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.
This apprenticeship has options. This document is currently showing the following option:
Craft technicians make, service, restore and/or conserve individual hand-crafted items
This occupation is found in a range of settings including specialist craft or creative businesses, design studios, production workshops. These may include theatre, film, restoration and conservation businesses, training establishments, cultural institutions, heritage sites, corporate businesses, and the natural environment. Employers are typically known to be micro businesses and SMEs. However, craft technicians can occasionally be found in larger organisations in the public, private and charity sectors, for example producing theatres. Craft technicians may also be freelancers or operate as sole traders once their skills and experience are sufficient.
The broad purpose of the occupation is to make, service, restore, conserve or realise individual items, these may be handmade or hand produced. They can be achieved working with a range of materials such as textiles, modulable and rigid materials, paper, glass, clay etc.
Craft technicians provide technical support to ensure new or existing items, are made or restored by hand. They are designed, developed, and created in line with company and client requirements. Increasingly, the integration of digital technologies across this sector will support production processes. While still retaining unique craft or skill qualities through hybrid manufactured and hand produced or handmade production.
Craft technicians must adhere to the organisation’s confidentiality requirements and understand basic copyrighting and intellectual property arrangements. Working with discretion, taking positive action in response to feedback, being solution focused, and maintaining awareness of the bigger picture. Including budget and broader resource constraints and environmental impacts and ways to reduce these, are essential to a craft technician approach.
This is a core and options apprenticeship standard. Apprentices will complete the core requirements, plus one option:
1. Ceramicist
2. Dye and print technician.
A ceramicist designs and delivers hand-crafted products and do so for customers, clients, public or private collections or the built or natural environment. Ceramicists are sometimes responsible for creating component parts of a product that the master craftsperson would use to finish the product.
Dye and print technicians undertake dyeing using a range of techniques, stencilling, screen printing and painting on a variety of materials. They may develop or match existing colour requirements or achieve a variety of effects. They work with articles or fabric which may include clothing, accessories, furniture. They work to designer briefs and undertake research to ensure exact and timely requirements are achieved.
In their daily work, craft technicians are expected to work collaboratively. This may include other designers and craft or skilled practitioners, customers, clients, wider team members for example administrators, distributors, retailers, suppliers, and external stakeholders. Craft technicians work to agreed deadlines often as part of a team. However, they are expected to work with autonomy once sufficient skill and knowledge is obtained. Whilst training, a craft technician may work alongside, and under the instruction of, a skilled and experienced practitioner, sometimes known as a master craftsperson.
An employee in this occupation will be responsible for effective client communication, demonstrating sound project management and project delivery skills. They will be capable in the processes, materials, and tools used to create the specified products of the business they are employed by. Craft technicians will demonstrate a sound knowledge of sustainable practices including the sourcing, use, disposal, recycling and reuse of materials across their industry.
Craft technicians must maintain the workspace and its contents in line with the business’ standards and health and safety requirements. They might also assist with the storage and use of data, client and customer information, and ongoing ordering and control of stock.
Craft technicians would be expected to know how to work with a variety of customers and clients. They may also be expected to liaise with them throughout the making process to aid in any relevant item aftercare.
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 18 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 60 minutes. They will ask you at least 10 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.
Project with a product
You will complete a project and create a product. You will be asked to complete a project. The title and scope must be agreed with the EPAO at the gateway.
You will have 7 weeks to complete the project and submit the product to the EPAO.
You will have a question and answer session with an independent assessor to discuss the project. It will last 30 minutes. They will ask at least 6 questions.
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.Reasonable adjustments
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 a range of settings including specialist craft or creative businesses, design studios, production workshops. These may include theatre, film, restoration and conservation businesses, training establishments, cultural institutions, heritage sites, corporate businesses, and the natural environment. Employers are typically known to be micro businesses and SMEs. However, craft technicians can occasionally be found in larger organisations in the public, private and charity sectors, for example producing theatres. Craft technicians may also be freelancers or operate as sole traders once their skills and experience are sufficient.
The broad purpose of the occupation is to make, service, restore, conserve or realise individual items, these may be handmade or hand produced. They can be achieved working with a range of materials such as textiles, modulable and rigid materials, paper, glass, clay etc.
Craft technicians provide technical support to ensure new or existing items, are made or restored by hand. They are designed, developed, and created in line with company and client requirements. Increasingly, the integration of digital technologies across this sector will support production processes. While still retaining unique craft or skill qualities through hybrid manufactured and hand produced or handmade production.
Craft technicians must adhere to the organisation’s confidentiality requirements and understand basic copyrighting and intellectual property arrangements. Working with discretion, taking positive action in response to feedback, being solution focused, and maintaining awareness of the bigger picture. Including budget and broader resource constraints and environmental impacts and ways to reduce these, are essential to a craft technician approach.
This is a core and options apprenticeship standard. Apprentices will complete the core requirements, plus one option:
1. Ceramicist
2. Dye and print technician.
A ceramicist designs and delivers hand-crafted products and do so for customers, clients, public or private collections or the built or natural environment. Ceramicists are sometimes responsible for creating component parts of a product that the master craftsperson would use to finish the product.
Dye and print technicians undertake dyeing using a range of techniques, stencilling, screen printing and painting on a variety of materials. They may develop or match existing colour requirements or achieve a variety of effects. They work with articles or fabric which may include clothing, accessories, furniture. They work to designer briefs and undertake research to ensure exact and timely requirements are achieved.
In their daily work, craft technicians are expected to work collaboratively. This may include other designers and craft or skilled practitioners, customers, clients, wider team members for example administrators, distributors, retailers, suppliers, and external stakeholders. Craft technicians work to agreed deadlines often as part of a team. However, they are expected to work with autonomy once sufficient skill and knowledge is obtained. Whilst training, a craft technician may work alongside, and under the instruction of, a skilled and experienced practitioner, sometimes known as a master craftsperson.
An employee in this occupation will be responsible for effective client communication, demonstrating sound project management and project delivery skills. They will be capable in the processes, materials, and tools used to create the specified products of the business they are employed by. Craft technicians will demonstrate a sound knowledge of sustainable practices including the sourcing, use, disposal, recycling and reuse of materials across their industry.
Craft technicians must maintain the workspace and its contents in line with the business’ standards and health and safety requirements. They might also assist with the storage and use of data, client and customer information, and ongoing ordering and control of stock.
