This apprenticeship standard has been approved for delivery by the Institute for Apprenticeships and Technical Education. However, starts on the apprenticeship will only be possible once a suitable end-point assessment organisation (EPAO) has obtained Ofqual recognition. Once the EPAO has obtained Ofqual recognition, funding for apprentice starts will be permitted and this message will be removed.
Discuss the scenic art requirements with the designer or scenic manager to translate their vision into the reality of what the audience sees.
This occupation is found in theatres, animation, TV, film and commercial workshops who undertake work for these organisations.
Scenic artists, depending on the employer requirements and contracts, also undertake work to develop exhibitions, support festivals and immersive theatre events, work for interior decorators, theme parks and site-specific events. The broad purpose of the occupation is to discuss the scenic art requirements with the designer or scenic manager to translate their vision into the reality of what the audience sees. These discussions may also include health, safety and environmental considerations, schedule, budget, and practical issues e.g. touring. In film and TV productions, the construction workers, which include scenic artists, play a vital role in determining the look of the production; they are responsible for building, painting and plastering sets for productions.
They may work from scale models, and pictorial references including technical drawings provided by the designer, photographs, textiles, and other items which convey aspects of the design concept. The scenic artist will then work to produce samples of the various scenic finishes needed, such as colour, textures, and style of painting. Once approved by the designer and if within budget, the scenic requirements can then be fully realised in collaboration with the production team.
Scenic artists ensure finish, repair and modification is correctly and efficiently carried out in accordance with safe working and manufacturing practices. They may be required to modify and complete works during performances or productions if alterations or repairs are required.
Scenic artists are largely based in a workshop environment which could include, small and large commercial workshops, and theatre companies. They may work in various other working venues and environments including outdoor work. They will also be required to work onstage or on-site, during rehearsals and at other specific times. This may mean working unsociable hours such as evenings, weekends and overnight during fit up, production and live event periods.
They use a wide variety of equipment such as drawing materials, power tools and paintbrushes. They are expected to work individually as well as within teams depending on the organisation’s size and structure. Scenic artists may at times be required to manoeuvre heavy objects, and work at height. In their daily work, an employee in this occupation interacts with members of the creative team which includes production managers, set designers, design assistants, scenic managers and directors. In TV and film, scenic artists are part of the construction department.
They typically report to the head of department, workshop manager or their deputies.
A scenic artist will liaise with other members of technical departments such as construction (if not part of the same department), props masters, wardrobe, sound and lighting and stage supervisors. In a wider context, they may interact with producers, site managers, contractors, and potentially with occupational health, human resources, IT and health and safety. An employee in this occupation will be responsible for preparing and finishing scenery to meet the design brief. They must work from designs and pictorial references provided by a set designer.
Scenic artists will either work independently or with others to achieve the objectives of the project, including timescales and costings. They must adhere to health, safety, environmental and sustainability policies, procedures and regulations including the safe use of materials. They will effectively control personal material use, taking into account material sustainability and environmental impact to minimise waste and increase efficiency. They must maintain and update their knowledge regarding all matters concerning materials, products and technique.
They will adapt their approach to ensure they select the most efficient method of attaining the project outcome. They are trusted to work unsupervised under the brief of their supervisor.
This is a summary of the key things that you – the apprentice and your employer need to know about your end-point assessment (EPA). You and your employer should read the EPA plan for the full details. It has information on assessment method requirements, roles and responsibilities, and re-sits and re-takes.
An EPA is an assessment at the end of your apprenticeship. It will assess you against the knowledge, skills, and behaviours (KSBs) in the occupational standard. Your training will cover the KSBs. The EPA is your opportunity to show an independent assessor how well you can carry out the occupation you have been trained for.
Your employer will choose an end-point assessment organisation (EPAO) to deliver the EPA. Your employer and training provider should tell you what to expect and how to prepare for your EPA.
The length of the training for this apprenticeship is typically 21 months. The EPA period is typically 3 months.
The overall grades available for this apprenticeship are:
When you pass the EPA, you will be awarded your apprenticeship certificate.
The EPA gateway is when the EPAO checks and confirms that you have met any requirements required before you start the EPA. You will only enter the gateway when your employer says you are ready.
The gateway requirements for your EPA are:
Interview underpinned by a portfolio of evidence
You will have an interview with an independent assessor. It will last at least 65 minutes. They will ask you at least 12 questions. The questions will be about certain aspects of your occupation. You need to compile a portfolio of evidence before the EPA gateway. You can use it to help answer the questions.
Practical assessment with questions
You will be observed by an independent assessor completing a set of tasks. It will last 15 hours. They will ask you at least 8 questions.
The EPAO will confirm where and when each assessment method will take place.
You should speak to your employer if you have a query that relates to your job.
You should speak to your training provider if you have any questions about your training or EPA before it starts.
You should receive detailed information and support from the EPAO before the EPA starts. You should speak to them if you have any questions about your EPA once it has started.
If you have a disability, a physical or mental health condition or other special considerations, you may be able to have a reasonable adjustment that takes this into account. You should speak to your employer, training provider and EPAO and ask them what support you can get. The EPAO will decide if an adjustment is appropriate.
This occupation is found in theatres, animation, TV, film and commercial workshops who undertake work for these organisations.
Scenic artists, depending on the employer requirements and contracts, also undertake work to develop exhibitions, support festivals and immersive theatre events, work for interior decorators, theme parks and site-specific events. The broad purpose of the occupation is to discuss the scenic art requirements with the designer or scenic manager to translate their vision into the reality of what the audience sees. These discussions may also include health, safety and environmental considerations, schedule, budget, and practical issues e.g. touring. In film and TV productions, the construction workers, which include scenic artists, play a vital role in determining the look of the production; they are responsible for building, painting and plastering sets for productions.
