and Diploma in Art & Design.

There has been a significant increase to the number of Centres approved to deliver the qualification this year (see section 2) and in response, a number of advisory visits took place between October and December 2013. External moderation was carried out at the end of Unit 8 with most Centres completing in June 2014.

1.3 Centre type, approvals and registration Sixteen new Centres were approved to deliver the qualification in 2013 / 14 making a total of twenty-nine Centres with a total number of 813 registrations, a significant increase over the 416 registrations in 2012 / 13 .

Type of Centre 24 Further Education Colleges 1 Higher Education Institution 4 Sixth Form Colleges.

Delivered as generic/ specialist programme 25 x Generic 2 x Fashion Art and Design 1 x Media and Fashion Design 1 x Photography.

Introduction

1.1 Chief Examiner summary This report has been compiled using data taken from the UAL Awarding Body registration and data collection system, the accuracy of the statistical information contained in the report is correct at the time of publication.

The report confirms the continuing growth of the Level 2 Diploma in Art & Design course and the increasing number of Centres that UAL Awarding Body now work with across the country.

The report notes the positive feedback received from these Centres on all aspects of the qualification structure and the opportunity it provides for students to progress both to Level 3 and into employment. The Level 2 Diploma in Art & Design continues to fulfil its primary objective of supporting student achievement across a diverse array of students with a wide range of learning needs.

The introduction of a Senior External Moderator role has ensured that the level of communication valued by UAL Awarding Body Centres has been maintained.

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1.4 Qualification support Advisory VisitsDuring Autumn 2013 and early in 2014, new Centres were visited by either the Chief Examiner or a Senior External Moderator for the Level 2 Diploma in art and design. A full advisory report was completed for each visit with copies held at the Awarding Body and sent to the relevant Centres.

Standardisation EventsThe Level 2 Diploma in Art and Design Unit 8 standardisation event took place at South Essex College on 3rd July 2014. Teams from Centres across the country were given an overview of the delivery at the college and invited to discuss and share views on the assessment processes and level of grades awarded based on evidence, and across a grade range, of level 2 portfolios to arrive at a consensus on a National standard for the UAL Awarding Body Level 2 Diploma in Art and Design.

Conference 2014The end of year Level 2 and Level 3 conference this year took place at Central Saint Martins on 11th July 2014. This conference was well attended by Centres from across the country. The conference was Centred around ‘Diversity in Art & Design’ with a keynote talk from UAL’s Professor Paul Goodwin, Urban theorist, curator and Chair of Black Art & Design. Other topics included ALPS and progression, with an overall theme exploring the importance of diversity to art & design.

External Moderator Training and DeploymentThe Awarding Body recruited 30 new External Moderators last year for the Level 2 and Level 3 Art and Design courses. The next External Moderators training is taking place on the 7th November 2014; focus will be for the Creative Media and Performing and Production Arts qualifications but new art & design orientated External Moderators are also being encouraged to attend. Further support will be offered to External Moderators via the newly established regional External Moderators network led by a team of Senior External Moderators; this group, chaired by the Chief Examiner, have developed regular briefings for External Moderators and will also host regional training events in 2015.

1.5 External moderationExternal moderation was undertaken between May and July 2014. Following the moderation process, verbal feedback was given to the course teams, recommendations and action plans were agreed where appropriate. A formal External Moderator report was completed for all cohorts and forwarded to the Awarding Body to be checked by a member of the UAL Awarding Body team of Senior Moderators prior to being sent to the Centre. Across all Centres the majority of grading decisions were accurate with only a very small number of re-grades advised.

The external moderation teams presented reports highlighting strengths and noting recommendations for improvement where required. 29 Centres were moderated across 32 sites and where a Centre had delivered the qualification to separate specialist cohorts, separate reports were written to identify the different approaches and evidence submitted.

Introduction

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The following comments are taken from the External Moderator reports and are representative of the observations on sampled work and assessment processes:

Planning and production“The time given to complete Unit 8, developing and producing a personal project in art and design varied from between 6 and 10 weeks and many Centres chose to work to a broad thematic brief to provide sound starting points for the development of personal project proposals;”

“All students within the sample had presented word processed project proposals prompted by excellent Centre devised pro forms. There was an overarching assignment brief to initiate the research and development of Unit 8. It was noted by the moderators that those students within the distinction grade band had taken full ownership of the project to make extremely personal and diverse outcomes. Time plans were effectively used by the majority of students within the sample. Students were often supported by project reviews and tutorial notes; this aided the project development.”