Craft technicians would be expected to know how to work with a variety of customers and clients. They may also be expected to liaise with them throughout the making process to aid in any relevant item aftercare.
| Duty | KSBs |
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Duty 1 Make products or component parts of products by hand in line with the settings quality standards, confidentiality policies and intellectual property requirements. |
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Duty 2 Utilise technology as an enabler to handmake or hand produce items within social, cultural, economic, technological and environmental contexts impacting your chosen specialism. |
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Duty 3 Follow agreed plans, designs or brief to aid the successful creation of a specified handmade or hand produced products within time and cost constraints. |
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Duty 4 Maintain equipment and the workspace, and store tools in line with the settings standards and health and safety requirements. |
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Duty 5 Research and develop sustainable production techniques, processes and the use of recycled and sustainable materials |
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Duty 6 Manage expectations by maintaining regular communication and delivering effective project management, budget tracking, troubleshooting, project delivery and timekeeping. |
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Duty 7 Order or recommend materials and tools in line with the settings procurement policies and processes. Following stock management procedures as needed to achieve value for money. |
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Duty 8 Record and control materials, items, stock, products and suitably store these to maintain their fitness for use. |
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Duty 9 Utilise technology to communicate, market and sell handmade or hand produced items effectively. |
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Duty 10 Provide excellent and inclusive service and relationship management to a diverse range of customers, creative teams, clients and colleagues. |
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Duty 11 Package present or handover products in line with the settings standards, procedures an customer, client or colleague requirements. |
| Duty | KSBs |
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Duty 12 Make, service, restore, and or conserve ceramic items for customers, clients public or private collections. |
K1 K2 K3 K4 K5 K6 K7 K14 K23 K24 K25 K26 K27 K28 K29 K30 K31 K33 |
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Duty 13 Manage the planning or design process for hand-made ceramic products. |
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Duty 14 Work with customers and clients to understand their requirements. Creating technical or other drawings and plans (by hand or digital) for the product as needed. |
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Duty 15 Create samples or prototypes to assist in the creation of hand-made ceramic products. |
K14 K23 K24 K25 K26 K27 K28 K29 K30 K33 |
| Duty | KSBs |
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Duty 16 Assist with sampling and preparing to dye fabric, shoes and accessories. Paying particular attention to colour matching, in accordance with the requirements of the brief. |
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Duty 17 Carry out dyeing, stencilling, screen printing and painting to achieve a high-quality finish. Using a variety of material in accordance with the requirements of the brief. |
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Duty 18 Break down material, textiles or accessories to achieve a variety of effects as required by the brief. |
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Duty 19 Assist with the planning process from receiving the original design concept to delivery of the end product. |
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K1: Creative or craft industry: the impact on places, communities, and society, and importance to individuals.
Back to Duty
K2: Key technological developments in the history of your chosen specialism.
Back to Duty
K3: The financial environment of the creative or craft sector: external factors impacting it, the economic contribution the specialism makes.
Back to Duty
K4: The different types of creative or craft businesses, support organisations and professional networks.
Back to Duty
K5: Creative or craft industry income streams. Such as public and private subsidy, teaching, community outreach, and product sales.
Back to Duty
K6: Support that craft technicians can provide in creative or craft and well-being settings. Such as schools, hospitals, residential care homes, community outreach projects, historical sites and workplaces.
Back to Duty
K7: The environmental impact of your chosen specialism. The steps being taken by craft technicians and businesses to operate in a more environmentally sustainable way. Such as sourcing of materials, sustainable production and distribution processes.
Back to Duty
K8: The types of hand and machine operated tools used by craft technicians within your chosen specialism. The products or materials they are typically used for.
Back to Duty
K9: The project lifecycle: the design brief or specification. Factors that aid project success: customer and client liaison, team working, budget management, project mapping (production scheduling) and problem solving.
Back to Duty
K10: Stock management and recording systems.
Back to Duty
K11: Types of suppliers. Supplier research and sourcing methods. Supplier choice factors: financial competitiveness, environmental sustainability, and quality.
Back to Duty
K12: Storage for tools, materials and products.
Back to Duty
K13: Stakeholder management key principles.
Back to Duty
K14: How digital tools and technology may be used to support productivity and delivery: CAD (computer-aided design) and 3D printing.
Back to Duty
K15: The different routes to market such as physical retail, online retail, online portfolio, commissions, selling events (markets and fairs), social media, galleries and exhibitions, open studios and catalogues.
Back to Duty
K16: Communication techniques: verbal, written, and digital; use industry terminology.
Back to Duty
K17: Communication channels: specialist networking, social media, press, open studios, web
Back to Duty
K18: Fundamentals that apply to copyrighting and intellectual property and how to protect craft items from external exploitation.
Back to Duty
K19: Quality assurance, inspection, and sampling methods.
Back to Duty
K20: The properties, environmental impact, and benefits of eco-friendly or recycled materials used in packing.
Back to Duty
K21: Health and Safety; regulations. Including the Control of Substances Hazardous to Health (COSHH), Provision and Use of Work Equipment Regulations (PUWER). The Health and Safety At Work Act (HASAWA), the Reporting of Injuries, Diseases and Dangerous Occurrences Regulations (RIDDOR), and manual handling as applicable to your chosen specialism.
Back to Duty
K22: Design principles such as line, texture, size, shape, form, colour, volume, proportion
Back to Duty
K23: Ceramic item manufacture key factors: use and function, size, shape, ergonomics, fitness for purpose, and production scale.
Back to Duty
K24: The types of clay used to make ceramic items, their properties, and suitability for use. Such as: white earthenware, red or iron terracotta earthenware, stoneware, porcelain, bone china and fine bone china.
Back to Duty
K25: Characteristics and states of clay for industrial or studio production. Such as: slip, wet clay, leather hard, bone dry, bisque fired, glaze fired, post firing techniques, and vitrified.
Back to Duty
K26: Clay preparation methods such as: wedging, kneading, pugging and filter pressing.
Back to Duty
K27: Ceramic production techniques such as throwing, slab work, coiling, press moulding, slip casting, jigger and jollying, ram pressing and high pressure casting.
Back to Duty
K28: Ways that decorations can be applied to ceramic items such as: stamping, embossing, sprig work, brushwork, glaze, decals and sgraffito.
Back to Duty
K29: Kiln and firing types such as: electric kiln, gas fired kilns, and wood or coal fired reduction firing. The use and effect of different temperatures. The stages of firing including bisque and glaze firings.
Back to Duty
K30: The types and properties of glazes. Which to use for the type of clay or material being used. The use of pigments and underglazes, biaxal and triaxal glazes, and glaze recipes.
Back to Duty
K31: The different production processes: batch production, limited run, and mass production.
Back to Duty
K32: Uses for ceramic products such as personal, public, commercial, industrial and bespoke commissions.
Back to Duty
K33: Read drawings and interpret prototypes or models.
Back to Duty
K34: The types of dyes used, their properties, and suitability for use in combination with fabrics such as silks, cottons, nylons, wools, polyester, viscose.
Back to Duty
K35: Colour matching using colour classification and colour theory.
Back to Duty
K36: Composition and characteristics of different fabrics how to prepare them for dyeing.
Back to Duty
K37: Fabric dyeing techniques such as patch dyeing, ombre, resist, bleaching and tie dye.