They may work from scale models, and pictorial references including technical drawings provided by the designer, photographs, textiles, and other items which convey aspects of the design concept. The scenic artist will then work to produce samples of the various scenic finishes needed, such as colour, textures, and style of painting. Once approved by the designer and if within budget, the scenic requirements can then be fully realised in collaboration with the production team.
Scenic artists ensure finish, repair and modification is correctly and efficiently carried out in accordance with safe working and manufacturing practices. They may be required to modify and complete works during performances or productions if alterations or repairs are required.
Scenic artists are largely based in a workshop environment which could include, small and large commercial workshops, and theatre companies. They may work in various other working venues and environments including outdoor work. They will also be required to work onstage or on-site, during rehearsals and at other specific times. This may mean working unsociable hours such as evenings, weekends and overnight during fit up, production and live event periods.
They use a wide variety of equipment such as drawing materials, power tools and paintbrushes. They are expected to work individually as well as within teams depending on the organisation’s size and structure. Scenic artists may at times be required to manoeuvre heavy objects, and work at height. In their daily work, an employee in this occupation interacts with members of the creative team which includes production managers, set designers, design assistants, scenic managers and directors. In TV and film, scenic artists are part of the construction department.
They typically report to the head of department, workshop manager or their deputies.
A scenic artist will liaise with other members of technical departments such as construction (if not part of the same department), props masters, wardrobe, sound and lighting and stage supervisors. In a wider context, they may interact with producers, site managers, contractors, and potentially with occupational health, human resources, IT and health and safety. An employee in this occupation will be responsible for preparing and finishing scenery to meet the design brief. They must work from designs and pictorial references provided by a set designer.
Scenic artists will either work independently or with others to achieve the objectives of the project, including timescales and costings. They must adhere to health, safety, environmental and sustainability policies, procedures and regulations including the safe use of materials. They will effectively control personal material use, taking into account material sustainability and environmental impact to minimise waste and increase efficiency. They must maintain and update their knowledge regarding all matters concerning materials, products and technique.
They will adapt their approach to ensure they select the most efficient method of attaining the project outcome. They are trusted to work unsupervised under the brief of their supervisor.
| Duty | KSBs |
|---|---|
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Duty 1 Interpret the creative design brief and consider how to implement to deliver the scenery or set in line with the production requirements. |
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Duty 2 Undertake research (for example period architectural detailing, genre, artist styles and methods) to support the delivery of the design brief. |
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Duty 3 Interpret the design requirements and demonstrate draughting skills using a range of techniques including scaling up, technical and freehand drawing. |
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Duty 4 Develop working samples from designs, technical drawings and pictorial references provided by the set designer, in collaboration with the creative team, in order to produce the finished set. |
K1 K2 K3 K5 K7 K8 K9 K13 K14 K18 K20 K22 |
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Duty 5 Undertake the realisation of all scenic finishes required using a wide range of techniques, materials and processes. These include, faux finishes, 3D textures and painting. |
K1 K2 K3 K7 K8 K9 K13 K14 K20 K22 K23 K24 |
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Duty 6 Maintain and update tools and equipment in line with manufacturer’s specifications and regulation requirements. |
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Duty 7 Repair, refurbish and maintain scenery during a production, and restore it to the original design brief wherever possible and as required. |
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Duty 8 Collaborate with scenic carpenters and scenic metalworkers to ensure the production schedule is achieved within the timescale. |
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Duty 9 Contribute to the costing processes for new projects and refurbishments of existing ones. |
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Duty 10 Maintain knowledge about new and improved methods, materials or working practices up to date. |
K1: Colour theory- identify and fully understand the main categories in colour theory. The colour wheel, that consists of primary, secondary and tertiary, colour harmony, and provides the context of how colour is used within the role, for example accurate colour matching.
Back to Duty
K2: Painting theory for example colour mixing, product use, wood-graining, marbling, sign writing, trompe l’oeil, spray techniques, painting on various materials, appliques and cut-cloths, faux finishes, peeling and cracked paint.
Back to Duty
K3: Basic geometry, namely sizes, shapes, positions, angles and dimensions of objects such as squares, circles and triangles.
Back to Duty
K4: Art history - recognise the differences in styles and periods in the story of world art, including that of notable historical and contemporary individual artists.
Back to Duty
K5: History of architecture and interiors - recognise the different styles and periods , including that of notable buildings and interiors.
Back to Duty
K6: Principles of portraiture - understand the processes of portrait artists including anatomical drawing of the human figure, painting techniques such as fresco or oil painting in order to reproduce in scenic terms.
Back to Duty
K7: Carving and sculptural techniques for example polycarving and scrimming.
Back to Duty
K8: Texture techniques for example different texture products, additives and adhesives, accurate replication of given building materials, rendering of natural and man-made surfaces, ageing and distressing.
Back to Duty
K9: Recognise the differences in preparation for and working on a variety of surfaces.
Back to Duty
K10: The rules of perspective drawing to suggest three dimensions on a two-dimensional surface.
Back to Duty
K11: Understand design requirements, from discussion with the head of department, production manager and designer or director, including those related to concept and finish, using drawings, photographs or models.
Back to Duty
K12: The design process including model boxes and scale.
Back to Duty
K13: Recognise materials and products, for example paints, glazes, textures, adhesives, canvases.
Back to Duty
K14: Impact of health and safety legislation, regulations, policies and procedures including, safe working practice COSHH regulations, manual handling and risk assessments.
Back to Duty
K15: Impact of environmental legislation - the importance of environmental responsibilities within the role for example the Refuse Disposal Act 1978 and Control of Pollution (Amendment) Act 1989 and the sustainability of resources.
