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Shelley Ryde
Title:
Approaches to
Painting &
Printmaking
for NCEA
levels 1 to 3
OUTLINE
• The process of working from resource material & research to explore methods, processes, procedures & techniques will be discussed & the role of drawing as a thinking & working process at the different levels & in the fields of painting & Printmaking & the use of different thinking skills in art making will be examined in depth.
• The thinking strategies that are used when examining artworks as models for learning will be also be addressed.
Models used as exemplars underpin much of the learning in the Visual Arts & by developing an understanding of the thinking behind a work of art students are able to extend their own thinking & vocabulary.
• The workshop will also look at course planning, sample programmes, the use of a range of materials, techniques & processes & offer some ways of linking these to pictorial issues, artist models & contemporary practice.
• The presentation will also examine standards based assessment & will discuss examples of work at different levels & at different standards of achievement.
APPROACHES TO TEACHING LEVEL 1
PAINTING & PRINTMAKING
1.1 This achievement standard involves
researching art and artworks from
Mäori and European traditions to make
comment, using art terminology, on art
and artworks in relation to their local or
contemporary contexts. As such, it
aims to acknowledge the bicultural
nature of New Zealand art and society.
RESEARCH the artwork of TWO contemporary
NEW ZEALAND ARTISTS who feature aspects of
the landscape in their work.
PROVIDE at least THREE examples for each
artist.
COMMENT on each artist identifying their
background, style, theme, & attitude to the
subject & their IDEAS.
SHOW in your research how each artist draws
from European traditions & DEMONSTRATES in
their work aspects of New Zealand culture &/or
attitudes.
ANALYSE each work & identify the PICTORIAL
ELEMENTS.
PRODUCE a technical study of ONE work by
each artist to demonstrate your understanding
of the MATERIALS TECHNIQUES PROCEDURES
& PROCESSES APPLIED.
ALL NOTES TO BE ON A3 PAGES IN JOURNAL
ALWAYS INCLUDE A BIBLIOGRAPHY
Level 1 2005
RESEARCH & RELATED
STUDIES 1.1
Students will demonstrate
their ability to: 1. Research the theme of the
LANDSCAPE in the form of a
photo-essay & comment on their
ideas in relation to their art
practice.
2. Reference, explore & collate
information on appropriate
artist exemplars from European
traditions in a NEW ZEALAND
context.
3. Research & study aspects of
Maori art to use in their own art
works & to demonstrate an
understanding of the way visual
culture reflects & is shaped by
the beliefs, needs & values of
society. The study should reflect
Maori attitudes & values to the
land & relate it to the art works
studied.
STUDY aspects of Maori art &
artefacts to DEMONSTRATE an
understanding of Maori attitudes to
the land.
At the Museum IDENTIFY & MAKE
detailed drawings of objects that
relate to the theme of land use &
occupation.
Make notes on each drawing
indicating the reason you selected it
to draw and its relevance to the
theme.
PRODUCE TWO A3 workbook pages
of drawings & notes on the site. (One
of these will be used for 1.2)
RESEARCH ONE CONTEMPORARY
MAORI ARTIST TO IDENTIFY Maori
attitudes to land issues & ideas.
MAKE notes, provide background
information, include technical studies
& provide at least two examples of
work by the artist selected.
Students are required to produce a photo essay to begin their investigation of the Land. The Photo Essay will provide
the reference for the development of ideas to make individual art works .
Landscape: A Study of the Occupation of the Land. This
work will form the basis of your 1.2 Achievement Standard
*Looking at patterns, marks surfaces, textures, structures,
symbols and other means of documentation or recording
occupation of the land.
Students SELECT & RESEARCH Artist references
on the basis of how their ideas developed from
their attitudes to the LAND.
SELECT a subject or an area for
study based on the THEME of
LANDSCAPE: (a study of the
occupation of the land & how we use
it)
Take at least 24 frames of film,
RECORDING & EXPLORING aspects
of the area selected.
PRODUCE sequences & focus on
details.
IDENTIFY aspects of the theme for
closer study.
