epq artefact essay example

Art-based Artefact FULL Essay & Sketchbook Example

Jennifer Leigh | 28th September 2019

Many students are warned before taking on an EPQ, that artefact projects are substantially harder and score substantially lower than full essay projects. The key difficulty with artefact EPQs is making them research-based and the biggest task I had to overcome was insuring my artefact complimented my research, rather than the other way around. I was the only student in my year group to attempt an artefact EPQ and there was very little help as to the structure my EPQ should take.

During Sixth Form, I completed an art-based artefact EPQ on the significance of light and colour in Impressionist art. This EPQ followed obtaining full marks in my Art GCSE, so I chose to take a very similar process in creating my EPQ project and sketchbook.

In the end, I obtained 48/50 in my EPQ in June 2019 (AQA EPQ A* boundary = 45/50).

Looking for top EPQ tips? Check out my EPQ advice article here! This article features my EPQ essay and sketchbook in full that helped me achieve my A*. All the art below was submitted collectively as my artefact, with mini essays, artist studies and my final pieces being documented in an A3 sketchbook.

My EPQ essay (ft. photos of artefact)

Is use of light and colour the sole feature that defines the impressionist art era, or are there more significant motives behind the movement.

Impressionism can be described as “a style or movement in painting originating in France in the 1860s, characterised by a concern with depicting the visual impression of the movement, especially in terms of the shifting effect of light and colour”. Today, the Impressionists are some of the most popular artists whose artworks are readily seen by the public, namely due to the expressive use of colour and unique depictions of interesting compositions of light. However, this project aims to explore whether use of light and colour really is the defining feature of Impressionist art, or whether there are other reasons why this movement of art is so unique from other movements. Furthermore, I also explored whether some of the most famous “Impressionist” artists today can be defined as “true Impressionists”, based on their techniques and motives.

Initially, I researched Claude Monet, as he is frequented described by art historians as “epitomis[ing] most closely the values of Impressionism”1. Monet frequently used varied colour palettes in his paintings, such as in “The Cliff Walk at Pourville” (1882) and “Red Boats, Argenteuil” (1875), which helped create a powerful mood and atmosphere for the viewer. For example, in “Le Grand Canal” (1908), he primarily used more muted, cool colours to emphasise the bright morning, which focuses the viewer on the reflections and varied hues of the water. Studying the painting up close, one can see how the hints of pinks and yellows contrasts with the muted colours, creating a sense of calmness and tranquility. In series works such as his Haystacks, Monet painted many similar, simplistic scenes so that “nothing distracts the attention from his harmonies of colour and atmosphere”2. Taking a random selection of paintings from this collection, such as “Haystacks, Hazy Sunshine” (1891) and “Haystacks at the End of Summer, Morning” (1891), it is clear to the viewer that the real interest is in Monet’s manipulations of light through the medium of colour.

However, use of light and colour is not the only technique that Monet demonstrated that is considered typically Impressionist: Monet also frequently varied his style of brushstrokes, working very loosely and liberally in paintings such as in his Waterlilies series. This technique, combined with frequently working in plein air, led to many of Monet’s paintings creating a feel of a “moment in time” for the viewer. Indeed, many of the revolutionary techniques Monet demonstrated had the same key purpose: to create a sense of a moment or impression of a scene for the viewer, rather than a full, still representation of a period of time.

Considering Monet as a “true Impressionist”, I then began to compare his techniques and works to those of other artists during a similar period of art history. I initially researched Edgar Degas, who separated himself from most Impressionists by outwardly describing himself as a Realist, rather than an Impressionist, with a “lack of interest in plein-air painting, his abiding passion for the art of the great masters, and his experimentation in different media, including photography” 3 . However, it is clear by studying his works that Degas aimed to create an impression of a person’s life rather than Monet, who aimed to create an impression of a scene. One way that he demonstrated this was how Degas “began experimenting with off-centre compositions, and figures cut in half by the picture frame” 1 , which can be considered a way that Degas allowed the viewer to glimpse “an unexpected slice of Parisian life”. This is comparable to how Monet used sketchy strokes and varied colours in his paintings; both artists used these contrasting techniques to give the viewer an impression of the scene in front of them, whether it was a landscape or a group of people.