Back to Duty
K38: Methods of finishing such heat pressing or varnishing.
Back to Duty
K39: Methods of fixing dyes and the use of dye fixing agents such as salt or soda ash.
Back to Duty
K40: Application techniques such as hand painting, spraying, block printing, screen printing, textile effects.
Back to Duty
K41: Principles of textile printing both digitally and by hand such as pattern matching or placement printing.
Back to Duty
K42: How to use digital graphic editors to prepare artwork for printing.
Back to Duty
K43: Techniques to create visual narrative such as imagery, patterns, design, painting distressing, breakdown, creation of wounds, blood and other special effects.
Back to Duty
K44: Read garment patterns and translate shapes from flat pieces to a three-dimensional form.
Back to Duty
K45: Plan and manage a dye bath in a sustainable and cost-effective way, such as recycling water and dye sequence.
Back to Duty
S1: Select and use tools and equipment.
Back to Duty
S2: Use technology as an enabler to make hand-crafted items, models or prototypes.
Back to Duty
S3: Identify sustainable techniques to make handmade or hand- produced items.
Back to Duty
S4: Store tools and materials, ensuring they are protected from damage when not in use.
Back to Duty
S5: Follow health and safety procedures.
Back to Duty
S6: Clean, maintain and prepare the craft workspace or workshop.
Back to Duty
S7: The roles, responsibilities and interdependencies of different parties in a project and your role within this.
Back to Duty
S8: Identify costs. Deploy controls to enable effective budget management.
Back to Duty
S9: Manage projects on time and budget. Maintain reputational standards and mitigate legal risks.
Back to Duty
S10: Conduct stock control and liaise with suppliers.
Back to Duty
S11: Communicate with stakeholders, colleagues or customers.
Back to Duty
S12: Follow quality assurance procedures.
Back to Duty
S13: Apply design principles to the making or production of items, in line with the brief such as shape, size, proportion, colour and finish.
Back to Duty
S14: Select packaging for craft items to protect them whilst in transit. Present items as per the organisation’s or client or customer needs.
Back to Duty
S15: Make ceramic items, prototypes or models in line with the brief. Consider: purpose, end user, market, and budget.
Back to Duty
S16: Use specialist tools and equipment required for specific purposes.
Back to Duty
S17: Select and use clay or material for the ceramic item being made.
Back to Duty
S18: Use making skills for example hand building, sculpting, throwing, casting, moulding, and tool crafting or equivalent.
Back to Duty
S19: Select and use finishing techniques or glazes to be applied to the final ceramic product.
Back to Duty
S20: Assess the finished ceramic item against the brief and the production schedule including efficiency and wastage, quality, budget.
Back to Duty
S21: Use drawn plans (hand or digital), prototypes or models to aid the making of a hand-made ceramic product.
Back to Duty
S22: Mix dyes, paints and pigments to colour match to a sample.
Back to Duty
S23: Dye selected fabric swatches, to produce colour samples matched to a design brief.
Back to Duty
S24: Manage the dye baths in an efficient and sustainable way.
Back to Duty
S25: Plan and work through a schedule of items to be dyed.
Back to Duty
S26: Select and apply the dye method required to create the effect in the design brief.
Back to Duty
S27: Select and use the dye type according to the fibre content and, composition of chosen fabric.
Back to Duty
S28: Apply techniques such as hand painting, spraying, block printing, screen printing and textile effects.
Back to Duty
S29: Use image editing technology to create artwork for printing.
Back to Duty
S30: Use finishing and fixing techniques to complete the dye process.
Back to Duty
S31: Apply special effects techniques such as distressing, breakdown, ageing, wounds or blood effects.
Back to Duty
S32: Paint, print or dye a textile design on flat pattern pieces.
Back to Duty
S33: Record dye recipes and log information related to the dyeing process such as the order of processes.
Back to Duty
B1: Puts safety first.
Back to Duty
B2: Keeps up to date with new technologies and industry best practice.
Back to Duty
B3: Acts in a way that builds and maintains positive relationships with colleagues and others.
Back to Duty
B4: Takes ownership of work.
Back to Duty
B5: Sources solutions and seeks to continuously improve and develop.
Back to Duty
B6: Acts in a professional and ethical manner, embracing equity, diversity and inclusion in the workplace.
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.
V1.1
This document explains the requirements for end-point assessment (EPA) for the craft technician apprenticeship. End-point assessment organisations (EPAOs) must follow this when designing and delivering the EPA.
Craft technician apprentices, their employers and training providers should read this document.
This is a core and options apprenticeship. An apprentice must be trained and assessed against the core and one option. The options are:
A full-time craft technician apprentice typically spends 18 months on-programme. The apprentice must spend at least 12 months on-programme and complete the required amount of off-the-job training in line with the apprenticeship funding rules.
The EPA should be completed within an EPA period lasting typically 3 months.
The apprentice must complete their training and meet the gateway requirements before starting their EPA. The EPA will assess occupational competence.
An approved EPAO must conduct the EPA for this apprenticeship. Employers must work with the training provider to select an approved EPAO from the apprenticeship providers and assessment register (APAR).
This EPA has 2 assessment methods.
The grades available for each assessment method are below.
Assessment method 1 - interview underpinned by a portfolio of evidence:
Assessment method 2 - project 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 18 months
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The apprentice must:
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End-point assessment gateway
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The apprentice’s employer must be content that the apprentice is occupationally competent. The apprentice must:
For the interview underpinned by a portfolio of evidence, the apprentice must submit a portfolio of evidence.
Gateway evidence must be submitted to the EPAO, along with any organisation specific policies and procedures requested by the EPAO. |
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End-point assessment - typically 3 months
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The grades available for each assessment method are below
Interview underpinned by a portfolio of evidence:
Project with questioning:
Overall EPA and apprenticeship can be graded:
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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 start the EPA as quickly as possible.
The apprentice’s employer must be content that the apprentice is occupationally competent. That is, they are deemed to be working at or above the level set out in the apprenticeship standard and ready to undertake the EPA. The employer may take advice from the apprentice's training provider, but the employer must make the decision. The apprentice will then enter the gateway.
The apprentice must meet the gateway requirements before starting their EPA.
They must:
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 20 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.
Gateway evidence must be submitted to the EPAO, along with any organisation specific policies and procedures 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. It gives the apprentice the opportunity to demonstrate the KSBs mapped to this assessment method.
This EPA method is being used because:
reduces the assessment burden on the apprentice
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 assess the apprentice’s competence against the following themes:
The purpose of the independent assessor's questions will be to cover the following topics:
Ceramicist
Dye and Print technician
The EPAO must give an apprentice 2 weeks' notice of the interview.
The independent assessor must have at least 1 weeks 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 60 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 10 questions. The independent assessor must use the questions from the EPAO’s question bank or create their own questions in line with the EPAO’s training. Follow-up questions are allowed where clarification is required.
