Assessment and Standards
EVIDENCE: Sketchbook [digital workbook] and completed work on folio.
as91311.pdfStandard 2.2 -Drawing methods refers to the use of media, techniques and processes to arrange elements (eg line, shape, space, colour, tone, point, texture, form, mass) and principles (eg balance, harmony, rhythm, tension, contrast) to inform artwork. Painting drawing may include drawing notes, sketches, monochromatic and colour studies, collage and painting. Evidence comes from simple sketches and plans to more resolved finished works in both drawing and painting media.
2.2 internal assesment marking original.docx.pdfEVIDENCE: Sketchbook [digital workbook] and completed work on folio.
91311 Use drawing methods to apply knowledge of conventions appropriate to painting.pdfStandard 2.3 is about your thoughts ideas and process in developing works. It involves critically analysing, evaluating, and further developing a concept, subject matter, problem or situation. This standard supports what you did in 2.2 through annotation of your own and other artists works.
2. 3 internal assesment marking PAI.docx.pdfEVIDENCE: 2 panel folio
as91321.pdfStandard 2.4 is an external standard where you produce a systematic body of work creating individual, related works that form a series or sequence to show generation and development within the art-making process. This involves editing, selecting and ordering of work. and developing a Kaupapa or theme to guide your practice.
2.4 external assesment marking PAI.docx.pdfExemplars of student work 2.2 & 2.3
Talia Kennedy - 12ARP 2.1 _ 2.2.pdfTatenda Kazembe-12ARP 2.1 _ 2.2.pdfGabriel Lopes Michinhote - 12ARP 2.1 _ 2.2.pdfExemplars of student work 2.4 Produce a Systematic body of work
External report on standards with student work [2022]
Candidates perform better when they choose appropriate themes that can be sustained for a year’s study, over the two panels, and when they include pictorial and compositional ideas within their artmaking practice.
Candidates who demonstrated appropriate use of the imagery of others, and an understanding of the difference between appropriation and plagiarism, were more likely to produce successful work. Work was sometimes undermined by inappropriate themes and copying characters developed by other artists.
The abstract genre was more successful when it was purposeful, referenced established practice and built on conceptual ideas; and when it provided evidence that met the criteria: systematic, control or facility with media and technique, critical editing, and layout to show progression and resolution of the proposition.
Candidates commonly had more success when they provided smaller studies that helped to move the investigation forward, rather than using one or two large pieces, particularly on the second panel, thereby limiting their ability to show extension or regeneration of ideas.
Portfolios that showed a clearer layout and hierarchy of size were able to demonstrate stronger development and resolution of ideas, finishing on the strongest and most resolved work.
Portfolios at the lower end of the grade range or placed at Not Achieved, did not show a sufficient use of paint or were heavily reliant on drawing. This made it difficult to show competency using painting conventions.
Within many of the figurative portfolios, successful candidates developed conceptual propositions with understanding that included portraiture. Other candidates who relied solely on their technical facility, in a succession of individual portraits, struggled to provide evidence of extension or regeneration of ideas.
Grade awarding
Candidates who were awarded Achievement commonly:
• worked to the curriculum at Level 7
• produced a systematic body of work
• generated and developed ideas across two panels
• presented a readable layout with limited development
• used paint with inconsistent application
• used minimal artist references to support the artmaking
• showed limited understanding of artmaking conventions
• relied on appropriated imagery
• struggled to produce sufficient work or made random work that did not support the idea.
Candidates who were awarded Not Achieved commonly:
• did not meet the criteria at curriculum Level 7
• generated but did not develop ideas
• produced an insufficient amount of work
• lacked a coherent theme and made unrelated, random work
• presented work that was not systematic, layout was unclear, or panels were interchangeable
• relied on photocopies for compositions or as drawings
• used repetition to fill the panels
• did not use painting conventions or the evidence of paint was minimal
• copied and used unaltered, plagiarised imagery such as anime or cartoon characters
Candidates who were awarded Merit commonly:
• generated, developed, and extended ideas
• investigated ideas purposefully, with evidence of clear decision-making
• displayed a competent and proficient use of media
• used more than one artist reference to generate and extend ideas
• demonstrated a more personalised approach to their theme
• worked systematically and the proposition was clear.
