Level OneAchievement Standard 1.2AS90019Use drawing processes and procedures

Credits: 5Internal assessment Version 3

VISUAL ART

“Still Life”

Special thanks to Shelly Ryde for unpicking and analysing Achievment Standard data and sharing resources

• This study will involve you in approximately 10 weeks work. The activity involves a drawing study of a ‘Still Life’ arrangement of objects

• You will look at a range of art works, at traditional still life subject matter, to see how they use perspective and realistic depiction of form.

• You will look at Sylvia Siddell and Pat Steir who use compositional ideas, space and form and media in unique ways.

• Their methods will inform some of you drawing process. • You will also study, Shane Cotton and Jim Dine and how they use still life

content in their work.• The objective of this drawing unit is to learn the method of identifying and

recording through observation. This study will also prepare you for further painting work.

‘Still Life’(your theme for this unit)

Tasks for this Unit• Produce a series of pure contour drawings on 1 A3 page, of a still life arrangement.

• Produce a negative space drawing of a still life composition of everyday objects.

• Produce a pencil, reduction drawing using an eraser and 6B pencil.

• Produce a white pastel on black paper drawing of still life (reverse drawing process) Use an A4 sheet of BLACK paper, pencil and chalk to render these objects accurately. Leave the black paper as shadow and use the chalk to create highlights. Smudge the chalk to create mid tones.

• Produce a wax crayon study of your still life on black paper using earth tones to show volume

and tone.

• Produce a study on one A3 page dividing drawing into 6 parts, of your still life arrangement (‘statue’ drawing), using B pencils (B, 2B, 3B, 4B, 5B or 6B pencils) and different mark making in each section of the grid. Show tonal modelling. Work the mark making to the edge of the grid.

• Produce a still life drawing in earth tones & wax crayon & paint of a ‘Shane Cotton’ arrangement of objects (in a straight line) showing texture, and shallow space.

• Fold your A3 page in half and draw in one half do a negative space drawing, and in the other half do a detailed tonal drawing of the still life arrangement. This final A4 study is to go toward your board and will be worked as a 6-9 part grid using multimedia, including, collage of fabric, of coloured paper, of seeds, beads or sequins, of pen, ink and stick, of pencil, of paint and of wax crayon. You must show tone light and contrast in all sections of this work.

Criteria for 1.2Achieved Merit Excellence

Record

appropriate

Information

from subject

matter to

demonstrate

basic drawing &

compositional

conventions.

Record a variety

of appropriate

information from

subject matter to

demonstrate

understanding of

particular

drawing &

compositional

conventions.

Record specific

information from

subject matter to

demonstrate in-

depth understanding

of particular

drawing &

compositional

conventions.

Demonstrate control of wet & dry media in recording information.

Demonstrate appropriate control of wet & dry media in recording information.

Demonstrate understanding of, & facility with, wet & dry media in recording information.

Gathering information

Naming, Describing, Matching, Defining, Observing, Identifying, Selecting, Completing, Listing, Recording, Perceiving.

Processing information

Comparing, Explaining, Inferring, Sequencing, Explaining, causality, Grouping, Making analogies, Distinguishing, Experimenting, Contrasting, Organising, Analysing, Sequencing.

Applying Information

Forecasting, Speculating, Predicting, Imagining, Generalising, Applying, Evaluating, Judging, Applying a principle, Hypothesising.

Thinking Skills

1.2 Explanatory Notes:Work produced for this achievement standard may be used as the basis for thedevelopment of ideas for the folioSelecting the appropriate subject matter is the starting point & themes can be derived from 3-dimensional &/or 2-dimensional sources. Examples of 3-dimensional source material could include arranged still life & selected objects, & sites such as buildings or landscapes from the built or natural environment. Examples of 2-dimensional source material could include, but are not limited to: photographs, photocopies, diagrams, books, original art works.

The body of work could include: drawings, sketches, studies of artists’ works, notes, colour roughs, plans.

Compositional conventions include the arrangement of elements (line, shape, space, colour, tone, point, texture, form, mass) & principles (balance, harmony, rhythm, tension, contrast, etc) to inform practical work.

Appropriate refers for example to communication of information such as shape, form, mass, contrast, line, surface, texture, proportion or scale.

Dry media may include but is not limited to: pastel, pencil, charcoal, chalks.Wet media may include but is not limited to: paint, dye, ink & wash.

Facility refers to the ability to use media with a high level of control, appropriate to purpose.