The apprentice may choose to end the assessment method early. The apprentice must be confident they have demonstrated competence against the assessment requirements for the assessment method. The independent assessor or EPAO must ensure the apprentice is fully aware of all assessment requirements. The independent assessor or EPAO cannot suggest or choose to end the assessment methods early, unless in an emergency. The EPAO is responsible for ensuring the apprentice understands the implications of ending an assessment early if they choose to do so. The independent assessor may suggest the assessment continues. The independent assessor must document the apprentice’s request to end the assessment early.
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 must maintain the security and confidentiality of EPA materials when consulting with 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 interview underpinned by a portfolio of evidence:
The EPAO must ensure that the EPA materials are subject to quality assurance procedures including standardisation and moderation.
The project assessment method involves the apprentice completing a significant and defined piece of work that has a real business application and benefit. This process may include for example, research, analysis and the completion of tasks or activities to achieve the outcome. The assessment method will have an output at the end of the defined piece of work. The work completed for the project assessment method must meet the needs of the employer’s business and be relevant to the apprentice’s occupation and apprenticeship.
This assessment method has 2 components:
completion of the defined piece of work for the project with a project output
completion of the defined piece of work for the question and answer session
Together, these components give the apprentice the opportunity to demonstrate the KSBs mapped to this assessment method. They are assessed by an independent assessor.
This EPA method is being used because:
The apprentice must complete a project based on any of the following:
To ensure the project allows the apprentice to meet the KSBs mapped to this assessment method to the highest available grade, the EPAO must sign-off the project’s title and scope at the gateway to confirm it is suitable. The EPAO must refer to the grading descriptors to ensure that projects are pitched appropriately.
The project output must be in the form of a product.
The apprentice must start the project after the gateway. The employer should ensure the apprentice has the time and resources, within the project period, to plan and complete their project.
The apprentice may work as part of a team to complete the project, which could include internal colleagues or technical experts. The apprentice must however, complete their product unaided and they must be reflective of their own role and contribution. The apprentice and their employer must confirm this when the product is submitted.
The product must include at least:
an output of a ceramic product, using hand skills for the majority of the making process and includes at least the use of drawings or a prototype or model. For dye and print technicians one output must be a piece of fabric which has had techniques applied in response to a brief and one output must use an existing garment with effects applied to create a narrative.
The apprentice must:
The apprentice must complete and submit the product to the EPAO by the end of week 7 of the EPA period. The apprentice must produce and include a mapping, showing how the product evidences the KSBs mapped to this assessment method.
The question and answer session must be structured to give the apprentice the opportunity to demonstrate the KSBs mapped to this assessment method to the highest available grade.
The apprentice must be questioned about their project and product.
The question and answer session must last for 30 minutes. The independent assessor must use the full time available for questioning and they can increase the total time 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 6 questions. They must use the questions from their EPAO’s question bank or create their own questions in line with the EPAO’s training. Follow up questions are allowed where clarification is required.
The purpose of the independent assessor's questions is:
The independent assessor must have at least 1 weeks to review the product before the question and answer session, to allow them to prepare questions.
The apprentice must be given at least 1 weeks’ notice of the question and answer session.
The apprentice may choose to end the question and answer session early. The apprentice must be confident they have demonstrated competence against the assessment requirements for the assessment method. The independent assessor or EPAO must ensure the apprentice is fully aware of all assessment requirements. The independent assessor or EPAO cannot suggest or choose to end the assessment methods early, unless in an emergency. The EPAO is responsible for ensuring the apprentice understands the implications of ending an assessment early if they choose to do so. The independent assessor may suggest the assessment continues. The independent assessor must document the apprentice’s request to end the assessment early.
The independent assessor must make the grading decision. They must assess the project components holistically when deciding the grade.
The independent assessor must keep accurate records of the assessment. They must record:
The question and answer session must take place in a suitable venue selected by the EPAO for example, the EPAO’s or employer’s premises. It should take place in a quiet room, free from distractions and influence.
The question and answer session 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 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 must maintain the security and confidentiality of EPA materials when consulting with 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.
EPAO must produce the following materials to support the project:
The EPAO must ensure that the EPA materials are subject to quality assurance procedures including standardisation and moderation.
|
Theme
KSBs
|
Pass
Apprentices must demonstrate all the pass descriptors
|
Distinction
Apprentices must demonstrate all the pass descriptors and all of the distinction descriptors
|
|---|---|---|
|
(Core) Industry, contexts and settings
K1 K2 K3 K4 K5 K6 K7 K18 B2 B5 |
Describes the different craft business and organisations and explains the support craft makers can provide in wellbeing settings and the impact of craft on communities, society and individuals. K1, K4, K6 Describes the financial environment of the craft sector and craft industry income streams. K3, K5 Explains the fundamental requirements of copyright and intellectual property and how to protect craft items from external exploitation. K18 Explains the key technological developments of their chosen craft , how they keep up to date with new technologies and industry best practice and how they seek to continuously improve and develop K2, B2, B5 Explain the environmental impact of your craft and the steps being taken to operate in a more sustainable way K7
|
Evaluates the financial environment of the craft sector: external factors impacting it, the economic contribution craft makes. K3 Evaluates the steps being taken by craft makers and businesses to operate in a more environmentally sustainable way. K7
|
|
(Core) Stakeholder Management
K13 S7 |
Explains key principles of stakeholder management and how stakeholder interdependencies are managed throughout a project. K13, S7
|
No distinction grading criteria. |
|
(Ceramicist) Clay
K24 K25 K26 |
Describes the properties of the different types of clay used to make ceramic items for different purposes and the different clay preparation methods. K24, K25, K26
|
Justifies the type of clay used to make particular ceramic items and evaluates the clay preparation methods. K24, K25, K26
|
|
(Ceramicist) Production
K27 K29 K30 K31 K32 |
Explains the different ceramic production techniques and processes and the various uses for ceramic products K27, K31, K32
Describes the types and properties of glazes, pigments and underglazes and the types of clay and materials they are used for. K30 Describes the different kilns and firing types, the stages of firing and the use and effect of different temperatures. Explains about kiln and firing types and the effect of temperature. Explains the stages of firing. K29
|
Evaluates the different production processes and techniques. K27, K31 Evaluates their use of a particular type of glaze and the outcome achieved K30