Some critics have argued that “Degas never allowed himself to be called an Impressionist, and, affirming the supremacy of drawing over colour, was often highly critical of his colleagues [the Impressionist artists he frequently exhibited with at the Salon des Refusés]” 4 yet, despite this, he did show very similar motifs to other Impressionists like Monet. Indeed, a majority of written sources on Degas were in books containing a wide range of other Impressionist artists, implying that many art historians do draw great similarities between Degas’ and other Impressionists’ work. Studying Degas’ sketches and paintings as a modern viewer, it is clear that the theme of capturing a moment for the viewer was a theme of Impressionism that Degas consistently demonstrated, along with other Impressionists.

Another artist prominent at the time of the Impressionists was Paul Cézanne, whom I also researched as part of my project. Like other Impressionists, Cézanne presented his work at the 1870 Salon de Réfuses, however he drifted away from the Impressionist movement and focused on creating more carefully structured compositions, with a unique crystal-life appearance. In paintings such as Tall Trees at the Jas de Bouffan (1883), Cézanne used “constructive” strokes, consisting of flat strokes of a consistent scale, shape and direction, “giving the picture an overall coherence … through slow methodical brushwork” 5 . Art historians can infer that rather than attempting to create atmospheric conditions, he sought to create spectrums of colour that more realistically replicated the conditions of the day.

Some critics argue that Cézanne was key to the Impressionist movement, while others, such as Hajo Düchting, claim “once the heyday of Impressionism dawned, Cézanne had already put both Paris and Impressionism far behind him” 6 . In this case, it is important to note that Düchting is writing with the purpose to persuade the reader that Cézanne was a truly unique and revolutionary artist of his time, so the author avoids crediting the origins of Cézanne’s style to any artist or movement, such as the Impressionists, throughout the book. Despite potential bias in his work, it is difficult to ignore Düchting’s argument that Cézanne was unlike the Impressionists; indeed, even sources specifically covering Impressionist artists describe Cézanne as relinquishing Impressionism, “insufficient for [his] purpose and inadequate to [his] aims” 4 .

Many of the sources I did study as part of my research gave a general overview of Impressionism, such as “Great Artists of the Western World: Impressionism”, considering how many artists of the same period of history used Impressionist techniques; this suggests that the authors may be biased in looking at Cézanne and Degas from a purely Impressionist viewpoint, rather than considering techniques which made both artists stand out from classic Impressionists like Monet. Despite this, visiting galleries and exhibitions such as “Drawn in Colour: Degas from the Burrell” (National Art Gallery) and “Corteau Impressionists: From Manet to Cézanne” (National Art Gallery) offered the opportunity for first hand research in seeing these artists’ work up close, supporting evidence from these texts regarding to what extent Degas and Cézanne really were “Impressionists”. The Corteau Impressionists exhibition at the National Art Gallery 5 featured a range of artists from a similar period of art history, such as Manet, Renoir and Seurat. However, the paintings themselves and their descriptions were clear evidence of how differently these artists worked; for example, Seurat was described as being “dissatisfied with Impressionists’ intuitive responses to light and colour” and thoroughly discarded their style of thinking, despite being exhibited as one of them in this exhibition, suggesting that not all those artists considered “Impressionists” by the public can truly be considered one by art historians. Generally, the Impressionist exhibitions proved more useful sources than the texts, which were prone to producing bias to make the artist seem more original in their techniques (and therefore less “typically Impressionist”), while seeing the paintings and annotations up close allowed for a more critical judgement of the methods used.