For example: viewpoint, pattern,
scale, texture, repetition, grids,
ornament, symbols, perspective &
structures.
RESEARCH & COLLATE any
additional information on the selected
site & theme.
ASSEMBLE all the research
information & photo documentation
in your diary
COMMENT on the photographs in the
context of your own work & ideas IN
YOUR DIARY in your own words.
Photo essay: A student
example
1.2 USE DRAWING PROCESSES & PROCEDURES
Students are introduced to a range of materials & media &
are given tasks that identify pictorial issues & set specific
problems such as selection of viewpoints, working with
warm colours over a cool ground (complementaries) &
exploration of positive & negative compositions with wet &
dry media.
This achievement standard involves
recording information from subject matter
using a variety of drawing media,
techniques and conventions, and
composing elements or forms for a variety
of art-making purposes.
In these examples by one student the requirements for the
standard are met with facility & understanding
DRAWING METHODS
CHARCOAL:
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
and wash.
Over a water colour
or gouache base.
Over a pastel
ground.
Over a ground
prepared with gesso.
BLACK INK AND
WASH INCLUDING
TUSCHE:
On white or brown
paper, watercolour
papers or thin card.
Using pen, brush,
stick and/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
PENCIL: Black &
white & including
the dark wash pencil
range using water.
On white paper using
different grades
including 6B/8B
On brown paper
with white highlights.
Using 8B with white
and black oil sticks,
on white or brown
paper.
Rubbed and blended
with overdrawing
and highlight with
malleable rubber.
On white paper
painted with Gesso &
in combination with
charcoal or ink
washes.
OIL STICKS,
LITHOGRAPHI
C CRAYONS &
OIL PASTELS:
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.
CHALK
PASTELS &
CONTE:
(Can be used to
explore colour
fields, tonal
relationships &
limited tonal
ranges)
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.
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 or
shellac.
Coloured papers
glued down onto a
smooth surface.
Dye or pure
pigments prepared
under a gesso ground
(can be sealed for
reworking)
Present evidence of a practical investigation to show understanding of ideas and methods
appropriate to the selected tradition. The following methods & techniques suggest some possibilities
for a drawing approach
DRAWING PROCESSES & MATERIALS RESOURCE SHEET
Printmaking
study level 1
1.4 extension
Research on
artist models
& planning for
the print
Diocesan VISUAL ARTS Department NCEA VISUAL ARTS
LEVEL 1 Subject Reference: VISUAL ARTS Achievement Standard
Domain: PRACTICAL ART Folio Planning for 1.3
YOU ARE REQUIRED TO MAKE AND
SUBMIT A 3 BOARD FOLIO FOR the
external standard 1.3.
You should produce:
ONE BOARD beginning with information
drawings, drawing studies and multimedia
work.
ONE BOARD of developmental works
based on your research & understanding of
artist models.
ONE BOARD of painting studies &
paintings.
Board 1
Plan for drawings & mixed media work
Begin THE FOLIO establishing the theme and
demonstrate evidence of development of
ideas through compositions and a variety of
media.
DO NOT REPEAT IMAGES OR
COMPOSITIONS.
SECURE ALL WORK WITH BLUTACK AND
DO NOT GLUE OR TAPE
Evidence of ability to generate and develop ideas
will be identified in a range of work within or
across selected fields.
This may involve different processes, procedures,
materials and techniques, all of which can be
understood as drawing.
In effect, being able to make paintings,
photographs, prints or sculpture, or to develop
design ideas, 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. For example:
Painting drawing may include drawing notes,
sketches, monochromatic and colour studies,
collage, small works and finished works.
This achievement standard involves using a range of drawing media and techniques to generate and
develop ideas from subject matter and showing how these are based on the study of artists’ works.
Board 2
Show development based on
research & understanding of
materials techniques &
processes
Board 3
Show concluding work
THE FOLIO must establish the
subject in the first drawings. This
is the starting point. The work
should systematically develop
leading to the final work and in
the reading show a steady
progression and linking of
ideas.
Generate and develop ideas in
making artworks
Study what it is you are required to do to achieve this standard.
