Download - 2009 Photography 3.3 Outline
REMEMBER TO:
Engage in a process of reflection, questioning and analysis
Build on, develop and expand initial ideas and content
Revisit, analyse, clarify and regenerate ideas about subject matter and organisation of those ideas
Analyse and clarify purpose and uses of selected artist models
Research and explore the formal properties and characteristics of artworks studied.
Revisit and build on ideas by:
Researching characteristics and constraints of established processes, procedures, materials and techniques
Developing a systematic approach to relating ideas and methods.
Critically evaluate the work, looking for:
Use of ideas founded in recent and established practice
Knowledge of characteristics and constraints of established practice
Options for regenerating ideas
Systematic evaluation of ideas and methods and production of original work.
Practical Art Achievement Standard Number 90668 Level
3 Standard: 3.3 Number of Credits 14Method of assessment: Portfolio EXTERNAL
Task 1
The PROPOSAL
Develop a proposal, brief or project outline with initial ideas
for development
Record and discuss initial ideas
Understand that the purpose of the initial proposal, brief or
outline is to generate ideas about subject matter, possible
artist models, processes, procedures, materials and
techniques.
Revisit ideas and develop a systematic approach to evaluating
ideas and methods. Write your proposal out in your diary
You may find using the words WHAT WHY & HOW as
headings for framing your initial questions useful to start the
thinking process
Your proposal could be presented as a mind map.
Remember this work could also be the first page of eight for
the scholarship workbook
Produce Original Work within PHOTOGRAPHY
to Show Extensive Knowledge of Art
Making Methods & Ideas
2009
Achievement Achievement with Merit Achievement with Excellence
Use drawing as the central means to generate, analyse, clarify and regenerate ideas.
Use drawing as the central means to purposefully generate, analyse, clarify and regenerate options.
Use drawing as the central means to purposefully generate a range and depth of ideas to analyse, clarify and regenerate options.
Show knowledge of the characteristics and constraints of established processes, procedures, materials and techniques used.
Show knowledge and understanding of the characteristics and constraints of established processes, procedures, materials and techniques used.
Show knowledge and understanding of the characteristics and constraints of established processes, procedures, materials and techniques, and use with fluency and purpose.
Develop a systematic approach to relating ideas and methods in the production of work.
Use a systematic approach to relating and evaluating ideas and methods in the production of work.
Systematically and critically relate, evaluate and synthesise a range of ideas and methods in the production of work.
Use ideas and methods founded in recent and established practice in the production of original work.
Use and understand particular ideas and methods founded in recent and established practice in the production of original work.
Understand and build upon a range and depth of ideas and methods in context, and use these with insight in the production of original work.
ASSESSMENT CRITERIANote: drawing means showing your thinking. Identify the problem or question you are addressing. Present a range and depth of ideas Investigate options Regenerate work from what you have done.Learn from yourself and others
Demonstrate your understanding of painting methods Base your understanding on your researchUse techniques that are appropriateShow purposeful decision makingDemonstrate fluency with the media
Work systematically but not in a linear wayShow a range of ideas and possibilitiesShow you have critically selected from your own work possibilities for extension Evaluate your own workSynthesize all the elements to produce your own work
Demonstrate your understanding by referencing your ideas in contextBe careful not to rely on the model as the only means of exploring your ideas use multiple references to enhance your thinking and show insight in applying these to your own workUse your ideas in new and original waysProduce distinctive and innovative work
This folio achieved Excellence in level 3 Visual Arts PhotographyIt is a very interesting and very individual body of work in that a number of ideas and options are explored using the information loosely assembled on board 1.Drawing is used as the central means of purposefully generating a range and depth of ideas to analyse, clarify and regenerate options.The development of the ideas show clear evidence of understanding of knowledge and understanding of the characteristics and constraints of established processes, procedures, materials and techniques, and the techniques are applied with fluency and purpose.This student understands and builds upon a range and depth of ideas and methods in context, and uses these with insight in the production of original work.The work is innovative and expressive and many of the ideas could be redeveloped and extended beyond the folio.