|
|
(Dye and print technician) Dye process
K34 K45 S24 S25 S33 |
Describes the types of dyes, their properties and suitability depending on various compositions of different fabrics. Explains the benefits of accurately recording dye recipes and the order of processes. K34, S33 Explain approach to working through a schedule of items to be dyed and explain sustainable and cost-effective approaches adopted when planning and managing a dye bath. K45, S24, S25 |
Justifies the types of dyes used and why characteristics of different fabrics impact the finish of dye. K34 Evaluates the impact on the organisation for not planning and managing dye baths. K45 |
|
(Dye and print technician) Production
K41 K42 K44 S29 |
Identifies garment pattern symbols and explains how to translate shape from flat pieces to three-dimensional form. K44 Explains the principles of textile printing including the use of digital graphic editing to prepare artwork. K41, K42, S29 |
Evaluates the outcomes of a printing process in relation to a particular fabric. K41 |
|
(Core) Tools
K8 K12 S1 S4 S6 S16 |
Describes preparation and maintenance of workspace alongside processes for storing tools, materials and products. Explains choice of specialist and machine operated tools and equipment used during the production. K8, K12, S1, S4, S6, S16 |
No distinction grading criteria. |
|
(Core) Health and safety
K21 S5 B1 |
Explains how they work in accordance with Health and Safety Regulations, policies, and procedures. K21, S5, B1 |
No distinction grading criteria |
|
(Ceramicist) Making
S17 S18 |
Explains the selection and use of clay or material to make a ceramic item and the making skills applied to achieve the task. S17, S18 |
No distinction grading criteria |
|
(Dye and print technician) Dyeing techniques
K35 K36 K37 S22 S23 S27 |
Describes how to prepare fabric for dying and explains reasons for selection and use of dye according to fibre content and composition. K36, S27 Explains how to colour match using colour classification and colour theory to meet the requirements of the design brief. K35, K37, S22, S23 |
No distinction grading criteria |
|
Theme
KSBs
|
Pass
Apprentices must demonstrate all the pass descriptors
|
Distinction
Apprentices must demonstrate all the pass descriptors and all of the distinction descriptors
|
|---|---|---|
|
(Core) Project management
K9 K14 K15 K19 S8 S9 S12 |
Explains the project lifecycle and different routes to market. Explains how they identify costs and deploy effective budget management techniques to deliver projects on time and on budget to maintain reputational standards and mitigate legal risks. K9, K15, S8, S9 Explains the digital tools they use to support productivity. K14 Explains how they sample, quality assure and inspect products. K19, S12
|
Evaluates the different routes to market: physical retail, online retail, commissions, selling events (markets and fairs), galleries and exhibitions, open studios, catalogues. K15
Evaluates the impact on reputational standards and mitigating legal risks of incorrectly identifying costs and not deploying effective budget management to manage projects on time and budget. K9, S8, S9
|
|
(Core) Stock management
K10 K11 S10 |
Explains the types of suppliers and how to conduct stock control. K10, K11, S10
|
No distinction grading criteria. |
|
(Core) Communication
K16 K17 S11 B3 B6 |
Explains the communication channels and techniques they use to communicate with stakeholders to build professional and positive relationships. K16, K17, S11, B3, B6 |
No distinction grading criteria. |
|
(Core) sustainability
K20 S3 S14 |
Uses sustainable techniques to make and deliver hand crafted products. Selects and uses suitable packaging to protect the product in transit, considering the environmental impact of packaging. K20, S3, S14
|
No distinction grading criteria. |
|
(Core) Making
K22 S2 S13 B4 |
Uses technology as an enabler to make hand crafted items, models and prototypes, taking ownership of work. S2, B4 Apply design principles to the making of ceramic items, in line with the brief including shape, size, proportion, colour and finish. S13
|
No distinction grading criteria. |
|
(Ceramicist) Production
K23 K28 K33 S15 S19 S20 S21 |
Reads drawings and uses plans, prototypes or models to aid the making of a product taking into consideration purpose, end user, market and budget. Applies design principles and decorations to the making of a ceramic product. Assesses the finished ceramic item against the brief and production schedule. K23, K28, K33, S15, S19, S20, S21 |
Demonstrates skilful application, of selecting appropriately to meet design principles (with considered or thoughtful execution.) of the design requirements and justifies their choice of making skills and decorations S15 Reflects on plans for the product and evaluates any changes needed to their approach to the finished ceramic item against the brief and the production schedule. S20 |
|
(Dye and print technician) Production
K38 K39 K40 S28 S30 S32 |
Selects and applies techniques and methods of finishing and fixing to fabric to create the required effect in the design brief. K38, K39, K40, S28, S30, S32 |
Demonstrates accuracy and skilful application of techniques to meet all requirements of the design brief. K40, S28 |
|
(Dye and print technician) Effects
K43 S26 S31 |
Selects and applies various techniques to create a narrative that meets the requirements of the design brief. K43, S26, S31 |
Demonstrates accuracy and skilful application of special effects techniques to meet all requirements of the design brief. S31 |
Performance in the EPA determines the apprenticeship grade of:
An independent assessor must individually grade the: interview underpinned by a portfolio of evidence and project with questioning in line with this EPA plan.
The EPAO must combine the individual assessment method grades to determine the overall EPA grade.
If the apprentice fails one or more assessment methods, they will be awarded an overall fail.
To achieve an overall pass, the apprentice must achieve at least a pass in all the assessment methods. To achieve an overall merit, the apprentice must achieve a pass in the interview supported by a portfolio of evidence and a distinction in the project and questioning or the apprentice must achieve a distinction in the interview supported by a portfolio of evidence and a pass in the project and questioning . To achieve an overall EPA distinction, the apprentice must achieve a distinction in all assessment methods.
Grades from individual assessment methods must be combined in the following way to determine the grade of the EPA overall.
| Interview underpinned by a portfolio of evidence | Project with questioning | Overall Grading |
|---|---|---|
| Fail | Any grade | Fail |
| Any grade | Fail | Fail |
| Pass | Pass | Pass |
| Distinction | Pass | Merit |
| Pass | Distinction | Merit |
| Distinction | Distinction | Distinction |
If the apprentice fails one assessment method or more, they 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. The apprentice should have a supportive action plan to prepare for a re-sit or a re-take.
The employer and the EPAO should 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.
If the apprentice fails the project assessment method, they must amend the project output in line with the independent assessor’s feedback. The apprentice will be given 2 weeks to rework and submit the amended product.
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.
The apprentice will get a maximum EPA grade ofif pass they need to re-sit or re-take one or more assessment methods, unless the EPAO determines there are exceptional circumstances.
| Roles | Responsibilities |
|---|---|
|
Apprentice |
As a minimum, the apprentice should:
|
|
Employer |
As a minimum, the apprentice's 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.
Special considerations
The EPAO must have special consideration arrangements for the EPA.
This should include:
Special considerations must maintain the validity, reliability and integrity of the EPA as outlined in this EPA plan.
Internal quality assurance refers to the strategies, policies and procedures that an EPAO must have in place to ensure valid, consistent and reliable EPA decisions.
EPAOs for this EPA must adhere to the requirements within the roles and responsibilities table.
They must also appoint independent assessors who:
they should have practised their occupational experience within the last 3 years. their skills and knowledge may be supported by academic experience.
