Internal Assessment Resource - NZQA · Exemplar for internal assessment resource Visual Arts ... Ministry of Education ... Franz Marc and Bill Hammond for

Exemplar for internal assessment resource Visual Arts – Painting 3.2 for Achievement Standard 91446

© Crown 2012

Exemplar for Internal Assessment Resource

Visual Arts – Painting Level 3

Resource title: Finding an individual pathway

This exemplar supports assessment against:

Achievement Standard 91446

Use drawing to demonstrate understanding of conventions appropriate to painting practice

Student and grade boundary specific exemplar

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

Date version published by Ministry of Education

December 2012 To support internal assessment from 2013

This resource was designed to explore the integrated delivery of achievement standards 3.1 and 3.2 painting. The learning sequence enables students to undertake a sustained formal research and practical exploration of specific painting conventions. Teachers should refer to the 3.1 painting resource to view the formal research response to the artists used for these practical investigations. For the purpose of the level three exemplar development project, the practical evidence generated for this resource has been combined with the practical evidence generated for the 3.3 painting resource. The resulting integrated body of work has been assessed as a whole against the requirements of each standard. An important part of this approach is the facility for students to select a range of appropriate artists suited to their own interests and appropriate for use in the subsequent developmental and portfolio standards. The selection of a traditional, contemporary and New Zealand


© Crown 2012

approach to a common theme emerged as a useful basis for selection. This provides a diversity and consistency that can generate interesting points of comparison to enhance students understanding of the technical (media, processes), pictorial (composition, imagery, colour) and metaphorical (narrative, symbolism) conventions used by each artist.


© Crown 2012

Grade Boundary: Low Excellence

1. For Excellence samples need to use drawing to demonstrate in-depth understanding of specific conventions appropriate to painting. Use drawing to demonstrate in-depth understanding of specific conventions involves critically selecting and fluently applying processes, procedures, materials, techniques, and art making conventions with consideration of their particular characteristics to achieve a particular outcome. Very high technical facility and successful direct application of specific conventions. Stays close to the safe application of conventions rather than authentic integration or significant personalisation of conventions that comes from in-depth understanding. Note: This sample is placed at High Merit for 3.3. See commentary for 3.3 painting exemplars. The recording and media skills are consistently operating at a very high level. This is appropriate and necessary for the strong observation approach undertaken by the student. This consistent technical facility relates to the fluently applying processes, procedures, materials and techniques requirements of explanatory note two for Excellence. The student has selected three significantly different stylistic approaches to the animal theme. This provides rich territory for stylistic and conceptual cross-fertilisation. Thus enhancing the understanding of each convention and providing a sound foundation for the subsequent developmental and portfolio standard. The last two pages reveal sufficiently successful outcomes using the specific conventions associated with Edward Landseer, Franz Marc and Bill Hammond for Excellence to prove an in-depth understanding. The sample is at the beginning of the Excellence grade range because: Pages 2 to 5 focus exclusively of recording media skills. These pages to not explore the compositional, pictorial, symbolic or communicative conventions associated with all the identified artist models. The final images tend to combine rather than integrate the pictorial, stylistic and technical conventions of the artists. Only the very last image on the bottom right of page 7 demonstrates an authentic personalisation of the identified conventions. To be placed more securely within the Excellence grade range the sample needs to continue to integrate and personalise the identified conventions. Adhering successfully to particular stylistic or technical features proves a specific understanding needed for Merit. Successfully applying these conventions in new situations demonstrates the in-depth understanding that determines Excellence level performances.


© Crown 2012

Grade Boundary: High Merit

2. For Merit samples need to use drawing to demonstrate understanding of specific conventions appropriate to painting. Use drawing to demonstrate understanding of specific conventions involves purposefully selecting and using processes, procedures, materials, techniques, and art making conventions with consideration of their particular characteristics to achieve a particular outcome. Very accomplished technical skills. Greater exploration of a particular approach and/or the symbolic associations of the theme needed to move into Excellence. Note: This sample is placed at Low Merit for 3.3. See commentary for 3.3 painting exemplars. Extremely high technical skills with both wet and dry media. This sensitivity to the use of media for both formal observation and expressive responses clearly demonstrates the selection of particular materials and processes…to achieve a particular outcome requirement of the criterion for Merit (explanatory note two). The student explores a variety of different approaches and appears to be considering which flowers are more suited to particular techniques. In some cases, such as the rose on page 1, the sample demonstrates the fluent application of processes needed for Excellence. The sample is not yet Excellence because the sample explores a wide range of technical (pencil, watercolour, acrylic, oil) and pictorial (close up, distant view, pattern making, observational, expressive) conventions. While many of these are operating a high level, the student has yet to identify and further explore any particular approach. For Excellence the sample would need to identify and select one or two approaches for further investigation. The in-depth understanding of specific conventions needed for Excellence typically means that students need to work through three or more iterations of particular painting conventions. For example either the Karl Maughan style bed of flowers on the top of page 5, or the Paul de Longpré style isolated close up below, could be further refined through the evaluation and revisiting of these approaches. The student may also give consideration to the communicative conventions associated with the thematic proposition rather than focusing exclusively on pictorial and technical considerations.