“This gave the students ample opportunity to explore both visual themes and cultural references. Gallery visits were also organised, and the students recorded this in their individual sketchbooks. Students received guided workshop sessions, where they explored possible themes for their projects and were shown a variety of artists work on which to draw inspiration, and to carry out relevant artist research. This was all recorded in their sketchbooks and journals.”

“All of the students had been given a timed framework to work within. (The) theme and given deadlines allowed the students to follow a common research pathway and then progress to work on their chosen specialisms. The time planning sheets were present

in each of the student’s sketchbooks, each of which had been annotated. For the higher achieving students, it was clear that they considered ways forward with their work and planned their use of time appropriately.”

“Students were given the theme, ‘Bird’ to explore for Unit 8, the final major project. They had approximately six weeks from the introduction of the theme to completion of the project. All received sound written guidance and a sheet splitting the project into four main tasks with the evidence needed. There were also a number of handouts introducing topics to do with birds, contextual research sources and relevant media and techniques to explore. Brainstorming, discussion of initial ideas and simple experiments in three dimensions were followed by a trip to ‘Birdworld’. The following week most students pitched a proposal for what they intended to produce.”

“The proposals offered were clear and precise, offering an understanding of the parameters of the brief. Some gave rise to well planned and well justified action plans and work schedules, while others offered a list of things to do, and by when. However, at this level, the task of getting students to plan is sometimes difficult, and the staff should be praised for the obvious hard work that has gone into the proposals and plans offered.”

“All students provided short UAL format proposals of at least a paragraph & discussed their projects in their video diary presentation (evaluation). This gave clarity to the parameters of most projects and provided impetus for the development of research & work.”

“All candidates sampled showed evidence of timelines, task mapping and project proposals (mostly typed) showing that candidates had focused themselves on the projects intention and its execution over a given period of time. Mind maps with lists of possible ideas were also evident.”

Commentary on Assessment Evidence

Research, development and problem solvingMany Centres supported the development of the project proposals through well-planned programmes of contextual study including Museum and Gallery visits;

“Visits to the Science Museum and Tate Modern had been organised for the students. Workshops had also been planned; the higher achieving students went on to research and find their own sources relevant to their own work, this included undertaking further visits to either exhibitions or museums.”

“Research began at the V&A and then the students developed and extended this research to inform and inspire their own ideas for their personal project. Some students decided rather quickly what their final outcome was going to be and their range of exploration of ideas was, therefore, minimal. Other students were a lot broader in their approach and the accurate assessment of these criteria and feedback reflect this.”

“Visits to the British Museum and to the Hunterian Museum, were timetabled into the introduction of the project. Later visits included the Victoria and Albert museum, the science museum and a trip to view the graffiti in Brick lane. Evidence of the inspirational affect of the visits on the students work was clearly in evidence when looking through their sketchbooks and personal journals. The more distinctive students, also made their own individual visits to relevant locations around London, and recorded this primary research through drawings and photographic evidence in their sketchbooks.”

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“The brief directed students to choose five favourite artists in order to extract something from the art work making it personally meaningful to them. This began with word associations which led to a creative writing exercise that reflected the chosen artists’ work and was used to inspire further project development.”

“The students had clearly engaged in the theme of the 1960’s, which offered a clear direction for contextual research. Students were encouraged to visualise a mind map of what this period of time meant to them, and so were encouraged to develop their own ideas and in a direction that demonstrated individuality. The topic required that they further develop their contextual research. This was evidenced very well in the sketchbooks. It should be noted here that the sketchbooks had clear evidence of research activity, particularly in the form of drawing and note taking from a visit to the V&A. Although at times this was descriptive, it was encouraging to see the beginnings of independent evaluation and analysis.”

“There is good evidence of problem solving throughout the sample in relation to the practical development of outcomes, there is less evidence of a theoretical problem solving where students have set themselves less ambitious targets.”

Practical skills and presentation“External Moderator reports highlighted that in all Centres, students had access to a good range of materials and processes, and were well supported in the development of their practical skills;”

“Materials and techniques had been explored and technical understanding was developed to a sound depth for a course of this level. Commitment to overcoming practical problems was evident.”