Affordability of the EPA will be aided by using at least some of the following:
This apprenticeship is not aligned to professional recognition.
| Knowledge | Assessment methods |
|---|---|
|
K1: Core.
Creative or craft industry: the impact on places, communities, and society, and importance to individuals. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
K2: Core.
Key technological developments in the history of your chosen specialism. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
K3: Core.
The financial environment of the creative or craft sector: external factors impacting it, the economic contribution the specialism makes. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
K4: Core.
The different types of creative or craft businesses, support organisations and professional networks. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
K5: Core.
Creative or craft industry income streams. Such as public and private subsidy, teaching, community outreach, and product sales. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
K6: Core.
Support that craft technicians can provide in creative or craft and well-being settings. Such as schools, hospitals, residential care homes, community outreach projects, historical sites and workplaces. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
K7: Core.
The environmental impact of your chosen specialism. The steps being taken by craft technicians and businesses to operate in a more environmentally sustainable way. Such as sourcing of materials, sustainable production and distribution processes. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
K8: Core.
The types of hand and machine operated tools used by craft technicians within your chosen specialism. The products or materials they are typically used for. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
K9: Core.
The project lifecycle: the design brief or specification. Factors that aid project success: customer and client liaison, team working, budget management, project mapping (production scheduling) and problem solving. Back to Grading |
Project with questioning |
|
K10: Core.
Stock management and recording systems. Back to Grading |
Project with questioning |
|
K11: Core.
Types of suppliers. Supplier research and sourcing methods. Supplier choice factors: financial competitiveness, environmental sustainability, and quality. Back to Grading |
Project with questioning |
|
K12: Core.
Storage for tools, materials and products. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
K13: Core.
Stakeholder management key principles. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
K14: Core.
How digital tools and technology may be used to support productivity and delivery: CAD (computer-aided design) and 3D printing. Back to Grading |
Project with questioning |
|
K15: Core.
The different routes to market such as physical retail, online retail, online portfolio, commissions, selling events (markets and fairs), social media, galleries and exhibitions, open studios and catalogues. Back to Grading |
Project with questioning |
|
K16: Core.
Communication techniques: verbal, written, and digital; use industry terminology. Back to Grading |
Project with questioning |
|
K17: Core.
Communication channels: specialist networking, social media, press, open studios, web Back to Grading |
Project with questioning |
|
K18: Core.
Fundamentals that apply to copyrighting and intellectual property and how to protect craft items from external exploitation. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
K19: Core.
Quality assurance, inspection, and sampling methods. Back to Grading |
Project with questioning |
|
K20: Core.
The properties, environmental impact, and benefits of eco-friendly or recycled materials used in packing. Back to Grading |
Project with questioning |
|
K21: Core.
Health and Safety; regulations. Including the Control of Substances Hazardous to Health (COSHH), Provision and Use of Work Equipment Regulations (PUWER). The Health and Safety At Work Act (HASAWA), the Reporting of Injuries, Diseases and Dangerous Occurrences Regulations (RIDDOR), and manual handling as applicable to your chosen specialism. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
K22: Core.
Design principles such as line, texture, size, shape, form, colour, volume, proportion Back to Grading |
Project with questioning |
|
K23: Ceramicist.
Ceramic item manufacture key factors: use and function, size, shape, ergonomics, fitness for purpose, and production scale. Back to Grading |
Project with questioning |
|
K24: Ceramicist.
The types of clay used to make ceramic items, their properties, and suitability for use. Such as: white earthenware, red or iron terracotta earthenware, stoneware, porcelain, bone china and fine bone china. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
K25: Ceramicist.
Characteristics and states of clay for industrial or studio production. Such as: slip, wet clay, leather hard, bone dry, bisque fired, glaze fired, post firing techniques, and vitrified. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
K26: Ceramicist.
Clay preparation methods such as: wedging, kneading, pugging and filter pressing. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
K27: Ceramicist.
Ceramic production techniques such as throwing, slab work, coiling, press moulding, slip casting, jigger and jollying, ram pressing and high pressure casting. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
K28: Ceramicist.
Ways that decorations can be applied to ceramic items such as: stamping, embossing, sprig work, brushwork, glaze, decals and sgraffito. Back to Grading |
Project with questioning |
|
K29: Ceramicist.
Kiln and firing types such as: electric kiln, gas fired kilns, and wood or coal fired reduction firing. The use and effect of different temperatures. The stages of firing including bisque and glaze firings. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
K30: Ceramicist.
The types and properties of glazes. Which to use for the type of clay or material being used. The use of pigments and underglazes, biaxal and triaxal glazes, and glaze recipes. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
K31: Ceramicist.
The different production processes: batch production, limited run, and mass production. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
K32: Ceramicist.
Uses for ceramic products such as personal, public, commercial, industrial and bespoke commissions. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
K33: Ceramicist.
Read drawings and interpret prototypes or models. Back to Grading |
Project with questioning |
|
K34: Dye and print technician.
The types of dyes used, their properties, and suitability for use in combination with fabrics such as silks, cottons, nylons, wools, polyester, viscose. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
K35: Dye and print technician.
Colour matching using colour classification and colour theory. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
K36: Dye and print technician.
Composition and characteristics of different fabrics how to prepare them for dyeing. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
K37: Dye and print technician.
Fabric dyeing techniques such as patch dyeing, ombre, resist, bleaching and tie dye. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
K38: Dye and print technician.
Methods of finishing such heat pressing or varnishing. Back to Grading |
Project with questioning |
|
K39: Dye and print technician.
Methods of fixing dyes and the use of dye fixing agents such as salt or soda ash. Back to Grading |
Project with questioning |
|
K40: Dye and print technician.
Application techniques such as hand painting, spraying, block printing, screen printing, textile effects. Back to Grading |
Project with questioning |
|
K41: Dye and print technician.
Principles of textile printing both digitally and by hand such as pattern matching or placement printing. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
K42: Dye and print technician.
How to use digital graphic editors to prepare artwork for printing. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
K43: Dye and print technician.
Techniques to create visual narrative such as imagery, patterns, design, painting distressing, breakdown, creation of wounds, blood and other special effects. Back to Grading |
Project with questioning |
|
K44: Dye and print technician.
Read garment patterns and translate shapes from flat pieces to a three-dimensional form. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
K45: Dye and print technician.
Plan and manage a dye bath in a sustainable and cost-effective way, such as recycling water and dye sequence. Back to Grading |
Interview underpinned by a portfolio of evidence |
| Skill | Assessment methods |
|---|---|
|
S1: Core.
Select and use tools and equipment. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
S2: Core.
Use technology as an enabler to make hand-crafted items, models or prototypes. Back to Grading |
Project with questioning |
|
S3: Core.
Identify sustainable techniques to make handmade or hand- produced items. Back to Grading |
Project with questioning |
|
S4: Core.