Back to Duty
K16: CAD (computer aided design) and creative software to develop and create images and adapt those provided by the designer or design brief.
Back to Duty
K17: Research techniques to be able to identify requirements from the design brief.
Back to Duty
K18: Project management principles to supervise projects including costing processes.
Back to Duty
K19: The broad intent of the organisation or productions policies and procedures including diversity and inclusivity.
Back to Duty
K20: The objectives and requirements of other craft skills and activities in theatre stages and art departments and their relationship with scenery and props.
Back to Duty
K21: Maintenance and storage requirements of tools and equipment used to create the scenery or set for example mobile access equipment, hand tools, hoists and lifts.
Back to Duty
K22: The safe use of tools and equipment for example hand tools, hoists and lifts.
Back to Duty
K23: Approaches to keeping knowledge up to and sharing skills with work colleagues.
Back to Duty
K24: Accurate industry terminology.
Back to Duty
S1: Liaise with designers and production managers to create or adapt work in accordance with requirements.
Back to Duty
S2: Use drawing equipment including a scale rule, measuring stick, straight edge, stencil making, pounce making and projection.
Back to Duty
S3: Draw using methods such as plotting, gridding, freehand and figurative.
Back to Duty
S4: Use painting theory for example colour mixing, product use, wood-graining, marbling, sign writing, trompe l’oeil, spray techniques, painting on various materials, appliques and cut-cloths, faux finishes, peeling and cracked paint.
Back to Duty
S5: Use carving and sculptural techniques for example polycarving, scrimming.
Back to Duty
S6: Apply texture techniques for example different texture products, additives and adhesives, accurate replication of given building materials, rendering of natural and man-made surfaces, ageing and distressing.
Back to Duty
S7: Use industry practices including accurate industry terminology and safe working practices.
Back to Duty
S8: Interpret the design process including model boxes and scale.
Back to Duty
S9: Use tools and equipment for example hand tools, hoists and lifts.
Back to Duty
S10: Operate and use mobile access equipment.
Back to Duty
S11: Undertake work on different surfaces.
Back to Duty
S12: Undertake the hanging and stretching out of cloths and wallpaper.
Back to Duty
S13: Undertake repair and modification, and finish activities as required and in accordance with safe working and manufacturing practices.
Back to Duty
S14: Modify any completed works during production if alterations are required by the director or designer.
Back to Duty
S15: Demonstrate and share best practice with the team.
Back to Duty
S16: Use IT systems to facilitate administrative, communications and online requirements for example diaries, blogs, schedules, budgets, costings and progress reports.
Back to Duty
S17: Communicate with others including understanding and responding to instructions and briefings.
Back to Duty
S18: Develop drawings, paintings, colour samples etc. in accordance with a design concept.
Back to Duty
S19: Maintain safe working practices and efficient use of hand tools, machinery, materials and resources.
Back to Duty
B1: Puts safety first.
Back to Duty
B2: Takes ownership and responsibility for actions.
Back to Duty
B3: Positively adapts to change, is flexible and looks for the benefits when changes occur.
Back to Duty
B4: Is organised and timely in work delivery.
Back to Duty
B5: Solves problems within own area of responsibility.
Back to Duty
B6: Remains focused, balancing competing priorities to achieve required outcomes.
Back to Duty
B7: Team-focused and works effectively with colleagues and others.
Back to Duty
B8: Committed to keeping up to date with employer needs, industry best practice and own professional development.
Back to Duty
Apprentices without level 2 English and maths will need to achieve this level prior to taking the End-Point Assessment. For those with an education, health and care plan or a legacy statement, the apprenticeship’s English and maths minimum requirement is Entry Level 3. A British Sign Language (BSL) qualification is an alternative to the English qualification for those whose primary language is BSL.
V1.0
This document explains the requirements for end-point assessment (EPA) for the scenic artist apprenticeship. End-point assessment organisations (EPAOs) must follow this when designing and delivering the EPA.
Scenic artist apprentices, their employers and training providers should read this document.
An approved EPAO must conduct the EPA for this apprenticeship. Employers must select an approved EPAO from the Education and Skills Funding Agency’s Register of end-point assessment organisations (RoEPAO).
A full-time apprentice typically spends 21 months on-programme (this means in training before the gateway) working towards competence as a scenic artist. All apprentices must spend at least 12 months on-programme. All apprentices must complete the required amount of off-the-job training specified by the apprenticeship funding rules.
This EPA has 2 assessment methods.
The grades available for each assessment method are:
Assessment method 1 - interview underpinned by a portfolio of evidence:
Assessment method 2 - practical assessment with questioning:
The result from each assessment method is combined to decide the overall apprenticeship grade. The following grades are available for the apprenticeship:
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On-programme - typically 21 months
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The apprentice must complete training to develop the knowledge, skills and behaviours (KSBs) of the occupational standard. The apprentice must complete training towards English and maths qualifications in line with the apprenticeship funding rules. The apprentice must compile a portfolio of evidence. |
|---|---|
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End-point assessment gateway
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The employer must be content that the apprentice is working at or above the occupational standard. The apprentice’s employer must confirm that they think the apprentice:
The apprentice must have achieved English and maths qualifications in line with the apprenticeship funding rules. For the interview underpinned by a portfolio of evidence the apprentice must submit a portfolio of evidence. The apprentice must submit any policies and procedures as requested by the EPAO. |
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End-point assessment - typically 3 months
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Grades available for each assessment method: Interview underpinned by a portfolio of evidence
Practical assessment with questioning
Overall EPA and apprenticeship can be graded:
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Re-sits and re-takes
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The EPA is taken in the EPA period. The EPA period starts when the EPAO confirms the gateway requirements have been met and is typically 3 months.