“It was good to see an exploration of different materials and process handled skillfully by candidates where assemblage, selectivity and presentation were of a good standard. Imaginative use of materials and presentation methods has culminated in candidates responding to the project in many different ways.”

“Different materials and processes were handled skilfully where competent pattern and assemblage/sewing skills were evident. Work was directly influenced by primary research and was imaginative and experimental in its use of materials and techniques.”

“There is a wide variety of materials, processes and techniques in evidence, demonstrating the breadth of teaching and the range of skills introduced during the year. The students have been exploratory and experimental in their approach with some very fine, high-level outcomes. Back-up work, visual and written, is presented in sketchbooks and ring binders.”

“The practical skills demonstrated are of a very high calibre in the whole of the sample seen encompassing a wide range of skills and experimentation with materials and processes. Students have been supported to produce both 2D and 3D outcomes that are ambitious and well realised. This is a real strength within the programme. Overall the presentation of work was to a very high standard.”

“Final outcomes were well presented and at the higher grades, were well executed demonstrating a sound understanding and control of visual language across a variety of different contexts. All students had considered and documented how their work was to be displayed in the exhibition and a written statement that outlined the intention of the work accompanied each final piece.”

Commentary on Assessment Evidence

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Assessment“The feedback provided to the students was informative and offered areas for improvement, but would have benefited from more direct reference to the grading criteria being marked.”

“Assessment has been carried out extremely thoroughly and rigorously… The whole process appears to be very much a team effort, and imparts soundness in the decisions reached and grades awarded. Two students were selected as samples to be assessed initially and a moderation exercise took place, after which the tutors discussed their findings and established and agreed benchmarks. The rest of the cohort was assessed to these standards, using the UAL Awarding Body recommended assessment grid template very effectively, with excellent, positive feedback commentary relating to specific assessment criteria and advice for future improvement and achievement. There was then a blind-marking exercise for three students’ work. One student was then selected to be internally verified by a member of staff outside of the teaching assessment team. A formal standardisation meeting was held to present, discuss and agree the proposed grades. The whole process has been meticulously documented throughout and appears to be a very thorough, professional, watertight and exemplary practice.”

“There was a robust and well-documented assessment process in place at the Centre. All students’ work was assessed by a small team and discussions around final grades had taken place. These discussions were recorded clearly on the Centre’s internal verification sheets. The students were given clear written feedback on their final grading decisions, and comments were listed against the individual grading criteria. The students showed a good understanding of the requirements of the unit and demonstrated this understanding, in their written evaluations. It was also evident from their individual journals that students were given feedback throughout

Evaluation and reflection“The use of daily journals really helped students focus and become more efficient at time planning and self-evaluation.”

“The first evidence of reflection is in response to the students’ presentations of their Unit 8 proposals. Once again prompts are provided to focus the students’ minds to produce considered evaluations. Set times throughout the project are used for further reflection of project development, project review and action planning.”

“Reflective commentary was advanced by the use of excellent prompt sheets. These prompts allowed candidates to make a focussed critical and analytical evaluation. This was not only apparent in the final written summation, but also threaded throughout the body of work. The more able candidates wrote with confidence and articulated carefully chosen vocabulary to analyse their working practice. Those candidates who were less engaged relied heavily on descriptive annotation.”

“Students were encouraged to carry out evaluation and reflection regularly throughout the final project and were issued generic templates to do this. There were regular group critiques and students again could use a template to document this. The final evaluation was produced in the form of a PowerPoint, which, for these Level 2 students was a great success, giving a visual and written reflection of their final project… this will be extremely useful for those going on to Level 3.”

the project and therefore had ample opportunity to improve their grade before the deadline.”

“Students are assessed by a team of two tutors who also act as internal verifiers for each other’s assessment decisions i.e. for Unit 8 assessment, each students’ work is blind marked by each assessor before they come together to discuss their individual grading decisions.”

“Centre devised assessment sheets are used and tutor comments are mapped against the Unit 8 criteria. Detailed typed commentary and feedback is presented and then hand-written judgements are added by the second assessor to confirm or challenge the first mark. As this is a small cohort internal verification and standardisation is very ‘hands on’ and allows tutors some time to consider the accuracy of grades and criteria. However it should be noted that a more objective internal verification system should be implemented using a tutor from a different course to assess the quality of feedback and grading decisions.”