Store tools and materials, ensuring they are protected from damage when not in use. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
S5: Core.
Follow health and safety procedures. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
S6: Core.
Clean, maintain and prepare the craft workspace or workshop. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
S7: Core.
The roles, responsibilities and interdependencies of different parties in a project and your role within this. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
S8: Core.
Identify costs. Deploy controls to enable effective budget management. Back to Grading |
Project with questioning |
|
S9: Core.
Manage projects on time and budget. Maintain reputational standards and mitigate legal risks. Back to Grading |
Project with questioning |
|
S10: Core.
Conduct stock control and liaise with suppliers. Back to Grading |
Project with questioning |
|
S11: Core.
Communicate with stakeholders, colleagues or customers. Back to Grading |
Project with questioning |
|
S12: Core.
Follow quality assurance procedures. Back to Grading |
Project with questioning |
|
S13: Core.
Apply design principles to the making or production of items, in line with the brief such as shape, size, proportion, colour and finish. Back to Grading |
Project with questioning |
|
S14: Core.
Select packaging for craft items to protect them whilst in transit. Present items as per the organisation’s or client or customer needs. Back to Grading |
Project with questioning |
|
S15: Ceramicist.
Make ceramic items, prototypes or models in line with the brief. Consider: purpose, end user, market, and budget. Back to Grading |
Project with questioning |
|
S16: Core.
Use specialist tools and equipment required for specific purposes. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
S17: Ceramicist.
Select and use clay or material for the ceramic item being made. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
S18: Ceramicist.
Use making skills for example hand building, sculpting, throwing, casting, moulding, and tool crafting or equivalent. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
S19: Ceramicist.
Select and use finishing techniques or glazes to be applied to the final ceramic product. Back to Grading |
Project with questioning |
|
S20: Ceramicist.
Assess the finished ceramic item against the brief and the production schedule including efficiency and wastage, quality, budget. Back to Grading |
Project with questioning |
|
S21: Ceramicist.
Use drawn plans (hand or digital), prototypes or models to aid the making of a hand-made ceramic product. Back to Grading |
Project with questioning |
|
S22: Dye and print technician.
Mix dyes, paints and pigments to colour match to a sample. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
S23: Dye and print technician.
Dye selected fabric swatches, to produce colour samples matched to a design brief. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
S24: Dye and print technician.
Manage the dye baths in an efficient and sustainable way. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
S25: Dye and print technician.
Plan and work through a schedule of items to be dyed. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
S26: Dye and print technician.
Select and apply the dye method required to create the effect in the design brief. Back to Grading |
Project with questioning |
|
S27: Dye and print technician.
Select and use the dye type according to the fibre content and, composition of chosen fabric. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
S28: Dye and print technician.
Apply techniques such as hand painting, spraying, block printing, screen printing and textile effects. Back to Grading |
Project with questioning |
|
S29: Dye and print technician.
Use image editing technology to create artwork for printing. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
S30: Dye and print technician.
Use finishing and fixing techniques to complete the dye process. Back to Grading |
Project with questioning |
|
S31: Dye and print technician.
Apply special effects techniques such as distressing, breakdown, ageing, wounds or blood effects. Back to Grading |
Project with questioning |
|
S32: Dye and print technician.
Paint, print or dye a textile design on flat pattern pieces. Back to Grading |
Project with questioning |
|
S33: Dye and print technician.
Record dye recipes and log information related to the dyeing process such as the order of processes. Back to Grading |
Interview underpinned by a portfolio of evidence |
| Behaviour | Assessment methods |
|---|---|
|
B1: Core.
Puts safety first. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
B2: Core.
Keeps up to date with new technologies and industry best practice. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
B3: Core.
Acts in a way that builds and maintains positive relationships with colleagues and others. Back to Grading |
Project with questioning |
|
B4: Core.
Takes ownership of work. Back to Grading |
Project with questioning |
|
B5: Core.
Sources solutions and seeks to continuously improve and develop. Back to Grading |
Interview underpinned by a portfolio of evidence |
|
B6: Core.
Acts in a professional and ethical manner, embracing equity, diversity and inclusion in the workplace. Back to Grading |
Project with questioning |
| KSBS GROUPED BY THEME | Knowledge | Skills | Behaviour |
|---|---|---|---|
|
(Core) Industry, contexts and settings
K1 K2 K3 K4 K5 K6 K7 K18 B2 B5 |
Creative or craft industry: the impact on places, communities, and society, and importance to individuals. (K1) Key technological developments in the history of your chosen specialism. (K2) The financial environment of the creative or craft sector: external factors impacting it, the economic contribution the specialism makes. (K3) The different types of creative or craft businesses, support organisations and professional networks. (K4) Creative or craft industry income streams. Such as public and private subsidy, teaching, community outreach, and product sales. (K5) Support that craft technicians can provide in creative or craft and well-being settings. Such as schools, hospitals, residential care homes, community outreach projects, historical sites and workplaces. (K6) The environmental impact of your chosen specialism. The steps being taken by craft technicians and businesses to operate in a more environmentally sustainable way. Such as sourcing of materials, sustainable production and distribution processes. (K7) Fundamentals that apply to copyrighting and intellectual property and how to protect craft items from external exploitation. (K18) |
None |
Keeps up to date with new technologies and industry best practice. (B2) Sources solutions and seeks to continuously improve and develop. (B5) |
|
(Core) Stakeholder Management
K13 S7 |
Stakeholder management key principles. (K13) |
The roles, responsibilities and interdependencies of different parties in a project and your role within this. (S7) |
None |
|
(Ceramicist) Clay
K24 K25 K26 |
The types of clay used to make ceramic items, their properties, and suitability for use. Such as: white earthenware, red or iron terracotta earthenware, stoneware, porcelain, bone china and fine bone china. (K24) Characteristics and states of clay for industrial or studio production. Such as: slip, wet clay, leather hard, bone dry, bisque fired, glaze fired, post firing techniques, and vitrified. (K25) Clay preparation methods such as: wedging, kneading, pugging and filter pressing. (K26) |
None |
None |
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(Ceramicist) Production
K27 K29 K30 K31 K32 |
Ceramic production techniques such as throwing, slab work, coiling, press moulding, slip casting, jigger and jollying, ram pressing and high pressure casting. (K27) Kiln and firing types such as: electric kiln, gas fired kilns, and wood or coal fired reduction firing. The use and effect of different temperatures. The stages of firing including bisque and glaze firings. (K29) The types and properties of glazes. Which to use for the type of clay or material being used. The use of pigments and underglazes, biaxal and triaxal glazes, and glaze recipes. (K30) The different production processes: batch production, limited run, and mass production. (K31) Uses for ceramic products such as personal, public, commercial, industrial and bespoke commissions. (K32) |