Using the research I had gathered from these three key artists, I began to develop an idea for a final piece which incorporated what I felt were the key features of Impressionism. I focused on a series of works, taking inspiration from how both Monet and Degas created multiple, similar paintings which showed subtle changes in composition and/or atmosphere. I chose to focus on landscapes, picking compositions from my garden in order to give me the change to work en plein air, trying to pick images which worked together in a series, yet also showed some compositional interest, taking inspiration from Degas. Eventually I chose a set of two compositions that complemented each other with similar viewpoints. Throughout the painting process, I focused on capturing all the colours reflected in the light of the scenes, while preserving the spontaneous, loose feel of the Impressionist artists, taking note of what I’d learnt in my research. This can particularly be reflected in the portrayal of the trees, where I used broad brushstrokes to capture the constant movement of the leaves. I also used subtle variations of colour to reflect the slight changes in light and impression for the viewer: while the first painting has a strong, warm tint to reflect the calm twilight, the second painting consists of slightly cooler tones to suggest the vibrant daytime. This was an ode to Monet’s many series works, containing multiple similar scenes with strong variations in light and atmosphere. Overall, these paintings reflected and supported what I’d learnt during my research regarding the techniques and aims of Monet and Degas.

In conclusion, there is clear evidence for colour being a key feature in Impressionist art, yet this cannot be prioritised over the real motive behind the artist’s work: the reason for “Impressionist” art being given its name is due to whether or not the aim of the piece is to suggest a moment in time, inflicting some sort of emotion or atmosphere for the viewer. Despite this, it is accurate to suggest that “the Impressionist group in France falls into several sections” 4 . Monet and Degas both shared the same intention to capture an impression of a scene, despite doing this through different techniques; in comparison, Cézanne shared similar technical qualities in his painting style to Monet, yet his overall aim leant towards capturing a representation of a longer period of time. In this way, it is clear Monet and Degas demonstrate their Impressionist qualities to a much greater extent than Cézanne, which can be noted in viewing their work. In this way, the significance of colour in Impressionism is limited to simply being a means through which artists, such as Monet, can create these atmospheric effects and feelings for the viewer.

• Anon. (1987). Great Artists of the Western World. London: Marshall Cavendish.
• Mannering. (1998). The Masterworks of Monet. Bristol: Parragon.
• Drawn in Colour: Degas from the Burrell. The National Gallery, London. (Exhibition February 2018)
• Francia, d. (1961). Movements in Modern Art: Impressionism. Vienna: Brüder Rosenbaum.
• Courtauld Impressionists: From Manet to Cézanne. The National Gallery, London. (Exhibition November 2018)
• Duchting. (1996). Cézanne. Taschen America Llc.
• Sagner-Duchting. (1992). Claude Monet. Taschen America Llc.
• Reyburn. (1997). The Art of the Impressionists. Grange Books Ltd.
• Gariff. (2008). World’s Most Influential Painters and the Artists They Inspired: Stories and Hidden Connections Between Great Works of Western Art.

© 2020 Jennifer Leigh. Based on website design GreatSEO .

• How to Write an EPQ Essay

Writing an EPQ essay can seem like a daunting task, which is why we’ve written this nine-step guide to help make the whole process easier.

In addition to the A-Levels you’re already doing, you can choose to take an EPQ (Extended Project Qualification). An EPQ is an independent research project, and it’s extremely beneficial as it counts towards UCAS tariff points.

Consisting of around 5,000 words, an EPQ essay is an in-depth assignment which takes about 120 hours to complete.

That may seem like a lot of extra work to take on alongside your existing studies, however it can be hugely beneficial when applying to get into university.

Choosing to undertake independent research and reading can prove to future educators that you’re willing to take on extra work to really show what you can do academically, as well as demonstrating that you have interests that go beyond the curriculum. An EPQ sits nicely with a summer school course such as a law summer school , business summer school , engineering summer school and medicine summer school . During your course you have the chance to explore and understand your subject further, demonstrating your commitment to your studies, and develop ideas for your EPQ.

How do you write an EPQ essay?

To write an EPQ essay, you need to: come up with a compelling idea that you’re interested in, write down everything you know about the subject to generate further ideas, find the best essay question to use, reference your sources properly, write a sharp introduction and conclusion, get feedback on your essay, and make sure you double-check your work before submitting it.

The key to writing any extended document is planning, which is why we’ve written this nine-step guide to help you write the best EPQ essay.

Read on for our top tips on how to write an extended project essay.

9 steps to write your EPQ essay

1. come up with an idea.