Candidates who were Excellence commonly
• developed, extended, and regenerated a depth of ideas
• demonstrated fluency in the use of media, technical skills, and compositional arrangements
• showed sophisticated exploration of ideas, and a high level of conceptual understanding to drive the investigation
• generated personal resource imagery allowing for richer picture-making
• clarified the ideas from Panel 1 and regenerated on Panel 2
• worked independently using critical decision-making and a personal approach
• synthesised artist references into own practice to create new and original solutions
• edited and ordered work to successfully communicate ideas and creative intention.
The New Zealand Curriculum specifies four strands of achievement objectives for visual arts: The four Visual Arts strands underpin the approach of generating and refining artistic ideas through cycles of action and reflection:
Understanding the Arts in Context
Developing Practical Knowledge in the Arts
Developing Ideas in the Arts
Communicating and Interpreting in the Arts.
These strands are not separate areas of learning, but four key skill areas that are intrinsically connected. For instance, in order to communicate and interpret effectively in Visual Arts, it is necessary to understand the visual arts in context.
Understanding the visual arts in context (UC)
Achievement objectives
Students will:
Research and analyse the influences of contexts on the characteristics and production of art works.
Research and analyse the influence of relevant contexts on their own work.
Indicators
Identifies particular examples within art works that show the impact of a time, place, or culture on how and why they were made.
Describes how personal, social, historical, and technological factors influenced or informed elements of the art work, such as how they were made, perceived, and appreciated by the audiences and critics.
Discusses the way in which meaning is made from an art work.
Identifies influencing factors on their own work and how these shaped decisions about the production and presentation of the work.
Developing practical knowledge in the visual arts (PK)
Achievement objective
Students will:
Apply understanding from research into a range of established practice to extend skills for particular art-making purposes, using appropriate processes and procedures in selected fields.
Extend skills, in a range of materials, techniques, and technologies.
Indicators
Makes art works that use conventions learned from the study of established practice.
Makes art works that use formal elements (line, shape, space, colour, tone, point, texture, form, mass) and principles (balance, harmony, rhythm, tension, contrast, and so on) in a way that is consistent with established practice.
Uses a variety of media to produce a range of visual effects.
Developing ideas in the visual arts (DI)
Achievement objectives
Students will:
Generate, analyse, clarify, and extend ideas in a selected field related to established practice.
Use a systematic approach to the development of ideas in a body of work.
Indicators
Students develop ideas through research, observation, imagination, and action.
They discover ideas from a variety of sources in their inner and outer worlds.
They challenge, extend, and organise them visually in ways that connect with their local and global audiences.
They develop ideas in response to further research, experiences, feelings, self-critique, and critique from others.
Students use selected methods to explore and develop thematic and pictorial ideas in their practice.
They express these ideas through using a range of materials and approaches.
They reflect on, test, clarify, and regenerate ideas as they solve problems, individually and collaboratively, through making objects and images.
Communicating and interpreting in the visual arts (CI)
Achievement objectives
Students will:
Research and analyse how art works are constructed and presented to communicate meanings.
Use critical analysis to interpret and respond to art works.
Indicators
Examines art works from established practice to identify how particular processes and procedures influence the meaning made from them (for example, what, in the size and colours of Anne Noble’s Ruby’s Room photographs, makes them seem strange or unnerving).
Identifies particular elements of art works from established practice that communicate certain ideas or emotions (for example: What ideas are communicated through the processes and materials used in Ralph Hotere’s Black Phoenix installation [1984–1988])?
Compares the difference between seeing an image of an art work in a book or on the Internet and seeing the art work in the ‘real’. Discuss what makes these experiences of the art work different in these contexts.
Interprets the ideas artists intend to communicate through their art works (for example, What ideas is Joanna Braithwaite communicating through her Wild Things series of paintings?).
Interprets the meanings that art works communicate, and discusses how these are similar to or different from the intentions attributed to them in artists’ statements or reviewers’ interpretations.