The EPAO should confirm the gateway requirements have been met and the EPA should start as quickly as possible.
The apprentice’s employer must confirm that they think their apprentice is working at or above the occupational standard. The apprentice will then enter the gateway. The employer may take advice from the apprentice's training provider(s), but the employer must make the decision.
The apprentice must meet the gateway requirements before starting their EPA.
These are:
Portfolio of evidence requirements:
The apprentice must compile a portfolio of evidence during the on-programme period of the apprenticeship. It should only contain evidence related to the KSBs that will be assessed by this assessment method. It will typically contain 15 discrete pieces of evidence. Evidence must be mapped against the KSBs. Evidence may be used to demonstrate more than one KSB; a qualitative as opposed to quantitative approach is suggested.
Evidence sources may include:
This is not a definitive list; other evidence sources can be included.
The portfolio of evidence should not include reflective accounts or any methods of self-assessment. Any employer contributions should focus on direct observation of performance (for example, witness statements) rather than opinions. The evidence provided should be valid and attributable to the apprentice; the portfolio of evidence should contain a statement from the employer and apprentice confirming this.
The EPAO should not assess the portfolio of evidence directly as it underpins the interview. The independent assessor should review the portfolio of evidence to prepare questions for the interview. They are not required to provide feedback after this review.
The apprentice must submit any policies and procedures as requested by the EPAO.
The assessment methods can be delivered in any order.
The result of one assessment method does not need to be known before starting the next.
In the interview, an independent assessor asks the apprentice questions.The apprentice can refer to and illustrate their answers with evidence from their portfolio of evidence. It gives the apprentice the opportunity to demonstrate the KSBs mapped to this EPA method.
This EPA method is being used because:
It allows for the assessment of KSBs that may not naturally occur during the practical assessment with questions as described in the document.
It allows for the testing of responses when there may be a range of potential answers.
It is cost-effective, as whilst seeking assurance of competence across a range of KSBs, it does not require the independent assessor to directly observe all of them thus reducing their time cost as well as the cost of materials.
The interview must be structured to give the apprentice the opportunity to demonstrate the KSBs mapped to this assessment method to the highest available grade.
An independent assessor must conduct and assess the interview.
The purpose of the independent assessor's questions will be to cover the following groups of KSBs as detailed in the grading descriptors and mapping of knowledge, skills and behaviours at the end of this document
The EPAO must give an apprentice 14 days notice of the interview.
The independent assessor must have at least 1 week(s) to review the supporting documentation.
The apprentice must have access to their portfolio of evidence during the interview.
The apprentice can refer to and illustrate their answers with evidence from their portfolio of evidence however the portfolio of evidence is not directly assessed.
The interview must last for 65 minutes. The independent assessor can increase the time of the interview by up to 10%. This time is to allow the apprentice to respond to a question if necessary.
The independent assessor must ask at least 12 questions. Follow-up questions are allowed where clarification is required. The independent assessor must use the questions from their EPAO’s question bank or create their own questions in-line with the EPAO’s training.
The independent assessor must make the grading decision. The independent assessor must keep accurate records of the assessment. They must record:
The interview must take place in a suitable venue selected by the EPAO (for example the EPAO’s or employer’s premises).
The interview can be conducted by video conferencing. The EPAO must have processes in place to verify the identity of the apprentice and ensure the apprentice is not being aided.
The interview should take place in a quiet room, free from distractions and influence.
The EPAO must develop a purpose-built assessment specification and question bank. It is recommended this is done in consultation with employers of this occupation. The EPAO should maintain the security and confidentiality of EPA materials when consulting employers. The assessment specification and question bank must be reviewed at least once a year to ensure they remain fit-for-purpose.
The assessment specification must be relevant to the occupation and demonstrate how to assess the KSBs mapped to this assessment method. The EPAO must ensure that questions are refined and developed to a high standard. The questions must be unpredictable. A question bank of sufficient size will support this.
The EPAO must ensure that apprentice has a different set of questions in the case of re-sits or re-takes.
The EPAO must produce the following materials to support the interview underpinned by a portfolio of evidence:
The EPAO must ensure that the EPA materials are subject to quality assurance procedures including standardisation, training, and moderation.
In a practical assessment with questions, an independent assessor observes the apprentice completing a task or series of tasks set by the EPAO. The EPAO decides where it takes place. The assessment environment must closely relate to the apprentice’s natural working environment. This allows the apprentice to demonstrate the KSBs mapped to this assessment method.
This EPA method is being used because:
It makes use of facilities that are already familiar to the apprentice or closely relate to their natural working environment. This allows apprentices to perform at their best.
It allows for consistency of activities to be completed and efficiency in scheduling.
A practical assessment has been selected as this enables all apprentices to have the same opportunity to demonstrate their ability against the KSBs.
The practical assessment with questioning must be structured to give the apprentice the opportunity to demonstrate the KSBs mapped to this assessment method to the highest available grade.
An independent assessor must conduct and assess the practical assessment with questioning.
The independent assessor must only observe one apprentice at a time to ensure quality and rigour. They must be as unobtrusive as possible.
The EPAO must give an apprentice 14 days notice of the . practical assessment with questioning
The practical assessment with questioning must take 15 hours.
The independent assessor can increase the time of the practical assessment with questioning by up to 10%. This time is to allow the apprentice to complete a task or respond to a question if necessary.
The practical assessment with questioning cannot be split, other than for comfort breaks or to allow apprentices to move from one location to another. Where breaks occur, they will not count towards the total EPA time.
EPAOs must manage invigilation of the apprentice during the assessment, to maintain security of the EPA, in line with their malpractice policy. This includes breaks and moving between locations during the working day.