One of the main reasons students fail their EPQ is because they’ve chosen the wrong subject matter. It’s vital that you choose a topic you’re genuinely interested in, otherwise you won’t have any motivation to work on it. Because of the extra workload, many students choose to start their EPQ over the summer holidays, and with all the distractions that summer brings (trips to the beach, sunbathing in the garden or hanging out with friends in the park) there’s even more reason to pick a subject you don’t find boring, or you’ll just look for any excuse to avoid doing it. Before finalising your topic, you might want to discuss your ideas with your supervisor so they can check you’re on the right track.

2. Write down everything you know about the subject.   

Before doing any extra reading, it’s really helpful to write down everything you already know about your chosen subject. This can help to get your thoughts and ideas – which are often jumbled up – out of your head and down onto a piece of paper or computer screen so that you can begin to organise and make sense of them. This is also useful for identifying any gaps in your knowledge. However, if the gaps in your knowledge are vast and your chosen topic isn’t giving you enough inspiration, don’t be afraid to abandon your original idea entirely and come up with something new. It’s better to start again from scratch at this stage, rather than 2,000 words in.

3. Think of a question

Whatever your chosen topic, you’ll need to think of a question to answer. This is an extremely important part of your EPQ and will form the basis of your essay, so it really is worth thinking long and hard about. The way in which you phrase your question or hypothesis will affect the structure and flow of the whole essay. For example, some typical essay question formats include ‘Compare and contrast’, ‘Critically evaluate’ and ‘Analyse and conclude’. The type of question you want to answer will affect whether you need to highlight and critique a number of theories or evaluate how useful a particular concept is. And remember that your extended project essay needs to be approximately 5,000 words long, so you should choose a question that allows for extended research and arguments. It’s also worth bearing in mind that questions without definitive answers are better as there will generally be much more to write about.

4. Research the topic

Next, you should start thinking about the main body of the essay and how you’re going to go about fleshing out your ideas. Ideally, this step should take up half the amount of total time you spend working on your EPQ essay. You should spend a good deal of time reading books, papers and online journals that have been written about your chosen subject. The Internet is an excellent source of information, but anyone can write anything and publish it online, so make sure your sources are credible and recognised by the examining body. Wikipedia, for example, should be avoided as a reliable source of information as anyone can edit the text that’s been written there. While doing your research, you’re going to come across many different opinions and arguments and it’s all going to come from a variety of sources. So now is also a good time to think about how you’re going to organise it all.

5. Remember to reference your sources

As with any piece of academic work, referencing your sources is vital so the examiners can check you’re not plagiarising. It’s also good to demonstrate that your information has come from a range of places so the person marking your essay can see that you’ve researched your topic widely and have considered several different viewpoints. You’ll need to provide a bibliography at the end of your EPQ essay and if you can’t say where your information has come from, you’ll be unable to use it, so it’s a good idea to get into the habit of doing this as you go along. Whether you choose to create a spreadsheet on your computer or annotate photocopies and clippings with a pen, it doesn’t matter how you go about doing this as long as you remember to do it. It’ll make your life so much easier in the long-run!

6. Create subsections

Splitting your essay up into sections can help to make sure you’re writing enough and exploring the topic in as much depth as possible. Keep your word count in mind when dividing up your essay and try to split each section equally. But while mini topics are good for breaking the 5,000 words down into more manageable chunks, you have to make sure each one relates back to your original question, otherwise you could risk wasting some of those words on irrelevant information. Don’t sacrifice the important stuff by shoehorning facts and figures into your chosen subsections. It’s worth thinking about the order of these sections too. It’s usually best to write in a ‘news story’ format, with the most important subtitles at the top and the less relevant stuff filtering down to the bottom, however you could consider working chronologically if that works better for your chosen topic.

7. Write an introduction and a conclusion

As strange as it sounds, it can be helpful to write your introduction and conclusion paragraphs once you’ve completed the main body of the essay. This is because your thoughts on the subject matter are more likely to be more organised, therefore it will be easier to summarise the main points clearly and concisely. Your first paragraph should introduce the subject matter, briefly expanding upon your question and how you’re going to go about answering it, while your conclusion should refer back to the title and answer the question you asked at the beginning of your essay. Ensure that both paragraphs are as direct and succinct as possible, in order to show that you have a clear understanding of your topic.