Read the descriptions.
Do you understand what the words mean?
Make a check list for yourself & check off each part.
is there evidence of decision making?
is there a development & integration of artists work in your own
work?
is there a fluency & control of the media & technique in the
recording of information?
are the ideas developed & resolved from the subject matter?
Are the ideas integrated into an individual personal
expression?
Each student will see the topic specified or selected in his or her own
unique way. In the process of framing with viewfinder or the camera lens
students make decisions about composition and pictorial issues
intuitively.
The selection of subject matter is the starting point, but the interpretation
of the subject involves assembling and balancing a whole combination of
factors. These factors include individual choice, understanding of the
vocabulary to be used, creative invention and the influence of artistic
exemplars in the context of a wider understanding of art and society.
Students need to understand that the subject matter is the starting point
for making art works but it is THE IDEAS behind the response to the
subject that is important.
The ideas come from UNDERSTANDING how artists work and the
vocabulary used to make an individual statement.
Achievement with Excellence
Show evidence of purposeful
decision-making and fluent control
of media and techniques in
recording information, and
developing and resolving ideas
from subject matter.
Show that ideas, techniques or
conventions from artists’ works
have been developed and integrated
into own work.
PURPOSEFUL
DECISIONMAKING
fluent control of
media and
techniques
develop & resolve
ideas from
subject matter.
ideas,
techniques or
conventions
from artists’
works used with
understanding &
invention
Ideas
developed
&
integrated
into own
work.
Boards 1 & 2 include drawings & developments in a range of media with an emphasis on sequences of works
to show the thinking
The student must explore artistic
conventions in the generation and
development of their own work.
Works presented should be related and
may involve a range of media &
techniques as these apply across
different art fields.
Issues addressed include:
Pattern, line, layers, colour, shape,
changes in scale & repetition.
Artist references include:
Serephine Pick Larry Rivers David Salle
& Sigmar Polke
All artists work with a personal vocabulary.
The vocabulary of an artist consists of pictorial
elements, & the particular combination of elements
that an artist employs contributes to their personal
style.
When analyzing the composition or the PICTORIAL
ISSUES in an Artwork you need to identify the
particular elements evident in the work & the way the
artist uses them & use what you need to make your
own work
Level 1 folio example
Board 1: the theme or subject
for the folio is presented
through a series of preliminary
drawings & the student works
from a range of collated
information including artist
references such as Karl
Maughan & Pat Steir.
The print (bottom right) uses
multiple dry point etchings to
build colour, collagraphs & a
Solarplate print in the centre to
develop an idea based on the
work of Pat Steir
The use of multiple plates in the dry point
etchings allows the exploration of colour
separations & the student uses the grid
format to explore colour scale & viewpoint
THEME: The Garden
References: Monet,
Karl Maughan, Pat
Steir, Louise Fong
Media: oil pastels & oil sticks working
into a wet surface (liquin)
Dye & primal, working over a ground of
gesso
Oil paint & Acrylic Paint
Pictorial issues include: colour pattern
scale grid repetition texture
The work on this board (board 3)
develops the idea of the surface &
texture with reference to Louise Fong.
After the ground is prepared the
surface is stained with a mixture of
pure pigment & primal to build layers
of translucent colour
Louise Fong
Pat Steir
LEVEL 1 PRINTMAKING FOLIO
BOARD 1 establishes the
information. for this folio & ideas
begin to develop through the
exploration of a range of
techniques.
The initial idea evolves from a study
of the work of Graeme Sydney
The student also looked at the work
of Colin McCahon to identify
pictorial issues of repetition grid
line & colour layers & to analyze the
essence of the landscape & the
profile of the land
Solarplate
Collagraph
Dry point
Etching
aquatints
Litho sketch over
mono print
Dry point
Level 1 folio: painting & print
Level 1 folio using Sean Scully as the artist reference (boards 2 & 3)
Achievement
Achievement with Merit Achievement with Excellence
Research and document methods and ideas
relating to art and artworks and apply them in
the context of a drawing study.