The independent assessor must explain to the apprentice the format and timescales of the practical assessment with questioning before it starts. This does not count towards the assessment time.
The independent assessor must observe the following during the practical assessment.
The following are examples of assessment brief titles:
This list is not exhaustive and the final assessment brief for each apprentice needs to enable the apprentice to be assessed against the following:
Themes and KSBs to be assessed
The following activities must be observed during the practical assessment
These activities provide the apprentice with the opportunity to demonstrate the KSBs mapped to this assessment method.
The independent assessor must ask questions. The purpose of the independent assessor's questions will be to allow for the testing of knowledge, skills and behaviours where an opportunity to fully demonstrate them did not occur.
Questions must be asked after the practical. The total duration of the practical is 15 hours and the time for questioning is included in the overall assessment time. The total time for the practical element is 14 hours. The time allocated for questioning is 1 minutes.
The independent assessor must ask at least 8 questions. The independent assessor must use the questions from their EPAO’s question bank or create their own questions in-line with the EPAO’s training.
The independent assessor can ask follow-up questions to clarify answers given by the apprentice. These questions are in addition to the above set number of questions for the practical assessment with questioning and should be kept to a minimum..
The independent assessor must keep accurate records of the assessment. They must record:
The independent assessor must make the grading decision. The practical assessment and responses to questions must be assessed holistically by the independent assessor when they are deciding the grade.
The practical assessment with questioning will take place in a simulated environment selected by the EPAO (for example the EPAO’s or employer’s premises). The simulated environment must relate to the apprentice’s natural work environment. Equipment and resources needed for the practical assessment with questioning must be provided by the EPAO, who can liaise with the employer to provide these.
Questioning that occurs after the practical assessment with questioning should take place in a quiet room, free from distractions and influence
The EPAO must develop a purpose-built assessment specification and question bank. It is recommended this is done in consultation with employers of this occupation. The EPAO should maintain the security and confidentiality of EPA materials when consulting employers. The assessment specification and question bank must be reviewed at least once a year to ensure they remain fit-for-purpose.
The assessment specification must be relevant to the occupation and demonstrate how to assess the KSBs mapped to this assessment method. The EPAO must ensure that questions are refined and developed to a high standard. The questions must be unpredictable. A question bank of sufficient size will support this.
The EPAO must ensure that the apprentice has a different set of questions in the case of re-sits or re-takes.
The EPAO must produce the following materials to support the practical assessment with questioning:
Fail - does not meet pass criteria
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Theme
KSBs
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Pass
Apprentices must demonstrate all the pass descriptors
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Distinction
Apprentices must demonstrate all the pass descriptors and all of the distinction descriptors
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Design requirements
K11 K12 K16 K17 S8 B2 B6 |
Describes how they undertake research to interpret the design requirements including those related to concept and finish, using drawings, photographs or models. K11, K17 Describes how they use creative software and CAD, to enable the adaptation, development and/or creation of images alongside those provided by the designer or design brief. K16, S1 Explains the design process including model boxes and scale. K12, S8 Explains the impact of working under pressure to meet deadlines and taking responsibility for and ownership of actions. B6, B2 |
Evaluates the impact of wrongly interpreting the design brief. K11, S1 |
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History
K4 K5 |
Describes how they use their knowledge to identify the differences in styles and periods in the story of world art, including that of notable historical and contemporary individual artists: the different styles and periods in world architecture and the history of interiors. Liaise with designers and production managers to create and/or adapt work in line with requirements. K4, K5 |
No distinction criteria for this descriptor. |
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Colour
K1 S18 |
Explains how they develop drawings, paintings, colour samples in accordance with a design concept using the main categories of colour theory and the colour wheel. K1, S19 |
Explains how they have reflected on and made changes to their approach to developing drawings, paintings, colour samples using the main categories of colour. K1, S19 |
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Drawings
K6 S3 |
Describes how they apply the principles of portraiture including anatomical drawing of the human figure, painting techniques using different methods in order to reproduce in scenic terms. K6, S3 |
Evaluates why the principles of portraiture are crucial to accurate replication of the processes of portrait artists. K6 |
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Carving/sculptures
K7 S5 |
Describes how they choose and use carving/sculptural techniques to meet design requirements. K7, S5 |
Justifies the choice of carving/sculpture technique. K7, S5 |
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Personal development
K23 S15 B8 |
Describes how they keep their knowledge and skills up to date and share developments with their colleagues in the workplace. K22, S15, B8 |
Justifies further personal development requirements. K22 |
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Change
S13 S14 B3 |
Explains how they undertake finish, repair and modification activities before and during a production in accordance with safe working and manufacturing practices. S13, S14, B3 |
Justifies how they balance change requirements with working safely and in accordance with manufacturing practices. S13, S14 |
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Working with others
K18 K19 K20 S1 S16 S17 B7 |