“Student submissions are assessed and graded by the tutors for each group. After this the department Internal Verification process involves the work of each student being looked at by a team representing each of the two pathways and grades are confirmed. If there is disagreement the Head of School is invited in to look at the work. This ensures a robust process to determine a fair grade for each learner. The Head of School is also the lead Internal Verifier who ensures the process is accurate and appropriate. The written feedback provided for the students is good and addresses the assessment criteria and states what the students have achieved. The language used is appropriate and encouraging. They also give students clear guidance on what was missing and how they can improve their work.”

Commentary on Assessment Evidence

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The following diagrams and charts are given to illustrate the key statistical information for the UAL Awarding Body Level 2 Diploma in Art and Design qualification. The information is based upon data collected from the qualifications and learning management system, Quartz.

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Figure 1Level 2 Diploma in Art & Design — Centres who made registrtations 2013/14

Statistical Information and Analysis

Figure 1: Level 2 Diploma in Art and Design - Centres who made registrations 2013/14

Centre

1 Birmingham Metropolitan College 2 Blackburn College3 Blackpool & The Fylde College4 Carlisle College5 Central Bedfordshire College 6 City College Brighton & Hove 7 City of Liverpool College 8 Colchester Institute9 Doncaster College

10 Haringey VI Form 11 Leeds College of Art 12 Leyton 6th Form College13 Lincoln College 14 Longley Park VI Form 15 New College Nottingham16 Oldham College 17 Reigate School of Art, Design & Media 18 Richmond Upon Thames College19 Shrewsbury College of Art & Technology20 South Essex College 21 Suffolk New College 22 St Francis Xavier VI Form 23 Stockport College24 South Gloucestershire and Stroud College25 The Manchester College 26 Warwickshire College 27 Westminster Kingsway College 28 Weston College 29 Wirral Metropolitan College

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Figure 2Level 2 Diploma in Art & Design — Comparative number of Centres and registrtations 2012   / 13 — 2013  / 14

Statistical Information and Analysis

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Statistical Information and Analysis

Figure 3Level 2 Diploma in Art & Design — Comparative registrtations by gender 2012   / 13 — 2013  / 14

Figure 3: Level 2 Diploma in Art and Design - Comparative registrations by gender 2012/13 - 2013/14

2012/13 2013/14Male 37.0% 37.0%Female 54.0% 63.0%Not Known 9.0% 0.0%

0.0%

10.0%

20.0%

30.0%

40.0%

50.0%

60.0%

70.0%

Male Female Not Known

Num

ber o

f reg

istr

atio

ns (%

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Gender

Comparative registrations by gender 2012/13 - 2013/14

2012/13

2013/14

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Figure 4Level 2 Diploma in Art & Design — Comparative registrtations by ethnic origin 2012 / 13 — 2013 / 14

Statistical Information and Analysis

Figure 4:Level 2 Diploma in Art and Design - Comparative registrations by ethnic origin 2012/13 - 2013/14

Ethnicity 2012/132013/14

Ethnicity BME W NKPercentage 15% 52% 33%

Figures for 2013/14

423 255

No. of BME No. of White No. of Not Known109 176 131123

15%

52%

33%

Registrations by ethnic origin 2013/14

BME

W

NK

Ethnic Origins Key

White (W)1. English / Welsh / Scottish /

Northern Irish / British 2. Irish 3. Gypsy or Irish Traveller 4. Any other White background,

please describe

Black, Asian and Mixed Ethnicity (BME)5. White and Black Caribbean 6. White and Black African 7. White and Asian 8. Any other Mixed / 

Multiple ethnic background, 9. Indian 10. Pakistani 11. Bangladeshi 12. Chinese 13. Any other Asian background,

please describe14. African 15. Caribbean 16. Any other Black / African / 

Caribbean background

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Statistical Information and Analysis

Figure 5Level 2 Diploma in Art & Design — Comparative achievement by grade 2012   / 13 — 2013  / 14

Figure 5: Level 2 Diploma in Art and Design - Comparative achievement by grade 2012/13 - 2013/14

Achievement (%) Pass Merit Distinction Fail Withdrawn2012/13 31.0% 31.0% 15.0% 20.0% 3.0%2013/14 41.0% 21.0% 20.0% 6.0% 11.0%