Research and document relevant methods and ideas
relating to art and artworks and apply them in the
context of a drawing study.
Research, document and analyse relevant methods and
ideas relating to art and artworks and apply them in the
context of a drawing study.
Use drawing and painting materials, tools,
techniques and processes appropriate to purpose
in that context.
Select, and use with control, drawing and painting
materials, tools, techniques and processes
appropriate to purpose in that context.
Purposefully investigate and use drawing and painting
materials, tools, techniques and processes to show
understanding of conventions in that context.
Theme: Mapping & Colonialism
in New Zealand Painting
Methods: acrylic on paper &
canvas
Pictorial Elements: pattern
Repetition, Grid, Layers, Tones
Line, Colour Scale
Artist exemplars: Peter James
Smith, Shane Cotton
This folio demonstrates the
links between the Research,
Drawing, Pictorial issues & the
Techniques applied
This achievement standard requires researching and documenting methods and ideas relating to art and
artworks, and applying them in the context of a drawing study in painting. It involves the use of drawing
materials, tools, techniques and processes appropriate to purpose in that context.
Note
The model is required for
beginning the
introductory drawing
RESEARCH & CONSTRUCTION
GETTING STARTED
1.
2.
There are two parts to this unit.
THIS UNIT IS NOT PART OF THE
MARKING FOR NCEA, BUT IT IS A
REQUIRED PREPARATION
Part 1 Construction.
The first task is the assemblage of a three-
dimensional spatial model using card & other
materials to provide a structure for future
studies. The model may be any size but
should contain sufficient identified pictorial
elements to sustain a course of study. The
model should also be linked to artistic models
if not based on an artistic reference. You may
elect to set up a still life within a contained
space for your subject matter.
TASK 1
1.RESEARCH & ANALYZE the
METHODS & IDEAS of:
ONE INTERNATIONAL, ONE NEW
ZEALAND & ONE
CONTEMPORARY painter &
RESEARCH THEIR WORK
Note: The artist must be contemporary
in terms of current practice.
RESEARCH
Research study & collate information on selected artists by
identifying examples of work & any ideas related to the
pictorial problems identified in your construction
This information needs to be assembled for your reference
before you begin work on the drawing component to
demonstrate understanding of art making ideas
You will be starting with drawing directly from the
construction & will be required to identify specific pictorial
issues from the beginning based on your research & you
understanding of contemporary practice in the field of study
Research the work and in particular the pictorial issues and style of work representative of the artist/s selected.
Provide as part of the study, evidence of your understanding of the genre and the social and stylistic
environment that the artist study represents. This study includes technical studies that investigate the way the
artist treats viewpoint, surface, perspective, scale, tone, colour and other pictorial elements in a composition.
Think about: THEME, SUBJECT MATTER, STYLE, & GENRE in the context of the artist/s studied.
Comment on aspects such as:
Composition Method Media Scale Colour Surface Line Form Pattern Light Contrast Tone Texture Shape Gesture
Movement
Photocopy at least 3 examples of the work by each artist & make notes analyzing the style, themes, subject
matter & technical vocabulary employed.
Study & define the main pictorial elements & how each artist uses them referring to the examples selected
IDENTIFY the ideas used by each artist.
DISCUSS the methods (techniques) used by each artist.
SELECT one work, analyse it in depth & PRODUCE compositional and painting studies in your diary analyzing
the way the artist works. These are technical studies. It is important that there is a range of examples of work
from the one artist to refer to, and to study, and that the artist is well established.
SELECT ONE ARTIST & ONE TECHNIQUE (preferably the artist chosen for analysis) to use as an exemplar for
the drawings.
When you research the work of others study how the selected artist constructed the work:
COMPOSITIONALLY
TECHNICALLY
Does the artist use colour or tone as a foundation?
How does this affect the subsequent layers?
Are the layers created by transparent layers of colour or by overlapping shapes?
Does the artist use line? How?
Can you identify the techniques used? How?
How does the artist use tone?
