exemplar for internal assessment resource visual arts ... · this set of exemplars operates within...

Exemplar for internal assessment resource Visual Arts 1.3B for Achievement Standard 90915

© Crown 2010

Exemplar for Internal Assessment Resource

Visual Arts Level 1

Resource title: Photomontage and Poster Design

This exemplar supports assessment against:

Achievement Standard 90915

Use Drawing Conventions to Develop Work in More Than One Field of Practice

Grade Boundary Specific Exemplar

The exemplar has been developed from student material specific to an A or B assessment resource.

Date version published by Ministry of Education

December 2010 To support internal assessment from 2011


© Crown 2010

Commentary

This set of exemplars operates within the fields of photography and design and presents a viable alternative to the conventional painting and printmaking approach. The particular conventions by which assessment decisions need to be measured relate to photogram and poster outcomes.

Assessment Resource 1.3B undertakes two separate projects that are thematically related.

The learning programme outlined in the resource is based on a general food topic within which students need to identify a particular personal theme. A more cohesive body of evidence is generated where samples clearly identify a particular response (for example the ice cream topic for E-) and sustain this consistently through both projects.

In all programmes for this standard, teachers need to clearly identify the unique characteristics and constraints applicable to the identified fields for assessment purposes. These should be clearly communicated to students in the assessment schedule and delivery of the learning sequence.


© Crown 2010

Grade Boundary: Low Excellence

This sample clearly demonstrates an in-depth understanding of the stylistic and technical characteristics and constraints within both photogram and poster design concepts. However, while the final images are aesthetically well resolved, they are also ambiguous in terms of the specific message they are communicating. This places the sample at the lower end of the Excellence grade range.

Secure Excellence responses need to demonstrate an in-depth understanding of both technical (methods) and communicative (ideas) aspects of their own artwork.

In both developmental sequences the student begins with the explicit application of particular artists’ methods and ideas. These conventions are subsequently developed towards more personal outcomes. This application and then extension of identified conventions demonstrates the in-depth understanding required for Excellence.

Although a variety of potentially successful appropriate solutions have been developed, the final solution for the poster arrives fully formed rather than merging out of the systematic progression of ideas typically associated with strong Excellence submissions.


© Crown 2010

Grade Boundary: High Merit

In this sample the initial photogram material has been successfully extended in terms of both media and compositional complexity through digital manipulation processes and procedures. This more advanced use of materials and techniques is needed for high Merit and Excellence responses to this standard. Although this particular sequence is sustained and comprehensive in relation to the credit weighting of the standard, the final outcomes do not prevent the level of in-depth understanding required for Excellence.

In the design sequence the use of typographic conventions such as; stroke (outline), texture insert, kerning (character spacing) and leading (line height), shows an emerging understanding of the potential of these aspects of design. A more successful resolution of these elements would enable the sample to move into the Excellence grade range.

In both sequences the restrained and considered use of colour related to the artist models and communicative intent of the pictorial proposition, are strengths of the submission placing it at the higher end of the Merit grade range.

To achieve Excellence, the sample would need to have undertaken a more careful evaluation of the developmental material to generate more advanced and resolved outcomes that show an in-depth understanding of the identified photogram and design conventions.


© Crown 2010

Grade Boundary: Low Merit

The sample begins with an appropriate research exercise that clearly establishes the conventions of each field without unnecessarily duplicating the depth of analysis associated with the Visual Arts research standard.

The student establishes a set of stylistic parameters; colour, imagery, before commencing each developmental sequence. This degree of forethought is typical of samples operating within higher grade ranges.

The photograms show a clear development of ideas where the student builds upon the strengths and weaknesses of the preceding work. This includes the use of hand-drawn and found materials to create a variety of tonal and textual outcomes.

The fairytale thematic content established in the photogram sequence is further developed in the design project and given a contemporary personal relevance to teenage relationships.

The design sequence tends towards a series of unrelated ideas although a highly successful final outcome has emerged. This episodic, rather than systematic, approach to the development of ideas prevents the student from rising above the lower end of the Merit grade range. However, the final outcome demonstrates sufficient understanding of poster conventions to fulfil the requirements for Merit.

Overall, while both projects demonstrate sufficient understanding of the particular characteristics and constraints of the individual fields, this sample is operating at the lower end of the performance expectations for Merit for this level one standard.


© Crown 2010

Grade Boundary: High Achieved

The research into artist models is appropriate to the context of the standard. This means that the brief and highly focused investigations are followed by the explicit application of particular methods and ideas.

In the photogram sequence the student has not built upon the successes of the initial research and resorts to a process of creative play to generate a series of decorative outcomes. For higher levels of achievement students often undertake the evaluation of their own work to build upon the strengths and weaknesses in subsequent outcomes. This proves that the students have understood the characteristics and constraints of each convention.

However, the design sequence clearly and successfully communicates an identified social message through the understanding and appropriate application of established poster conventions. This successful resolution of a particular intention is needed to move students into the high Achieved and Merit grade ranges.

Samples in this grade range are typically include a mix of Achieved and Merit level outcomes with the balance of evidence placing them above or below the grade boundary. Overall the design sequence is operating at the lower end of the Merit grade range. However, the unresolved nature of the photogram sequence prevents the sample from advancing beyond the criteria for Achieved.


© Crown 2010

Grade Boundary: Low Achieved

The planning evidence for the design sequence demonstrates that the student is beginning to take control of the poster conventions to communicate particular ideas. These planning pages present a number of viable ideas that support the decision-making of the final outcome. The final design outcome presents sufficient awareness of particular design conventions such as: typographic placement, positive/negative balance, and the relationship between type and image. These design elements are used to communicate a personal message.

There is a limited relationship between the drugs/alcohol theme of the photogram sequence and the missing person topic of the design sequence. Samples placed more highly in the Achieved grade range tend to have a stronger thematic relationship between each brief.

The early developmental works for both sequences tend to present an element of creative play rather than purposeful intent which limits the sample to the lower end of the Achieved grade range.

In the photogram sequence, issues are clearly being investigated but not effectively communicated or resolved. This feature is typical of low Achieved responses for this standard.


© Crown 2010

Grade Boundary: Not Achieved

Both learning sequences show that a number of ideas have been generated. However, the development, or progressive advancement of an identified pictorial idea, is limited and often unrelated. While both the photogram and design projects share a pollution theme, the text and imagery vary considerably. This creates an episodic quality that limits the sample’s opportunity to fulfil the requirements of the standard.

The research into Lloyd Godman and Saul Bass helps to support the student’s understanding of the particular characteristics and constraints of each brief. This formal research is not in itself a requirement of the standard but often enables students to demonstrate a higher level of understanding.

However, there is also limited evidence of deliberate use of the identified conventions associated with photogram techniques and poster conventions. In most cases these pages are struggling to demonstrate the relevant knowledge and skills expected in relation to the level one status of the standard.

The use of a topical issue has helped the student to generate a consistent body of work. Where students can relate to particular themes evidence is typically more engaged and sustained. The student has used their own drawing and photographic resource material which is also acknowledged as a particular strength of this submission enabling it to be place at the higher end of the Not Achieved grade range.

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