None |
None |
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(Dye and print technician) Dye process
K34 K45 S24 S25 S33 |
The types of dyes used, their properties, and suitability for use in combination with fabrics such as silks, cottons, nylons, wools, polyester, viscose. (K34) Plan and manage a dye bath in a sustainable and cost-effective way, such as recycling water and dye sequence. (K45) |
Manage the dye baths in an efficient and sustainable way. (S24) Plan and work through a schedule of items to be dyed. (S25) Record dye recipes and log information related to the dyeing process such as the order of processes. (S33) |
None |
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(Dye and print technician) Production
K41 K42 K44 S29 |
Principles of textile printing both digitally and by hand such as pattern matching or placement printing. (K41) How to use digital graphic editors to prepare artwork for printing. (K42) Read garment patterns and translate shapes from flat pieces to a three-dimensional form. (K44) |
Use image editing technology to create artwork for printing. (S29) |
None |
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(Core) Tools
K8 K12 S1 S4 S6 S16 |
The types of hand and machine operated tools used by craft technicians within your chosen specialism. The products or materials they are typically used for. (K8) Storage for tools, materials and products. (K12) |
Select and use tools and equipment. (S1) Store tools and materials, ensuring they are protected from damage when not in use. (S4) Clean, maintain and prepare the craft workspace or workshop. (S6) Use specialist tools and equipment required for specific purposes. (S16) |
None |
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(Core) Health and safety
K21 S5 B1 |
Health and Safety; regulations. Including the Control of Substances Hazardous to Health (COSHH), Provision and Use of Work Equipment Regulations (PUWER). The Health and Safety At Work Act (HASAWA), the Reporting of Injuries, Diseases and Dangerous Occurrences Regulations (RIDDOR), and manual handling as applicable to your chosen specialism. (K21) |
Follow health and safety procedures. (S5) |
Puts safety first. (B1) |
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(Ceramicist) Making
S17 S18 |
None |
Select and use clay or material for the ceramic item being made. (S17) Use making skills for example hand building, sculpting, throwing, casting, moulding, and tool crafting or equivalent. (S18) |
None |
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(Dye and print technician) Dyeing techniques
K35 K36 K37 S22 S23 S27 |
Colour matching using colour classification and colour theory. (K35) Composition and characteristics of different fabrics how to prepare them for dyeing. (K36) Fabric dyeing techniques such as patch dyeing, ombre, resist, bleaching and tie dye. (K37) |
Mix dyes, paints and pigments to colour match to a sample. (S22) Dye selected fabric swatches, to produce colour samples matched to a design brief. (S23) Select and use the dye type according to the fibre content and, composition of chosen fabric. (S27) |
None |
| KSBS GROUPED BY THEME | Knowledge | Skills | Behaviour |
|---|---|---|---|
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(Core) Project management
K9 K14 K15 K19 S8 S9 S12 |
The project lifecycle: the design brief or specification. Factors that aid project success: customer and client liaison, team working, budget management, project mapping (production scheduling) and problem solving. (K9) How digital tools and technology may be used to support productivity and delivery: CAD (computer-aided design) and 3D printing. (K14) The different routes to market such as physical retail, online retail, online portfolio, commissions, selling events (markets and fairs), social media, galleries and exhibitions, open studios and catalogues. (K15) Quality assurance, inspection, and sampling methods. (K19) |
Identify costs. Deploy controls to enable effective budget management. (S8) Manage projects on time and budget. Maintain reputational standards and mitigate legal risks. (S9) Follow quality assurance procedures. (S12) |
None |
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(Core) Stock management
K10 K11 S10 |
Stock management and recording systems. (K10) Types of suppliers. Supplier research and sourcing methods. Supplier choice factors: financial competitiveness, environmental sustainability, and quality. (K11) |
Conduct stock control and liaise with suppliers. (S10) |
None |
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(Core) Communication
K16 K17 S11 B3 B6 |
Communication techniques: verbal, written, and digital; use industry terminology. (K16) Communication channels: specialist networking, social media, press, open studios, web (K17) |
Communicate with stakeholders, colleagues or customers. (S11) |
Acts in a way that builds and maintains positive relationships with colleagues and others. (B3) Acts in a professional and ethical manner, embracing equity, diversity and inclusion in the workplace. (B6) |
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(Core) Sustainability
K20 S3 S14 |
The properties, environmental impact, and benefits of eco-friendly or recycled materials used in packing. (K20) |
Identify sustainable techniques to make handmade or hand- produced items. (S3) Select packaging for craft items to protect them whilst in transit. Present items as per the organisation’s or client or customer needs. (S14) |
None |
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(Core) Making
K22 S2 S13 B4 |
Design principles such as line, texture, size, shape, form, colour, volume, proportion (K22) |
Use technology as an enabler to make hand-crafted items, models or prototypes. (S2) Apply design principles to the making or production of items, in line with the brief such as shape, size, proportion, colour and finish. (S13) |
Takes ownership of work. (B4) |
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(Ceramicist) Production
K23 K28 K33 S15 S19 S20 S21 |
Ceramic item manufacture key factors: use and function, size, shape, ergonomics, fitness for purpose, and production scale. (K23) Ways that decorations can be applied to ceramic items such as: stamping, embossing, sprig work, brushwork, glaze, decals and sgraffito. (K28) Read drawings and interpret prototypes or models. (K33) |
Make ceramic items, prototypes or models in line with the brief. Consider: purpose, end user, market, and budget. (S15) Select and use finishing techniques or glazes to be applied to the final ceramic product. (S19) Assess the finished ceramic item against the brief and the production schedule including efficiency and wastage, quality, budget. (S20) Use drawn plans (hand or digital), prototypes or models to aid the making of a hand-made ceramic product. (S21) |
None |
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(Dye and print technician) Production
K38 K39 K40 S28 S30 S32 |
Methods of finishing such heat pressing or varnishing. (K38) Methods of fixing dyes and the use of dye fixing agents such as salt or soda ash. (K39) Application techniques such as hand painting, spraying, block printing, screen printing, textile effects. (K40) |
Apply techniques such as hand painting, spraying, block printing, screen printing and textile effects. (S28) Use finishing and fixing techniques to complete the dye process. (S30) Paint, print or dye a textile design on flat pattern pieces. (S32) |
None |
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(Dye and print technician) Effects
K43 S26 S31 |
Techniques to create visual narrative such as imagery, patterns, design, painting distressing, breakdown, creation of wounds, blood and other special effects. (K43) |
Select and apply the dye method required to create the effect in the design brief. (S26) Apply special effects techniques such as distressing, breakdown, ageing, wounds or blood effects. (S31) |
None |
| Version | Change detail | Earliest start date | Latest start date | Latest end date |
|---|---|---|---|---|
| 1.1 | Occupational standard and end-point assessment plan revised, option added. | 27/08/2024 | Not set | Not set |
| 1.0 | Approved for delivery | 17/07/2024 | 26/08/2024 | Not set |
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