Explains the project management principles they apply to supervise projects including costing processes and their use of IT systems to facilitate adminstration including preparing and updating paperwork, communications and online requirements. K18, S16, S17 Explains the broad intent of the organisation’s policies and procedures including towards diversity and inclusivity. K19 Describes communicating with others including understanding and responding to instruction, being team focused and working well with others. S18, B7 Explains the objectives and requirements of other craft skills and activities in productions and their relationship with scenery and props. K20 |
Evaluates the impact on the organisation of not using project management principles, not following the organisation’s policies and procedures and not being aware of the role that other’s play in achieving the organisation’s objectives. K18, K19, K20 |
Fail - does not meet pass criteria
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Theme
KSBs
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Pass
Apprentices must demonstrate all the pass descriptors
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Distinction
Apprentices must demonstrate all the pass descriptors and all of the distinction descriptors
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|---|---|---|
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Painting theory
K2 S4 |
Identifies and uses the correct aspect of painting theory to meet the design requirements. K2, S4 |
Demonstrates skillful application, selecting appropriately to meet the design requirements and justifies their choice of painting theory aspects. K2, S4 |
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Drawings
K3 K10 S2 |
Selects and uses equipment including a scale rule, measuring stick, straight edge, stencil making, pounce making, and projections to produce drawings using basic geometry and the rules of perspective drawing to suggest three dimensions on a two-dimensional surface to reflect a given designer’s brief. K3, K10, S2 |
Demonstrates accuracy and skillful application of equipment and tools mitigating re-work time and costs. S2 |
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Materials and textures
K8 K13 S6 |
Chooses suitable texture techniques to apply to materials and products. K8, K13, S6 |
Demonstrates skillful application of chosen texture techniques to materials and products with (considered or thoughtful) execution of the design requirements. K8 S6
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Surfaces
K9 S11 S12 |
Undertakes work on different surfaces, together with hanging and stretching out of cloths and wallpaper K9, S11, S12 |
Demonstrates how they adapt their chosen technique to working on different surfaces with considered execution to meet the design requirements. K9, S11 |
|
Health, safety and the environment
K14 K15 K24 S7 B1 |
Undertakes all work in accordance with Health, Safety and Environmental Legislation, Regulations, policies and procedures including COSHH regulations, manual handling, risk assessments and meets sustainability requirements B1, K14, K15 Uses correct Industry practices including accurate industry terminology K23, S7 |
Evaluates the impact of not following Health, Safety and Environmental Legislation, Regulations, policies and procedures and sustainability requirements K14, K15 |
|
Tools and equipment
K21 K22 S9 S10 S19 B4 B5 |
Identifies, safely and efficiently uses/operates tools and equipment including mobile access equipment, identifying their maintenance and storage requirements K21, S9, S10, S20 Is organised and delivers work on time, solving problems within their own area of responsibility B4, B5 |
No distinction criteria for this descriptor. |
The assessment methods contribute equally to the overall EPA pass grade.
Performance in the EPA will determine the apprenticeship grade of:
Independent assessors must individually grade the: interview underpinned by a portfolio of evidence and practical assessment with questioning according to the requirements set out in this EPA plan.
EPAOs must combine the individual assessment method grades to determine the overall EPA grade.
An apprentice who fails one or more assessment method will be awarded an overall EPA fail.
An apprentice must achieve at least a pass in all the assessment methods to get an overall pass. In order to achieve an overall EPA ‘distinction’, apprentices must achieve a distinction in both assessment methods.
Grades from individual assessment methods should be combined in the following way to determine the grade of the EPA overall.
| Interview underpinned by a portfolio of evidence | Practical assessment with questioning | Overall Grading |
|---|---|---|
| Fail | Any grade | Fail |
| Any grade | Fail | Fail |
| Pass | Pass | Pass |
| Distinction | Pass | Pass |
| Pass | Distinction | Pass |
| Distinction | Distinction | Distinction |
An apprentice who fails one or more assessment method(s) can take a re-sit or a re-take at their employer’s discretion. The apprentice’s employer needs to agree that a re-sit or re-take is appropriate. A re-sit does not need further learning, whereas a re-take does.
An apprentice should have a supportive action plan to prepare for a re-sit or a re-take.
The employer and EPAO agree the timescale for a re-sit or re-take. A re-sit is typically taken within 3 months of the EPA outcome notification. The timescale for a re-take is dependent on how much re-training is required and is typically taken within 6 months of the EPA outcome notification.
Failed assessment methods must be re-sat or re-taken within a 6-month period from the EPA outcome notification, otherwise the entire EPA will need to be re-sat or re-taken in full.
Re-sits and re-takes are not offered to an apprentice wishing to move from pass to a higher grade.
An apprentice will get a maximum EPA grade of pass for a re-sit or re-take, unless the EPAO determines there are exceptional circumstances.
| Roles | Responsibilities |
|---|---|
|
Apprentice |
As a minimum, the apprentice should:
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|
Employer |
As a minimum, the apprentice's employer must:
Post-gateway, the employer must:
|
|
EPAO |
As a minimum, the EPAO must:
|
|
Independent assessor |
As a minimum, an independent assessor must:
|
|
Training provider |
As a minimum, the training provider must:
|
The EPAO must have reasonable adjustments arrangements for the EPA.
This should include:
Adjustments must maintain the validity, reliability and integrity of the EPA as outlined in this EPA plan.
Internal quality assurance refers to how the EPAO ensures valid, consistent and reliable EPA decisions. The EPAO must adhere to the requirements within the roles and responsibilities section:
The EPAO must also:
Affordability of the EPA will be aided by using at least some of the following:
Professional body recognition is not relevant to this occupational apprenticeship.