TASK 2
DRAWING:
REFER TO THE ARTIST MODEL & USE IN ALL TASKS TO IDENTIFY PICTORIAL ISSUES
1)Charcoal Studies. Select DIFFERENT aspects of the construction & make TWO small detailed tonal studies in
charcoal investigating the spatial relationships within the area selected, the light sources, different viewpoints &
changes in scale.
2)Produce A CROSS SECTION from the model using white on black paper& using a range of media with an
emphasis on line shape & contrasts.
3) Produce one Observational Study investigating negative space
4)Produce a sequence of 3 A5 studies to investigate a selected painting technique.
5)Produce One painting study based on the artist model research in the selected technique
Recording and analyzing tone & form from a construction designed to set up for investigation spatial problems or issues.
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
THE THEME: Figures in
the landscape
PICTORIAL ISSUES:
light, shade, tone,
colour,& shape
These works were part of
a drawing sequence
exploring the ideas
based on a range of artist
models including:
Eric Fischl, Lucien Freud,
David Hockney
When you research the work of others study how the selected artist constructed the work:
COMPOSITIONALLY
TECHNICALLY
Does the artist use colour or tone as a foundation?
How does this affect the subsequent layers?
Are the layers created by different techniques or by the use of multiple plates?
Does the artist use line? How?
Can you identify the process used? How?
How does the artist use tone?
TASK 2
DRAWING:
REFER TO THE ARTIST MODEL & USE IN ALL TASKS TO IDENTIFY PICTORIAL ISSUES
Charcoal Studies. Select DIFFERENT aspects of the construction & make TWO small detailed tonal
studies in charcoal investigating the spatial relationships within the area selected, the light sources,
different viewpoints & changes in scale.
Produce A CROSS SECTION from the model using white on black paper& using a range of media with an
emphasis on line shape & contrasts.
Produce one Observational Study investigating negative space
Produce a sequence of 3 A5 studies to investigate Mark-making with reference to a selected printmaking
technique.
Produce One print based on the artist model research in the selected technique
Recording and analyzing tone & form from a construction designed to set up for investigation spatial problems
or issues.
The intention of these studies is:
To investigate spatial relationships and light sources and to develop an appreciation of different methods of
defining tone.
To collect a range of visual responses and find different technical means and media to record the response.
Develop skills in observing and recording forms and structures, particularly through knowledge and
understanding of perspective, viewpoint and scale.
Develop skills in identifying pictorial issues and setting pictorial problems through a response to subject and
through research into examples derived from contemporary practice.
Extend understanding and skills in composition.
Develop understanding of technique
TASK 1
RESEARCH & ANALYZE the METHODS & IDEAS of:
ONE INTERNATIONAL, ONE NEW ZEALAND & ONE CONTEMPORARY PRINTMAKER & RESEARCH THEIR
WORK.
Note: The artist must be contemporary in terms of current practice.
Research the work and in particular the pictorial issues and style of work representative of the artist/s selected.
Provide as part of the study, evidence of your understanding of the genre and the social and stylistic
environment that the artist study represents. This study includes technical studies that investigates the way the
artist treats viewpoint, surface, perspective, scale, tone, colour and other pictorial elements in a composition.
Think about: THEME, SUBJECT MATTER, STYLE, GENRE in the context of the artist/s studied.
Comment on aspects such as:
Composition, Method, Media, Scale, Colour, Surface, Line, Form, Pattern, Light, Contrast, Tone, Texture, Shape,
Gesture, Movement.
Photocopy at least 3 examples of the work by each artist & make notes analyzing the style, themes, subject
matter & technical vocabulary employed.
Study & define the main pictorial elements & how each artist uses them referring to the examples selected
IDENTIFY the ideas used by each artist.
DISCUSS the methods (techniques) used by each artist.
SELECT one work, analyse it in depth & PRODUCE compositional and print studies in your diary analyzing the
way the artist works. These are technical studies. It is important that there is a range of examples of work from
the one artist to refer to, and to study, and that the artist is well established.
SELECT ONE ARTIST & ONE TECHNIQUE (preferably the artist chosen for analysis) to use as an exemplar for
the drawings.