Explanatory Notes
This achievement standard is derived from The Arts in the New Zealand Curriculum, Learning Media, Ministry of Education, 2000; Level 8 strands, p. 81, Developing Practical Knowledge in the Visual Arts, Developing Ideas in the Visual Arts, Communicating and Interpreting in the Visual Arts and Understanding the Visual Arts in Context.
Evidence of the ability to generate, analyse, clarify and regenerate ideas will be identified in a range of work within photography practice. This may involve different processes, procedures, materials and techniques, all of which can be understood as drawing. This practice is dependent upon recognising and using drawing as a thinking and working process. Drawing is an ongoing decision-making process that enables a continuum to be established and maintained. Aspects of drawing are also
identifiable in finished work. Photography drawing may include sketches, research drawings, drawing notes, monochromatic and/or colour studies, technical
experiments/studies, collage, proof, and developmental prints and finished prints. Photography drawing should be used as central means of practical investigation. Where it is appropriate, students may include processes,
procedures, methods and techniques from other art fields.
Processes refers to the use of particular techniques with tools, technologies and materials.
Procedures refers to the order and nature of steps taken in getting from the beginning to the end of the problem.
Show knowledge of the characteristics and constraints of established processes, procedures, materials and techniques used.
All forms within photography practice are constrained by their kind, by the processes and procedures belonging to work of its kind and of the materials that characterise it. It is part of showing a practical understanding of photography practice to show an understanding of its limitations. This does not mean that students must not test the limits of such constraints. Indeed, if this is done successfully, the student should be rewarded. If, however, those constraints are ignored, then there can be no evidence, in the work, of the student’s knowledge of their existence and thus no evidence that they are understood.
Develop a systematic approach to relating ideas and methods in the production of work.
As part of producing work, it is important to be able to reflect critically on its outcome in a practical sense. This reflection will be evident in the work that follows. Evidence will be critically edited, ordered and related to show the nature and order of steps undertaken.The process of evaluating, as required for achievement with merit and achievement with excellence, will be evident in the analysis and clarification of ideas in order to regenerate.
Use ideas and methods founded in recent and established practice in the production of original work.
Learning from established practice is the use of artists as models of practice and investigating the context within which art works are made. The purpose of this is to inform the student’s own work. Students are encouraged to explore work relating to their own cultural milieu and interests. What counts as recent and established practice is a matter for teachers and students to determine together while taking account of the work of those contemporary New Zealand artists who have achieved critical acclaim.
Note: Original work, in this context, does not carry the meaning normally associated with the work of mature and innovative artists. Original refers to the extent to which the submission develops beyond the study of established practice and reveals the student’s ability to make the work their own.
Critically relate refers to the student’s ability to reflect on the outcomes of their work, make appropriate decisions and act as a consequence of that reflection in the works that follow.
Synthesise refers to the ability to bring together ideas and methods from different sources, to integrate them in the development of the student’s own work.
Format of assessment
Each candidate presents for assessment a portfolio consisting of three A1-sized panels representing the requirements of the standard. Panels of markers appointed by NZQA assess the portfolios submitted by candidates. Candidates may enter portfolios for assessment in one or more of the level 3 Visual Arts external achievement standards.
Portfolio specifications
Each portfolio is free-standing and consists of three A1-sized panels of cardboard.
Work is portrait in orientation and mounted on three continuous faces.
The three panels are hinged with a suitable bookbinder’s self-adhesive tape or a glued binding cloth. The two outside panels fold inwards over the middle panel to ensure that artwork is not damaged.
All work is dry and fixed. Artwork presented for assessment is consistent
with the size of the portfolio panels. Three-dimensional work or large-scale work that
cannot be included in the portfolio in the original form may be represented by photographs and, where appropriate, accompanied by sketches, headings or diagrams. In such cases, the candidate should provide descriptive information about media and processes used, scale and site.