| Knowledge | Assessment methods |
|---|---|
|
K1
Colour theory- identify and fully understand the main categories in colour theory. The colour wheel, that consists of primary, secondary and tertiary, colour harmony, and provides the context of how colour is used within the role, for example accurate colour matching. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
K2
Painting theory for example colour mixing, product use, wood-graining, marbling, sign writing, trompe l’oeil, spray techniques, painting on various materials, appliques and cut-cloths, faux finishes, peeling and cracked paint. Back to Grading |
Practical assessment with questioning |
|
K3
Basic geometry, namely sizes, shapes, positions, angles and dimensions of objects such as squares, circles and triangles. Back to Grading |
Practical assessment with questioning |
|
K4
Art history - recognise the differences in styles and periods in the story of world art, including that of notable historical and contemporary individual artists. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
K5
History of architecture and interiors - recognise the different styles and periods , including that of notable buildings and interiors. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
K6
Principles of portraiture - understand the processes of portrait artists including anatomical drawing of the human figure, painting techniques such as fresco or oil painting in order to reproduce in scenic terms. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
K7
Carving and sculptural techniques for example polycarving and scrimming. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
K8
Texture techniques for example different texture products, additives and adhesives, accurate replication of given building materials, rendering of natural and man-made surfaces, ageing and distressing. Back to Grading |
Practical assessment with questioning |
|
K9
Recognise the differences in preparation for and working on a variety of surfaces. Back to Grading |
Practical assessment with questioning |
|
K10
The rules of perspective drawing to suggest three dimensions on a two-dimensional surface. Back to Grading |
Practical assessment with questioning |
|
K11
Understand design requirements, from discussion with the head of department, production manager and designer or director, including those related to concept and finish, using drawings, photographs or models. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
K12
The design process including model boxes and scale. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
K13
Recognise materials and products, for example paints, glazes, textures, adhesives, canvases. Back to Grading |
Practical assessment with questioning |
|
K14
Impact of health and safety legislation, regulations, policies and procedures including, safe working practice COSHH regulations, manual handling and risk assessments. Back to Grading |
Practical assessment with questioning |
|
K15
Impact of environmental legislation - the importance of environmental responsibilities within the role for example the Refuse Disposal Act 1978 and Control of Pollution (Amendment) Act 1989 and the sustainability of resources. Back to Grading |
Practical assessment with questioning |
|
K16
CAD (computer aided design) and creative software to develop and create images and adapt those provided by the designer or design brief. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
K17
Research techniques to be able to identify requirements from the design brief. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
K18
Project management principles to supervise projects including costing processes. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
K19
The broad intent of the organisation or productions policies and procedures including diversity and inclusivity. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
K20
The objectives and requirements of other craft skills and activities in theatre stages and art departments and their relationship with scenery and props. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
K21
Maintenance and storage requirements of tools and equipment used to create the scenery or set for example mobile access equipment, hand tools, hoists and lifts. Back to Grading |
Practical assessment with questioning |
|
K22
The safe use of tools and equipment for example hand tools, hoists and lifts. Back to Grading |
Practical assessment with questioning |
|
K23
Approaches to keeping knowledge up to and sharing skills with work colleagues. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
K24
Accurate industry terminology. Back to Grading |
Practical assessment with questioning |
| Skill | Assessment methods |
|---|---|
|
S1
Liaise with designers and production managers to create or adapt work in accordance with requirements. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
S2
Use drawing equipment including a scale rule, measuring stick, straight edge, stencil making, pounce making and projection. Back to Grading |
Practical assessment with questioning |
|
S3
Draw using methods such as plotting, gridding, freehand and figurative. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
S4
Use painting theory for example colour mixing, product use, wood-graining, marbling, sign writing, trompe l’oeil, spray techniques, painting on various materials, appliques and cut-cloths, faux finishes, peeling and cracked paint. Back to Grading |
Practical assessment with questioning |
|
S5
Use carving and sculptural techniques for example polycarving, scrimming. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
S6
Apply texture techniques for example different texture products, additives and adhesives, accurate replication of given building materials, rendering of natural and man-made surfaces, ageing and distressing. Back to Grading |
Practical assessment with questioning |
|
S7
Use industry practices including accurate industry terminology and safe working practices. Back to Grading |
Practical assessment with questioning |
|
S8
Interpret the design process including model boxes and scale. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
S9
Use tools and equipment for example hand tools, hoists and lifts. Back to Grading |
Practical assessment with questioning |
|
S10
Operate and use mobile access equipment. Back to Grading |
Practical assessment with questioning |
|
S11
Undertake work on different surfaces. Back to Grading |
Practical assessment with questioning |
|
S12
Undertake the hanging and stretching out of cloths and wallpaper. Back to Grading |
Practical assessment with questioning |
|
S13
Undertake repair and modification, and finish activities as required and in accordance with safe working and manufacturing practices. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
S14
Modify any completed works during production if alterations are required by the director or designer. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
S15
Demonstrate and share best practice with the team. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
S16
Use IT systems to facilitate administrative, communications and online requirements for example diaries, blogs, schedules, budgets, costings and progress reports. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
S17
Communicate with others including understanding and responding to instructions and briefings. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
S18
Develop drawings, paintings, colour samples etc. in accordance with a design concept. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
S19
Maintain safe working practices and efficient use of hand tools, machinery, materials and resources. Back to Grading |
Practical assessment with questioning |
| Behaviour | Assessment methods |
|---|---|
|
B1
Puts safety first. Back to Grading |