8. Ask for feedback

Whether it’s a friend, a relative or – even better – your course tutor, it’s a good idea to have your work checked over by someone else. Because you’ve spent hour upon hour absorbed in your subject matter, you can lose sight of certain things, so it makes sense to have your EPQ essay looked at from a different viewpoint. A second opinion can ensure that everything you’ve written is concise and accurate and the person checking your work can give you advice on what to leave out or add in; especially if they already have some knowledge on the subject matter.

9. Double-check everything before submitting your work

It’s a good idea to leave it a day or so before coming back to your essay to proofread it so that you’re viewing it with a fresh pair of eyes. We recommend going over it a couple of times – once to check that you’ve covered everything in terms of the subject matter and another for housekeeping. You want to ensure that you don’t lose any marks for basic things like spelling, punctuation and grammar. You should also take this time to make sure footnotes are accurate, as well as checking over any graphs, charts, diagrams and images.

We hope you’ve enjoyed reading this step-by-step guide and we’re confident that you now have everything you need to go on to successfully write an EPQ essay. Good luck!

EPQ Guide: Home

• The Inquiry Process
• Developing a line of inquiry
• Finding and selecting sources
• Working with ideas
• Expressing your ideas

Why choose an EPQ?

At the very least you will learn valuable inquiry skills that will help you at university and beyond.

At best, an EPQ can be a revealing journey of self-discovery that may be the start of a life-long inquiry journey, and the beginning of a deeper relationship with a particular subject or topic.

What would I need to produce?

• Your completed Production Log
• If your project is solely a research-based written report of any kind (e.g. a science investigation or an essay) it should be approximately 5,000 words long
• You might produce an artefact, such as a piece of art or portfolio, a design product, a website, or a presentation or performance. If your product is an artefact, it must be accompanied by a research based written report of a minimum of 1,000 words. For artefacts, you may include photos or other media showing various stages of the production process as well as the final product. You do not need to submit a large artefact as evidence - photographs or other media are fine.

• Your presentation must be delivered live to a non-specialist audience and might use flipcharts or posters, presentation tools such as PowerPoint or Prezi or short video clips. The evidence for your presentation will  include a record in your Production Log of questions your supervisor asked and how you responded.
• If your product was itself a presentation then you still need to deliver another presentation about the process of producing it!

Most students produce an EPQ on their own. It is permitted to work in a group (e.g. to produce a group performance) but every student must produce a separate Production Log and research report, and make their individual role in the group clear.

How do I use this guide?

• Once you have explored this Home tab, start by reading through the Inquiry Process tab
• Then use the Planning tab to help you to decide on a subject and topic, and plan your project
• You might then want to start at the end, and visit the Reflecting tab to think about setting up an Inquiry Journal to chart your journey. Reflection is important throughout the inquiry process, not just at the end, and the EPQ process requires you to provide evidence of this reflection at every stage.
• The Developing a line of inquiry tab will help you in the early stages of your investigation, as you are narrowing down your inquiry
• The Finding and selecting sources tab will help you as you gather and work with sources to support your inquiry
• The Working with ideas tab will help you as you make notes from those sources and start to pull all the different ideas you have encountered together into new ideas of your own
• The Expressing your ideas tab will help you as you plan your report and presentation

Who can help me?

• Mr Foster, Head of Student Research, who is in charge of the EPQ and delivers the taught component of the course
• Your supervisor (this may also be Mr Foster), who will support you throughout your EPQ, helping you to plan a realistic project and to overcome challenges you meet on the way. Your supervisor will also fill in sections of your Production Log and assess your project.
• The Library staff , who are inquiry experts and can help you to locate and work with the research materials you need
• If your supervisor is not an specialist in your subject, you may also need the support of a subject expert , who may be another member of teaching staff but may equally be someone outside school who has specialist knowledge of your area. Please consult your supervisor and/or Mr Foster before making contact with a subject expert from outside school.

AQA Guide to completing the Production Log introduction

The presentation above contains slides from the AQA presentation  Teaching slides: how to complete the production log  (available from the AQA EPQ Teaching and Learning Resources website ).  These slides are Copyright © 2020 AQA and its licensors. All rights reserved.

A downloadable copy of the Production Log can be found here , on the Home tab of this guide.

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Production log

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