series of 3

WHAT IS A SERIES?? A series should be a similar style, the colour and composition should be purposeful, and they should be worked on at the same time if possible, but you can mix up the sizes.

TASK B: Te Waihanga – The Synthesis Series

Focus: Consistent Materiality + Evolving Viewpoints

Evidence for: AS91446 (3.2) + AS91451 (3.3)

Timeline: Weeks 8–10

Format: A Series of Three Related Artworks (A4 or A5 size)

The Mission: Selecting Your Voice

In the Tūhura phase, you investigated six different "material languages." Now, for Te Waihanga, you must decide which material language will best carry your subject matter forward.

You are not using every technique you learned. Instead, you are selecting the specific media and techniques (e.g., the fluid alchemy of Kate Shaw or the structured fragmentation of Stefaan De Crook) that "spoke" to your subject matter most effectively. You will apply this consistent materiality across a Series of Three related works to show technical control and a systematic journey of ideas.

The goal is to show that you can maintain a high level of technical control (3.2) while clarifying a visual idea through a sequence of works (3.3).

The Series Structure: One Subject, Three Angles

Your subject matter remains the same as your Week 1 "Departure Point," but the way we see it must change. Use your 5-Step Evolution drawings as a map to select three distinct viewpoints or positions.

Work 1: The Initial Observation Establish your subject using your chosen materiality. This work sets the technical "baseline" for your series. We should see a clear understanding of your chosen painting conventions (line, tone, texture, or mass).
Work 2: The Regenerated View Shift the viewpoint or position of the subject significantly (e.g., moving from a wide shot to a dramatic crop). While the "camera angle" changes, the materiality must remain consistent. This demonstrates you can regenerate a visual idea while maintaining technical cohesion.
Work 3: The Resolved Perspective Select a final viewpoint that extends the inquiry (e.g., a micro-zoom or an atmospheric shift). This work should represent the most sophisticated synthesis of your subject and your materials, showing fluent control over your chosen media.

Evidence of Systematic Clarification (3.3)

At Level 3, a series must show a continuum. It should be obvious that Work 2 was born from Work 1, and Work 3 evolved from Work 2.

Navigational Planning: In your visual diary, sketch how the three works will "link" together. Use compositional principles (like leading lines or repeating shapes) to ensure the eye moves naturally across the series.
Material Mastery (3.2): Because you are using the same materiality for all three pieces, your "fluency" should increase with each work. We are looking for more intentional and purposeful mark-making by the time you reach the final piece.

Design Protocol: The Rule of Three

"The first idea is rarely the best idea."

At Level 3, we move beyond simply "painting a picture." We are designers. To ensure your final paintings are sophisticated and structurally sound, you must follow The Rule of Three before starting any major work on your folio.

The Protocol: Never commit to a final artwork until you have trialled three distinct iterations of your composition.

The Thumbnail Sketches (Composition) - design Three Iterations of a "Series of Three." [draw a 9 box grid ]

Iteration A (Boxes 1-3): sketch a series using a standard viewpoint (e.g., Wide Shot -> Medium -> Close Up).
Iteration B (Boxes 4-6): sketch a series using a different angle (e.g., Profile view, looking down, or obscuring the subject).
Iteration C (Boxes 7-9): sketch a series that takes a risk (e.g., extreme crop, distinct negative space focus, or rearranging elements).

Constraint vs Variable:

The Constant: The background style/materiality must be consistent in all 9 sketches.
The Variable (Colour): You CAN change the colour palette between the iterations to test the mood.
Example: Iteration A might use high-contrast Black & White. Iteration B might use "Toxic" Neons. Iteration C might use "Bruised" Blues and Purples.

The Refinement (Tone & Colour)

Goal: Test the composition to prevent "flat" paintings.

Step 1: The Selection

review your 9 thumbnails. Choose the Best Three to form their final series.

Note: They can mix and match! (e.g., you might choose Box 1, Box 5, and Box 9, as long as they flow together visually).

Step 2: Tonal Mapping (The Value Study)

Task: Take the selected 3 thumbnails and redraw them slightly larger.

Use Charcoal or 6B Pencil.
Objective: Map the Lights and Darks.
Check: Is the subject visible? Is there enough contrast? If the background is "busy" (like Broderick), where are the dark shadows to anchor it?

Step 3: The Colour Study (The Prototype)

Task: Choose just ONE of the tonal drawings.