© Crown 2012

Grade Boundary: Low Merit

3. Very strong technical skills with dry media. Successful application of the fragmented grid convention. Clearer personal proposition needed to avoid resorting to decorative formulaic devices. Note: This sample is placed at High Achieved for 3.3. See commentary for 3.3 painting exemplars. The technical facility and specific understanding of particular characteristics and constraints of dry media is operating at a very high level. This clearly meets the understanding of specific (materials and techniques) conventions requirement of the standard for Merit. The sample is at the beginning of the Merit grade range because the student relies heavily on the grid fragmentation approach of Amanda Clyne. The last two pages focus on the technical and aesthetic quality of the outcomes without demonstrating a strong communicative (personal, political, social?) content. It could be argued these later works show the application of a decorative formula rather than authentic consideration of their particular characteristics to achieve a particular outcome (explanatory note 2). The sample relies almost exclusively on appropriated images. Greater use of personally sourced images, such as the bottom image on page 3, is recommended. Self generated images (hand drawn or photographic) are typically more relevant, of higher resolution, and provide opportunity to revisit the subject whenever supplementary or alternative images are needed. To be placed more securely within the Merit Grade range the sample would need to establish a clearer and more purposeful connection between the technical and pictorial devices used, and the intended meaning of the images. It may be useful to identify exactly what the student is trying to communicate and how the technical and pictorial devices are used to support this proposition. Apply some the conventions of the other artists investigated (Jacques Louis David and Rodelio “Toti” Cerda) Make more extensive use of personally generated images rather than those sources form magazines or the internet.


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Grade Boundary: High Achieved

4. For Achieved samples need to use drawing to demonstrate understanding of conventions appropriate to painting. Use drawing to demonstrate understanding of conventions involves selecting and using processes, procedures, materials, techniques, and art making conventions with knowledge of their particular characteristics to achieve a particular outcome. Faithful emulations and strong generic media skills. Variable understanding and personal application of specific artists’ conventions. This student has elected to explore the conventions of Francisco de Zurbaran, Banksy, and Euan Macleod. The selection of a traditional, contemporary, and New Zealand approach to a related theme is often a useful way to ensure students explore an appropriate range of painting conventions. The Euan Macleod works on the first and last pages reveal a stronger sensitivity to the specific (pictorial and technical) conventions of this approach. The exploration of a range of approaches can reveal individual strengths and therefore directions for further investigation. The recording and dry media skills in the resource gathering pages (2 and 3) are particularly strong. The sample is not yet Merit because the shifts between approaches means that the sample does not yet demonstrate the consistent understanding of specific conventions needed to move into the Merit grade range. While the hand drawings on page 2 are strong, the application of more complex compositional and communicative strategies, such as the hand-eye-mouth painting on page 4, is less convincing. Four A3 pages are limited with reference to the four credit weighting for this standard. For Merit the sample would need to give greater consideration to the ‘consideration of particular characteristics to achieve a particular outcome’ in the works that move beyond emulations (page 1) or resource drawings (pages 2 and 3). To demonstrate the understanding of specific conventions the student may review the outcomes presented on page 4 to identify where the artists conventions have been most successfully applied. This consideration could then be used to inform new work that more successfully applies specific conventions.


© Crown 2012

Grade Boundary: Low Achieved

5. Understands some conventions at a surface level. More sustained exploration needed for a secure Achieved. The sample explores a variety of artist models (Shaun Barber, Merlin Carpenter, Rangi Kipa). The different stylistic approaches of these artists enable the student to develop a wider understanding of painting conventions. Although beyond the explicit conventions scope of the criteria, this has the additional benefit of preparing a broader foundation for the subsequent developmental standard. The final two pages begin to combine pictorial conventions of the different artists. For example he tattoo as identity strategy from Barber is integrated with the posterised face technique of Carpenter. Although this is generated as a way of developing ideas (for 3.3) the personal application and extension of identified conventions in new ways often reveal the level of understanding the student has of these conventions for 3.2. The sample is at the beginning of the Achieved grade range because some aspects of the drawing and media skills are limited in relation to the level eight requirements of the standard as defined by explanatory note one. (see pencil drawings on page 2) The actual investigation of each convention is largely limited to a single emulation. Secure Achieved samples present a sustained application of identified approaches through a series of works. To be placed more securely within the Achieved grade range a more sustained body of practical evidence would more comfortably reflect the four credit weighting of the standard. This would also provide greater opportunity for the student to develop and demonstrate greater understanding of identified painting conventions.

Successful submissions work through a cycle of testing particular methods and ideas, evaluating the results, and then further exploring the approaches based on this consideration.


© Crown 2012

Grade Boundary: High Not Achieved

6. Some technical and pictorial conventions are used. More sustained and/or wider exploration needed. This sample begins to demonstrate understanding of the technical, pictorial and communicative conventions associated with Shepherd Fairy and Banksy. For example the three guns and roses image on the left of page 1 uses the stencils techniques, poster format and political agenda of both these artists. Although a limited range of painting conventions are explored, the outcomes are reasonable consistent with the identified approaches. The pencil and conceptual drawings on pages 3 to 5 begin to explore the conventions of using image juxtaposition to communicate political ideas. For example on the bottom right of page 4 the money and planet earth on the scales clearly communicates the idea of balancing the interests of conservational preservation and economic commerce. The sample is not yet Achieved because the duration of the investigations is limited in relation to the expectation of the four credit weighting and level three status of the standard. The student relies heavily on a narrow approach to image making. Some work struggles (right hand side of page 1) to meet the qualitative expectations of level of the New Zealand Curriculum as defined by explanatory note one. For Achieved the sample would need to undertake a more sustained exploration and/or application of the identified conventions. Undertake the exploration of additional conventions to widen the scope of the students understanding of appropriate painting conventions and provide a broader foundation for the subsequent developmental standards.

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Internal Assessment Resource - NZQA · Exemplar for internal assessment resource Visual Arts ... Ministry of Education ... Franz Marc and Bill Hammond for