This achievement standard involves using drawing as the central means to generate, analyse,
clarify and regenerate ideas. It also involves showing knowledge of the characteristics and
constraints of established processes, procedures, materials and techniques, developing a
systematic approach to relating and evaluating ideas and methods, and using ideas and
methods founded in recent and established practice in the production of an original body of
work within PHOTOGRAPHY.
This folio achieved an Excellence in Level 3 Visual Arts Photography in 2008.The candidate explains their proposition clearly at the outset of this submission and then proceeds in a manner that is intelligent, insightful and original. The layout of the portfolio and the use of the slide carrier and camera to link across the panels add to the overall pictorial impact. Works are developed as series but also are successful as individual images and show a high level of consideration of the portfolio as an entire body of related works. As the portfolio progresses the ideas are clarified and there is a clear link between the generative work and the regeneration that allows the student to make purposeful decisions in regard to the pictorial and conceptual proposition undertaken.
TASK 2: INFORMATION STUDIES: referencing the subject.
The objective for this task is to establish a starting point for the folio through DRAWING
Record through DRAWING & through observation & ANALYSIS information about the subject taken from your
resource material
Work directly from the subject and consider a variety of compositional elements when setting up the initial
photographs
Explore the possibilities of a range of media appropriate to a drawing study
Select media to support identified pictorial issues appropriate to the theme or field in which you are working
Make decisions about possible directions based on your research & identified artistic exemplars BEFORE you begin.
TASK 3: COMPOSITIONAL STUDIES
Begin to explore the possibilities
of the subject, media pictorial
elements & influences derived
from research in the form of
compositional studies
Show continuity in the work &
demonstrate your thinking
sequentially.
Do not repeat yourself but work
systematically by responding to
the previous work & clarify the
ideas, through an EDITING &
EVALUATIVE Process.
TASK 4: SEQUENCES
LINKING IDEAS &
PICTORIAL ELEMENTS
WITH ARTISTIC
REFERENCES
Show your THINKING
logically & sequentially in a
series of drawing &
painting studies in which
the ideas, pictorial
elements, media & artistic
references are combined &
explored with fluency &
purpose.
TASK 5: CLARIFICATION &
DEVELOPMENT OF IDEAS
Critically EVALUATE the work to date &
produce works that CLARIFY the key
aspects in a printing study
demonstrating KNOWLEDGE &
UNDERSTANDING of the characteristics
& constraints of selected printmaking
processes, procedures materials &
techniques. The printing study should
demonstrate your understanding of all
the aspects previously explored &
should provide the LINK FOR THE NEXT
BODY OF WORK
TASK 6: PRODUCE A BODY
OF WORK THAT EXPLORES
IDEAS FOUNDED IN
RECENT AND ESTABLISHED
PRACTICE
Demonstrate knowledge
of characteristics and
constraints of established
practice & explore Options
for regenerating ideas.
Systematically evaluate
ideas & methods to
produce original &
innovative work.
IMAGINE PANEL ONE
STARTING LIKE THIS…
The first few images establish the subject matter and deal with the pictorial issues you’re initially interested in.
You show a development of ideas and by the end of the panel you have introduced your first artist model.
Pane
l One
layo
ut e
xam
ple
Subject: Self-Portrait
Pictorial Issues
Lines, frames, depth of field, focus (which makes movement), repetition and colour.
Artist references:
Christian Boltanski, Annette Messager, Louise Lawler, Julia Rrap, August Sanders and Mike and Doug Starn.
Proposal
For my board I had six main ideas, which were lines, frames, depth of field, focus (which makes movement), repetition and colour. I chose to use digital photography to study colour as well as to be able to enhance photographs through Photoshop so the viewer would look twice to see if it was real or not.
WHAT?WHAT?
WHY?WHY?HOW?HOW?
This folio achieved an Excellence in Level 3 Visual Arts Photography in 2005.This candidate has recognised the importance of exploring a wide range of options at the start of panel one. There is careful consideration of composition, framing and background that relate specifically to the genre of portraiture. Establishing this much