Practical assessment with questioning |
|
B2
Takes ownership and responsibility for actions. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
B3
Positively adapts to change, is flexible and looks for the benefits when changes occur. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
B4
Is organised and timely in work delivery. Back to Grading |
Practical assessment with questioning |
|
B5
Solves problems within own area of responsibility. Back to Grading |
Practical assessment with questioning |
|
B6
Remains focused, balancing competing priorities to achieve required outcomes. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
B7
Team-focused and works effectively with colleagues and others. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
B8
Committed to keeping up to date with employer needs, industry best practice and own professional development. Back to Grading |
Interview underpinned by a portfolio of evidence |
| KSBS GROUPED BY THEME | Knowledge | Skills | Behaviour |
|---|---|---|---|
|
Design requirements
K11 K12 K16 K17 S8 B2 B6 |
Understand design requirements, from discussion with the head of department, production manager and designer or director, including those related to concept and finish, using drawings, photographs or models. (K11) The design process including model boxes and scale. (K12) CAD (computer aided design) and creative software to develop and create images and adapt those provided by the designer or design brief. (K16) Research techniques to be able to identify requirements from the design brief. (K17) |
Interpret the design process including model boxes and scale. (S8) |
Takes ownership and responsibility for actions. (B2) Remains focused, balancing competing priorities to achieve required outcomes. (B6) |
|
History
K4 K5 |
Art history - recognise the differences in styles and periods in the story of world art, including that of notable historical and contemporary individual artists. (K4) History of architecture and interiors - recognise the different styles and periods , including that of notable buildings and interiors. (K5) |
None |
None |
|
Colour
K1 S18 |
Colour theory- identify and fully understand the main categories in colour theory. The colour wheel, that consists of primary, secondary and tertiary, colour harmony, and provides the context of how colour is used within the role, for example accurate colour matching. (K1) |
Develop drawings, paintings, colour samples etc. in accordance with a design concept. (S18) |
None |
|
Drawings
K6 S3 |
Principles of portraiture - understand the processes of portrait artists including anatomical drawing of the human figure, painting techniques such as fresco or oil painting in order to reproduce in scenic terms. (K6) |
Draw using methods such as plotting, gridding, freehand and figurative. (S3) |
None |
|
Carving/sculptures
K7 S5 |
Carving and sculptural techniques for example polycarving and scrimming. (K7) |
Use carving and sculptural techniques for example polycarving, scrimming. (S5) |
None |
|
Personal development
K23 S15 B8 |
Approaches to keeping knowledge up to and sharing skills with work colleagues. (K23) |
Demonstrate and share best practice with the team. (S15) |
Committed to keeping up to date with employer needs, industry best practice and own professional development. (B8) |
|
Change
S13 S14 B3 |
None |
Undertake repair and modification, and finish activities as required and in accordance with safe working and manufacturing practices. (S13) Modify any completed works during production if alterations are required by the director or designer. (S14) |
Positively adapts to change, is flexible and looks for the benefits when changes occur. (B3) |
|
Working with others
K18 K19 K20 S1 S16 S17 B7 |
Project management principles to supervise projects including costing processes. (K18) The broad intent of the organisation or productions policies and procedures including diversity and inclusivity. (K19) The objectives and requirements of other craft skills and activities in theatre stages and art departments and their relationship with scenery and props. (K20) |
Liaise with designers and production managers to create or adapt work in accordance with requirements. (S1) Use IT systems to facilitate administrative, communications and online requirements for example diaries, blogs, schedules, budgets, costings and progress reports. (S16) Communicate with others including understanding and responding to instructions and briefings. (S17) |
Team-focused and works effectively with colleagues and others. (B7) |
| KSBS GROUPED BY THEME | Knowledge | Skills | Behaviour |
|---|---|---|---|
|
Painting theory
K2 S4 |
Painting theory for example colour mixing, product use, wood-graining, marbling, sign writing, trompe l’oeil, spray techniques, painting on various materials, appliques and cut-cloths, faux finishes, peeling and cracked paint. (K2) |
Use painting theory for example colour mixing, product use, wood-graining, marbling, sign writing, trompe l’oeil, spray techniques, painting on various materials, appliques and cut-cloths, faux finishes, peeling and cracked paint. (S4) |
None |
|
Drawings
K3 K10 S2 |
Basic geometry, namely sizes, shapes, positions, angles and dimensions of objects such as squares, circles and triangles. (K3) The rules of perspective drawing to suggest three dimensions on a two-dimensional surface. (K10) |
Use drawing equipment including a scale rule, measuring stick, straight edge, stencil making, pounce making and projection. (S2) |
None |
|
Materials and textures
K8 K13 S6 |
Texture techniques for example different texture products, additives and adhesives, accurate replication of given building materials, rendering of natural and man-made surfaces, ageing and distressing. (K8) Recognise materials and products, for example paints, glazes, textures, adhesives, canvases. (K13) |
Apply texture techniques for example different texture products, additives and adhesives, accurate replication of given building materials, rendering of natural and man-made surfaces, ageing and distressing. (S6) |
None |
|
Surfaces
K9 S11 S12 |
Recognise the differences in preparation for and working on a variety of surfaces. (K9) |
Undertake work on different surfaces. (S11) Undertake the hanging and stretching out of cloths and wallpaper. (S12) |
None |
|
Health, safety and the environment
K14 K15 K24 S7 B1 |
Impact of health and safety legislation, regulations, policies and procedures including, safe working practice COSHH regulations, manual handling and risk assessments. (K14) Impact of environmental legislation - the importance of environmental responsibilities within the role for example the Refuse Disposal Act 1978 and Control of Pollution (Amendment) Act 1989 and the sustainability of resources. (K15) Accurate industry terminology. (K24) |
Use industry practices including accurate industry terminology and safe working practices. (S7) |
Puts safety first. (B1) |
|
Tools and equipment
K21 K22 S9 S10 S19 B4 B5 |
Maintenance and storage requirements of tools and equipment used to create the scenery or set for example mobile access equipment, hand tools, hoists and lifts. (K21) The safe use of tools and equipment for example hand tools, hoists and lifts. (K22) |
Use tools and equipment for example hand tools, hoists and lifts. (S9) Operate and use mobile access equipment. (S10) Maintain safe working practices and efficient use of hand tools, machinery, materials and resources. (S19) |
Is organised and timely in work delivery. (B4) Solves problems within own area of responsibility. (B5) |
Contact us about this apprenticeship
| Version | Change detail | Earliest start date | Latest start date | Latest end date |
|---|---|---|---|---|
| 1.0 | Approved for delivery | 28/02/2023 | Not set | Not set |
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