0.0%

5.0%

10.0%

15.0%

20.0%

25.0%

30.0%

35.0%

40.0%

45.0%

Pass Merit Distinction Fail Withdrawn

Ach

ieve

men

t (%

)

Grade

Comparative achievement by grade 2012/13 - 2013/14

2012/13

2013/14

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Figure 6Level 2 Diploma in Art & Design — Achievement by gender 2013  / 14

Statistical Information and Analysis

Figure 6: Level 2 Diploma in Art and Design - Achievement by gender 2013/14

Gender Pass Merit Distinction Withdrawn FailFemale 35.0% 24.0% 24.0% 13.0% 4.0%Male 51.0% 18.0% 14.0% 1.0% 8.0%

0.0%

10.0%

20.0%

30.0%

40.0%

50.0%

60.0%

Female Male

Ach

ieve

men

t (%

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Gender

Achievement by gender 2013/14

Pass

Merit

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Figure 7Level 2 Diploma in Art & Design — Achievement by ethnicity 2013  / 14

Statistical Information and Analysis

Of completing students, a good balance between the pass and higher grades was maintained compared with 2012-13, and the rate of failure has decreased significantly from 20% in the previous year. At the same time, the withdrawal rate has increased (from 3% 2012-13). However taken together, the figure for failure and withdrawal has dropped from 23% in 2012-13 to 18% for 2013-14 i.e. the overall success rate has increased (see overleaf)

Figure 7: Level 2 Diploma in Art and Design - Achievement by ethnicity 2013/14

Ethnicity Pass Merit Distinction Withdrawn FailBME 39.0% 20.0% 15.0% 21.0% 5.0%White 42.0% 22.5% 4.0% 25.0% 7.0%NK 39.0% 20.0% 15.0% 21.0% 5.0%

0.0%

5.0%

10.0%

15.0%

20.0%

25.0%

30.0%

35.0%

40.0%

45.0%

Pass Merit Distinction Withdrawn Fail

Ach

ieve

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t (%

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Grade

Achievement by ethnicity 2013/14

BME

White

NK

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Figure 8Level 2 Diploma in Art & Design — Destination data 2013  / 14

These figures are broadly in keeping with 2012-13 with the exception of the number of students progressing to FE L3, which has increased from 67.89% in 12-13 to 83.09% in 13-14. This is a significant increase and supports the qualification aim of increasing access to L3 programmes for students who have not achieved the pre-requisite GCSE qualifications to make a direct entry to L3.

Statistical Information and Analysis

Figure 8: Level 2 Diploma in Art and Design destination data 2013/14

Destination Apprenticeship Further Education (L3)

Other Further Education

Higher Education

Employment Other Activity

Number 22 666 49 0 47 17Percentage 3.0% 83.0% 6.0% 0.0% 6.0% 2.0%

3%

83%

6%

0%6%

2%

Destination data 2013/14

Apprenticeship

Further Education (L3)

Other Further Education

Higher Education

Employment

Other Activity

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Statistical Information and Analysis

Figure 9 Level 2 Diploma in Art & Design — Retention, achievement and success 2013  / 14

Retention on the level 2 diploma has dropped this year to 88% compared with 2012-13 (96.9%) but both achievement rates and success rates of completing students has risen compared with 79.2% and 76.7% respectively in 2012-13 .

Figure 9: Level 2 Diploma in Art and Design - Retention, achievement and success 2013/14

Academic year Retention Achievement Success2013/14 88.0% 93.7% 83.0%

76.0%

78.0%

80.0%

82.0%

84.0%

86.0%

88.0%

90.0%

92.0%

94.0%

96.0%

Retention Achievement Success

%

Benchmarks

Retention, achievement & success 2013/14

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Examples of Good PracticeSeveral External Moderator reports highlighted that at Level 2 the student body is often very diverse; some Centres were working with adult learners who ranged from high achieving students focussed on planning progression to higher level courses in FE and HE to leisure students and elsewhere, a high incidence of students with significant learning disabilities, or other barriers to learning, including emotional problems and difficult home situations, was observed. In all cases, Centres were clearly providing appropriate support through good tutorial systems and smaller class sizes etc; outcomes for students were as a result generally very commendable and led to good progression.