Do a quick, small (postcard size) painting using the actual paints/materials.
Objective: Test the palette. Does the colour scheme work? Do the materials behave the way you expected?

Why we do this (Assessment Link)

AS91451 (3.3): Systematically Clarify Ideas This standard assesses your ability to think through your work.

Achieved: You just paint the first thing you think of.
Merit/Excellence: You systematically test options. By showing three iterations in your workbook, you are providing physical evidence that you are analysing and clarifying your ideas before you paint.

AS91446 (3.2): Understanding Conventions Composition is a primary convention of painting. By manipulating the arrangement of elements (cropping, scale, viewpoint), you demonstrate an in-depth understanding of how to control the viewer's eye.

Reflection & Annotation

In your visual diary, provide a brief "Navigator’s Log":

The Selection: Why did this specific materiality suit your subject matter? (e.g., "I chose the atmospheric glazes of Natasha Kekanović because they capture the foggy mood of my coastal subject better than a structured approach").
The Evolution: Explain how changing the viewpoint changed the "story" of your subject. What did we see in Work 3 that wasn't visible in Work 1?
The Course Correction: Note one technical challenge you encountered and how you adjusted your approach to ensure the series remained cohesive.

The Series of Three (Production)

Goal: Produce 3 Finished Works (A4 or A5) using consistent materiality. Timeline: Remainder of Week 9 & Week 10 + hols]

Task: Execute the three selected compositions on good paper.
Focus: Maintain the Consistent Materiality.
- If using Kate Shaw, all three must feature the marbling/strata.
- If using Lydia Broderick, all three should be made from the same mixed media background.

The Colour Shift (Optional Extension):

- While the materiality must stay consistent, the colours can evolve between Work 1, Work 2, and Work 3 to tell a story.
- Example: Work 1 is Bright/Clear (Alive). Work 2 is Grey/Muted (Dying). Work 3 is Dark/Black (Dead).
- This is an excellent way to show Systematic Clarification (3.3)—using colour to change the meaning of the subject over time.

Assessment (3.3): The viewer must be able to see that these three images belong together (same family) but offer different information (different viewpoints).

both of these series materiality is based on Lydia Broderick

digital workbook - document youR design of ideas and experiments for your series of three. include each painting.

Navigator’s Checklist: Te Waihanga Synthesis Series

Selection & Planning (The Map)

Identify your Material Language: Select the specific artist-model technique that best "speaks" to your subject matter (e.g. the fluid alchemy of Shaw or the structural fragmentation of De Crook).
Select your Waypoints: Choose three distinct viewpoints or positions for your subject, using your Week 1 evolution drawings as a guide.
Thumbnails and Flow: Sketch three compositional blueprints in your visual diary showing how the three works will link together visually.
Colour Recipe: Establish and test a unified colour palette across all three works to ensure the series reads as a single, cohesive journey.

Production: The Series of Three (The Journey)

Waypoint 1 (Baseline): Establish your subject matter clearly using your chosen materiality, demonstrating a solid understanding of painting conventions.
Waypoint 2 (Regeneration): Shift the viewpoint or position of the subject significantly while keeping the technical application and materiality exactly the same.
Waypoint 3 (Resolution): Extend the idea into a final, sophisticated perspective that shows fluent, intentional control of your chosen media.

Evidence for AS91446 (3.2): The 'How'

Technical Consistency: Apply your chosen materiality with increasing skill and control across each of the three works.
Purposeful Selection: Show clear evidence in your diary of why these specific materials were chosen to represent this specific subject.
Fluency: Ensure the final work shows marks that are intentional and mastered, rather than accidental.

Evidence for AS91451 (3.3): The 'What & Why'

Systematic Evolution: Ensure a viewer can see a clear "thread" or continuum moving from Work 1 through to Work 3.
Idea Clarification: Use the changes in viewpoint to help tell a deeper story or clarify the meaning behind your subject matter.
Informed Practice: Clearly demonstrate the influence and characteristics of your chosen artist model's way of working.

Documentation (The Navigator’s Log)

Annotation: Write a brief note in your diary explaining your choice of materiality and how the three viewpoints evolved.
Course Correction: Record any technical hurdles you encountered and how you adjusted your approach to keep the series cohesive.

digital folio- measure each of your paintings and insert them into your digital folio

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