‘Research, document & analyse relevant methods and ideas relating to
PRINTMAKING & apply them in the context of a drawing study’
‘Purposefully investigate & use drawing and printmaking materials, tools,
techniques & processes to show understanding of conventions in that
context.’
THE THEME: Coastal Landscape
PICTORIAL ISSUES: line tone, colour,
gesture & shape
These works were part of a drawing
sequence
Exploring the ideas based on a range of
artist models including:
Kim Westcott, Peter James Smith,
These two drawings use
Mono print techniques to
explore the ideas of
layering, mark making &
colour.
METHOD: Oil based
printing inks, turpentine
plexiplate & multiple
plates.
VISUAL
ARTS
PRODUCE A BODY OF WORK within THE selected form
of practice to show understanding of art making
methods & ideas.
This achievement standard involves using drawing as
the central means to generate & develop ideas. It also
involves using a systematic approach to generate &
develop ideas & using processes, procedures, materials
& techniques from established practice in producing a
body of work within printmaking.
Presented in folio format.
2.3
FIELDS:
PAINTING & PRINTMAKING.
LEVEL 2
PRODUCE A BODY OF WORK within THE
selected form of practice to show
understanding of art making methods & ideas.
This achievement standard involves using
drawing as the central means to generate &
develop ideas. It also involves using a
systematic approach to generate & develop
ideas & using processes, procedures,
materials & techniques from established
practice in producing a body of work within
painting.
Presented in folio format.
PRINTMAKING
PAINTING
VISUAL ARTS PAINTING &
PRINTMAKING
The course includes a drawing
component, a PRINTMAKING study &
a PAINTING study. Theoretical studies
researching the work of specific
artists to use as a basis for personal
study are also required & these are
documented in student diaries.
The course consists of TWO folio
submissions (Externally moderated)
There is no theory examination.
Each folio is worth 12 credits.
Note
The model is required for beginning
the introductory drawing
RESEARCH & CONSTRUCTION
GETTING STARTED
2.3
LEVEL 2 NCEA
VISUAL ARTS PROGRAMME OUTLINE
The course is divided into two disciplines:
Painting & Printmaking
As part of the course students prepare TWO folios documenting a
theme, ONE in PRINT & ONE in PAINTING
Each folio consists of TWO boards of work & is marked
EXTERNALLY. EACH FOLIO IS WORTH 12 CREDITS.
There are two parts to this unit.
THIS UNIT IS NOT PART OF THE MARKING
FOR NCEA, BUT IT IS A REQUIRED
PREPARATION FOR THE FOLIO
TASK 1 Construction.
The first task is the assemblage of a three-
dimensional spatial model using card & other
materials to provide a structure for future
studies. The model may be any size but should
contain sufficient identified pictorial elements
to sustain a course of study. The model should
also be linked to artistic models if not based on
an artistic reference. You may elect to set up a
still life within a contained space for your
subject matter.
This model is inspired
by the work of Ron Davis
The student intends to
work with pattern
shape& colour
TASK 3: DRAWING.
BEGINNING THE FOLIO
PRODUCE A BODY OF WORK
WITHIN A FIELD TO SHOW
UNDERSTANDING OF ARTMAKING
METHODS & IDEAS
This achievement standard involves
using drawing as the central means
to generate & develop ideas. It also
involves using a systematic
approach to generate & develop
ideas and using processes,
procedures, materials and
techniques from established practice
in producing a body of work.
YOU MUST demonstrate that you
can use DRAWING as the central
means to GENERATE & DEVELOP
IDEAS.
SHOW your thinking & working
process by the use of a
SYSTEMATIC APPROACH to
GENERATE & DEVELOP IDEAS
USE PROCESSES PROCEDURES
MATERIALS & TECHNIQUES from
ESTABLISHED PRACTICE to
PRODUCE A BODY OF WORK
12 credits
Field: Printmaking
Painting
THE YEAR WILL BE DIVIDED IN HALF
FOR EACH COURSE OF STUDY IN EACH
FIELD.