Conclusion

Other good practice noted in External Moderator Reports this year included:

Excellent supporting booklets provide students with the building blocks to plan and reflect as well as develop their ideas and working practice. These booklets support all the criteria for unit 8 and have been used effectively to varying levels across the sample

One very commendable document was the course handbook. This contained a week-by-week breakdown of the academic year, and how the units were to be delivered, and which criteria needed to be met for each of the units. This provided the students with a strong starting point which is supportive and directional. This scheme of work also clearly identified which tutor was responsible for delivering specific units and the model of delivery. This takes into consideration the tutors specialism. All tutors deliver on Units 1+ 2, 3 + 4 ( together ) and either 5, 6 or 7. This is also followed by an extension project that covers unit 6 for 3 weeks. This provides an opportunity to stretch and challenge the students and is seen as a useful tool to allow students with referral marks to generate additional evidence across the preceding units. Unit 8 is delivered between week 23  – 32, and this has its own handbook which has a breakdown of the assessment criteria and a generic plan.

Students had used video documentation to good effect and students were articulate about references & decision-making, and were self aware in reflection on their outcomes and time keeping  /  planning

At a Centre where the theme set for Unit 8 was linked to a live  / community brief: there was a very good programme of student presentation points (  The first one to an external panel of the City Council, and the second to primary school Head teachers). In the following presentations students are able to consider what they have done to date, present that to their peers and then reflect on the feedback to move their projects forward

The written feedback provided for the students is good and addresses the assessment criteria and states what the students have achieved. The language used is appropriate and encouraging. They also give students clear guidance on what was missing and how they can improve their work

The use of audio recording to support on-going evaluation and the development of reflective thinking.

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UAL responses to Actions and Recommendations from 2012   /  13UAL Awarding Body to appoint a Senior External Moderator to have overall responsibility for the quality monitoring of Level 2 and supervision of the Level 2 external moderation team. UAL Awarding Body have appointed a team of Senior External Moderators with qualification and regional responsibilitiy

External moderation planning needs to acknowledge Centres where delivery is across separate subject disciplines to ensure sufficient time is allocated to see a sufficiently large sample and to complete separate reports. UAL Awarding Body have increased the number of External Moderators allocated to Centres where the qualification is delivered across a range of separate pathaways.

UAL Awarding Body should provide the opportunity for training and appointment of additional External Moderators to support the Quality Assurance of the level 2 qualification. 30 new External Moderators with a specific focus on Level 2 and 3 were appointed following training in January 2014.

Standardisation and training for Centres should focus on ensuring students thoroughly evidence the impact of contextual research on their visual work. Ongoing through standardisation and sharing good practice events.

The ‘show and tell’ format for a support event was welcomed by the delivery teams and UAL Awarding Body should consider a similar early event for new Centres in 2013 / 14. Sharing Practice meetings are now scheduled to become regular regional annual events managed by the Senior External Moderator team.

UAL Awarding Body should ensure that Centres are aware of the processes for claiming certification for all completing students eligible for the Award.UAL Awarding Body operations team providing additional information to Centre examination teams

All Centres value the opportunity to network and share good practice. UAL Awarding Body should promote the buddying scheme for Centres and develop more opportunities for regional meetings for course teams.

Visits to other Centres have been facilitated by UAL Awarding Body  — Leyton VI Form, Birmingham Metropolitan College, and South Essex have hosted visits for level 2 delivery teams.

Centres have requested additional resources and exemplars be made available on the website.

Improvements to the website are ongoing and UAL Awarding Body continue to populate the Level 2 resources section of the website.

RecommendationsUAL Awarding Body to monitor commonality in recommendations to Centres and put in place focused CPD training sessions to address issues:

The need to define ‘problems’ to be solved in project proposal that are more content or impact led to address the dominance of solving practical problems relating to techniques and the handling of materials

The need for a more objective internal verification system should be implemented using a tutor from a different course to assess the quality of feedback and grading decisions.

Encourage more flexible way sof studying to address assessment timelines in course design, Easter was seen at several Centres as a ‘bottleneck’

Need to find ways to involve HPS staff more in standardisation events.

Continue to develop regional ‘Sharing Practice’ events for level 2 and 3 qualifications.

Sarah Atkinson Chief Examiner and Academic Advisor

UAL Awarding Body November 2014

Conclusion

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