evidence is provided through your digital workbook and supported by evidence from your folio board
Before we commit paint to large panels, we need to think, test, and plan. In Level 3 Visual Arts, we call this process "drawing." But don't be fooled—this isn't just about pencil sketches of apples.
In this course, drawing is thinking. It is the bridge between having an idea in your head and realising it as a resolved painting. Drawing includes wet media (ink, wash, acrylic tests), dry media (charcoal, pastel), collage (cutting and reassembling), and digital tools.
To help structure this "thinking" process, your sketchbook work is covered by two different internal standards that run alongside your big folio standard. It is crucial you understand the practical difference between them so you know what evidence you need to generate to navigate your journey.
Often, students are confused by the difference between Standard 3.2 (Use drawing to demonstrate understanding of conventions) and Standard 3.3 (Systematically clarify ideas using drawing).
The simplest way to understand them is that one is your toolbox (the 'How'), and the other is the structure you build with those tools (the 'What' and 'Why').
"Tūhura" – Investigation & Discovery
This standard is about mastering the physical side of painting. It’s about learning how materials behave.
When you are doing our weekly workshops, you aren't trying to make "art"; you are running experiments. You are testing the conventions of painting—texture, glaze, opacity, line, colour, and composition.
What this looks like in your sketchbook:
A page of 10 small test squares figuring out how to create the cracked, eroded texture of Sylvain Coulombe.
Colour swatches testing which acrylics become transparent when mixed with glaze medium.
Compositional diagrams using collage to test how to fragment an image like Stefaan De Crook.
"Kaupapa & Waihanga" – Theme & Construction
Once you have the tools, you need to use them to say something. This standard is about using drawing to develop your ideas and your theme (Kaupapa).
It is called "systematic clarification" because it requires you to show a sequence of thinking. You can't just jump to a final image; your sketchbook needs to show the steps you took to get there, and how your idea evolved from one drawing to the next based on established painting practices.
What this looks like in your sketchbook:
Taking that "eroded texture" test you did for 3.2 and applying it to a drawing of your specific subject matter to see how it changes the mood.
A series of three drawings where you take an image, and step-by-step, become more abstracted or fragmented, reflecting on how this changes the meaning of the image.
Using drawing to plan how your ideas will move across Panel 1, to Panel 2, to Panel 3.
Think of it like learning a language:
3.2 (The 'How') is learning the alphabet and grammar.
3.3 (The 'What' & 'Why') is using that alphabet to write a coherent sentence that expresses an idea.
In your sketchbook, these two things often happen on the same page. You might test a material (3.2) and immediately apply it to a small study of your subject to test an idea (3.3). Our course structure is designed to help you generate both types of evidence naturally as you progress through your Haerenga.
This unit of work will take approximately 20 weeks. You will move from material experimentation into a sustained conceptual inquiry. The goal is not just to paint "pictures," but to explore the physical and metaphorical journey of the self using specific material languages.
There are FOUR tasks in this assessment
TASK D: Kōpaki Toi - Folio Development of ideas
The art room will be available to those wishing to work at lunchtime and after school. You will use a range of media to complete these tasks that are relevant to your inquiry.
You will research and develop your theme while regularly communicating with and seeking feedback from your teacher.
You will use artists from established practice to further the development of ideas.
Examples of these artists as well as explanations of how you have used them should be in your Visual diary or digital workbook.
You must keep both a visual record of your process and research as well as take notes alongside your work. [take lots of photos of your work!]
Any work missed in class must be caught up in your own time.
You should experiment with a range of media and materials, and each time you explore a new idea or artist, you must plan and record your work clearly in your visual diary.
There is no written internal, however, it is expected you will make clear and articulate notes about your thoughts, processes and ideas alongside your work. Artwork will be blu tacked into your visual diary with annotations alongside and uploaded into your digital workbook. [you may choose to work directly into your visual diary with your annotations.]
This information is provided in addition to the calendar and assignment. It is your responsibility to make sure your work is uploaded to your digital workbook on Google Classroom regularly. On Due dates [draft and final] you must turn in your digital workbook for feedback and marking. for final marks, your teacher will mark your work and moderate grades with another art teacher.
RESULTS:
Internals - you will be given your results as soon as the entire year group has been assessed. You will be given the opportunity and appropriate information to check the validity of the decisions that the assessor has made.
You will get a full set of results for Level 3 Painting when you receive your results in January.
LOST WORK/LATENESS/ILLNESS/EXTENSIONS
Students who have a valid reason (usually medical) for being unable to complete an assessment on time may be granted an extension. The application for the extension must be granted a week before the due date of the assignment by your teacher, the HOD and in some cases a dean, unless there are exceptional circumstances. See your teacher as soon as possible if you think you require an extension. If you are sick on the day of the assessment deadline you need to get someone else to hand in for you, as there can be no last-minute extensions.
Work handed in late with no explanation will not be accepted or assessed.
ASSESSMENT PROCEDURE
Your progress and achievement will be assessed during each unit. Formative assessment dates [progress] will be specifically identified on the calendar. These are an indication of the level at which you are working and guidelines are given for improvement. You are then allowed to rework this in your own time.
Completed assessments must be handed in by 5 pm of the day specified for the final summative deadline unless your teacher tells you differently. You will be reminded about these deadlines throughout the year.
Failure to hand work in will result in a 'Not Achieved' grade.
HOMEWORK
The demands of NCEA are such that you must be prepared to work in your own time regularly.
Your homework must include: *
Researching relevant artist's work and images if required
Preparing and presenting visual research.
Completing work, and improving on your technique.
Uploading work to digital layouts and workbooks.
spending time on practical work
* HOMEWORK IS NOT EXPLICITY SET EACH WEEK/LESSON.
AUTHENTICITY
Work completed and handed in for assessment must be your work. It is not appropriate for students to ask others to help or complete the work. Students found to be submitting work that has been completed by someone else will be removed from that particular standard. Most of the work you submit should be completed during class time. It is appropriate and anticipated that you will complete some work at home. To ensure that your teacher can authenticate your work it is in your best interest to bring it into school for feedback frequently. This also applies to copying the work of other students or artists directly.
Appropriation, copyright and plagiarism
You have probably searched for images for projects off the web using search engines like Google for your other classes. It is important to get good-quality images without violating copyright laws that protect other people’s intellectual property. As you are a school student you and your teachers have some leeway for when you are learning about artworks. The law is much stricter when it comes to producing your work. where possible create your reference images to work from. When using work from the internet, ensure you know how to find images that are suitable for you to use. This is discussed further in the Proposal section
ATTENDANCE
Your teacher will be monitoring the progress of your artwork in class. Therefore you must attend class regularly. If your teacher is concerned about your attendance or limited evidence of work, your parents and/or guardian will be contacted and invited to come in to make a plan to assist you with time management and work completion. You may be expected to catch up on work through after-school, lunchtime or holiday workshops.
It is an expectation of the course that you are fully prepared for each lesson with the correct equipment. It is your responsibility to look after your materials and equipment.
In case of absence, it is your responsibility to catch up on work missed and to liaise with your teacher if you need extra assistance outside of classtime
USE OF AI
If AI tools or software are utilized in the assessment process, students must adhere to the following guidelines:
i. Students should clearly state any AI tools or software used in their work (refer to Policy on Referencing AI Sources in School Assessments).
ii. AI-generated work is NOT to be used in final assessment [folios] however it can be used in visual diaries to inform art-making practices and idea generation.
EXEMPLARS