Approaches to Drawing (S Ryde)Selecting the appropriate Materials, Media, Methods, Techniques, Processes & Procedures to initiate & develop ideas.1. Charcoal:Willow or compressed charcoal or charcoal pencil. On white paper, rubbed & worked with rubber & blender. On newsprint using the side to blend the tones. On brown paper with white pastel for highlights. Combined with ink & wash. Over a water colour or gouache base. Over a pastel ground. Over a ground prepared with gesso. Charcoal drawing as base covered with oil varnish or shellac. Charcoal over painting. Charcoal on paper, fixed with spray varnish & reworked with other media such as oil paint2. Black ink and wash including tusche: On white or brown paper, watercolour papers or thin card. Using pen (pilot brand permanent ink), brush, stick &/or sponges (blocking areas of tone) Using water or oil based printing ink & making mono prints as drawing. Over coloured grounds using a range of media including collage. Tusche over water colour ground or white gesso. Indian ink onto wet paper, blotted with tissue, overworked with gesso taped & over drawn with other media. Ink as ground & overdrawn with white (oil stick, pastel, pencil etc) Ink drawing on plexiplate & transferred to another piece of paper, varnished & reworked. 3. Pencil:2B to 8B pencil exploring line & tonal range on white or toned papers Black & white pencils (stabilo water soluble) including the dark wash pencil range (water soluble) & water soluble coloured pencils. On white paper using different grades including 6B/8B blended & using hard & soft rubbers to highlight light areas. Using erasers on brown paper with white highlights. Working into areas prepared with oil sticks or oil paint (white, black & tones of colour) using 8B on white or brown paper .Rubbed & blended with overdrawing & highlight with malleable rubber on toned papers Earth or grey tonal range of pencils (Derwent brand) on white paper painted with Gesso (black, white, grey, ochre) in combination with colour washes.4. Oil sticks, oil & wax pastels, coloured crayons & lithographic crayons: Black and white oil sticks over a coloured &/or prepared shellac ground. (tape can be used to isolate areas) Black oil stick blended with turpentine. Black or other colours including Payne’s grey oil paint scraped & rubbed into white or coloured paper overdrawn with white oil stick/ and or white oil pastels or wax crayons. Lithographic crayon drawn into or rubbed over painted areas to pull out texture Crayon, oil pastels, oil sticks used to draw & washed over with dyes or water colour (crayon resist ) 5. Chalk pastels, water soluble crayons & conte: (Pastels can be used to explore colour fields, tonal relationships & limited tonal ranges) Pastel pencils to explore line & tone . Pastels rubbed and blended and overdrawn on white, toned, textured, & coloured papers & overdrawn on prepared grounds. Chalk pastels over gesso combined with 8B pencils & charcoal. The surfaces can be blended with erasers or wiped back with wet sponges Water soluble crayons used to draw on white or toned grounds & blended using brushes & water.6. Collaged & prepared surfaces:Oil paint or oil sticks scraped to cover a white, black or coloured smooth or textured paper. Tissue applied onto paper using collage glue wallpaper paste or gesso & sealed with primal, varnish or shellac. Coloured papers glued down onto a smooth surface. .Dye or pure pigments prepared under a gesso ground (can be sealed for reworking) Dyes mixed with primal. Tape used to block areas & scrapers made of card or plastic used to cover areas that can then be drawn into.

(S Ryde)Recording and analyzing tone, form colour & other visual elements from selected

resource information The intention of these studies is:a) To investigate spatial relationships and light sources and to develop an appreciation

of different methods of defining tone.b) To collect a range of visual responses and find different technical means and media

to record the response.c) Develop skills in observing and recording forms and structures, particularly through

knowledge and understanding of perspective, viewpoint and scale.d) Develop skills in identifying pictorial issues and setting pictorial problems through a

response to subject and through research into examples derived from contemporary practice.

e) Extend understanding and skills in composition.f) Develop an understanding of technique

An expressionist figurative painting based on the study of a work by Alistair Nesbitt-Smith, a New Zealand Painter who works in the tradition of the Bay Area Painters in America such as David Park and Joan Brown and the German Expressionists

Figures in the landscape A series of works exploring light, shade, tone, colour,& shape & scaleThese works were part of a drawing sequence exploring the ideas based on a range of artist models including: Eric Fischl, Lucien Freud & David Hockney

Drawing Ideas are researched & a range of media is used with facility & individual innovation

Black & white gesso ground on arches paper with oil sticks & 8B pencil

Arches paper painted with gesso & worked with 8B pencil, wiped & blended with water for tones.Artist reference Jim Dine. Theme: domestic interior.

Painted canvas ground with paint & chalk pastels

Ground on white card overdrawn with oil sticks wax crayons & 8B pencil Artist reference Pat SteirTheme: reflected landscape in the rear vision mirror

Ground prepared with tones of oil paint scraped & blended on arches paper & overdrawn with wax oil pastels, 8B pencil & oil sticks

Below are some of the elements of composition

Some will be more important than others in a work.

WHAT ARE THE PRIMARY PICTORIAL ELEMENTS HOW ARE THEY USED TO MAKE A UNIQUE WORK?

The organization of these elements makes up what is known as the COMPOSITION of an artwork.

‘All artists work with a personal vocabulary.The vocabulary of an artist consists of pictorial elements, and the particular combination of elements that an artist employs contributes to their personal style.’ S Ryde

In selecting subject matter, the potential of providing pictorial

issues for development of the subject in terms in the students

own work should be identified.

PICTORIAL ISSUES

Identify the pictorial issues relevant to the drawing as you

begin it, and with reference to the process/method and artist

reference selected.

Using Drawing to present a practical study of the selected tradition, identify the subject & the pictorial issues relevant. Drawing is the CENTRAL means of generating, analyzing, clarifying & regenerating ideas derived from the research or in depth study from the selected tradition.

Demonstrate a depth &range of ideas & use a systematic & critical approach. Show purpose & understanding.

COLOUR

PERSPECTIVE

VIEWPOINT

SCALE

LIGHT

CONTRAST

TONE

SHAPE

FORM

TEXTURE

LINE

TRANSPARENCY

PATTERN

DECORATION

REPETITION

GRID

LAYERS

SPACE

PLANE

VIEWPOINT

OVERLAPPING FORMS

DEPTH