TASK 2 Diary Research Research study & collate information on selected artists by identifying
examples of work & any ideas related to the pictorial problems identified in
your construction
This information needs to be assembled for you reference before you begin
work on the folio to demonstrate understanding of art making ideas
You will be starting with drawing directly from the construction & will be
required to identify specific pictorial issues from the beginning based on your
research & you understanding of contemporary practice in the field of study
There are three parts to this TASK.
This unit will be repeated for each of the 2
FIELDS
PAINTING & PRINTMAKING
PART A
Drawing Studies SEE SEPARATE TASK SHEET
Record & analyze THE COMPOSITIONAL ELEMENTS embodied or contained within the
construction
The objective is to collect information & to produce observational drawings directly from a
subject
PART B
Media Studies
Develop pictorial issues from the construction using a range of materials & techniques
including wet & dry media
WHAT DO THESE WORDS MEAN IN
THIS CONTEXT?
WHY?
WHAT?
ONCE YOU HAVE
ESTABLISHED THE STARTING
POINT FOR YOUR FOLIO YOU
NEED TO CONSTANTLY
REVISIT YOUR INFORMATION
NOT JUST THE DRAWINGS
BUT THE RESEARCH AS WELL
HAVE YOU ASSEMBLED ALL THE
INFORMATION YOU NEED TO
BEGIN?
SUBJECT THEME
ARTIST MODELS
METHOD
TECHNIQUES
IDEAS
HAVE YOU A PLAN?
DO YOU KNOW HOW TO TEST
YOUR IDEAS?
SHOW YOUR THINKING SEQUENTIALLY
LEARN FROM YOURSELF AND FROM OTHERS
HOW?
Artist Model: Pat Steir
Pictorial Issues: pattern, layering,
transparency, scale, line tone texture &
colour
& to identify the appropriate method for the idea or field of study
PART C Compositional Studies
Develop & generate a sequence of small drawing works exploring pictorial issues from the model & RELATE the work to the artistic references studied & TO THE FIELD OF STUDY: PAINTING or PRINTMAKING
Look at what you need to do to achieve excellence
USE Drawing as the central means to:
GENERATE
ANALYSE
CLARIFY
DEMONSTRATE a
depth
& range of ideas
USE a systematic &
critical
approach
GENERATE & DEVELOP ideas
with purpose and understanding
REGENERATE
WHAT
2.3 FOLIO (2 BOARDS)
PRODUCE A BODY OF WORK
WITHIN THE FIELD OF either
PAINTING or PRINTMAKING TO
SHOW UNDERSTANDING OF
ARTMAKING METHODS & IDEAS
ASSEMBLE the observational
drawings, developmental
sequences & media studies in
order on a folio board
demonstrating your ability to
Issues addressed
include: Light
colour layering
shape line tone
Transparency &
scale
Artist references:
Ross Blechner,
Sam Francis,
Louise Fong, Terry
winters, Jackson
Pollock
Painting sample
Oil on canvas
Second board of
print sample
showing
development of
theme
Techniques used
include
manipulation of
photocopies to
build layers for a
solar plate and
etching aquatint
with spit bite.
THEMES AND SUBJECT MATTER FOR
PAINTING NCEA LEVEL 3
Select ONE of the categories to study.
You will need to identify the subject matter
& collate visual resources as part of the
research study
FIGURATION.
LANDSCAPE INTERIOR/
SPATIAL.
EXTERIOR/
CONSTRUCTION.
STILL LIFE.
METHODS
Research on relevant technical information
relating to the art making should be an
important part of the research.
Critically reflect on, respond to, & evaluate
your own & others practice & work in the
Visual Arts
METHODS, PROCESSES & PROCEDURES SHOULD BE APPROPRIATE TO THE
MODEL ARTIST/S & THE PICTORIAL CONCERNS IDENTIFIED
From Level 8 NZ Arts Curriculum.
Students will apply knowledge of elements, principles, & conventions in a
selected field of the Visual Arts.
Students will extend & refine skills with techniques, tools & materials to
produce a body of work in a selected field of the visual arts using appropriate
processes & procedures.
Landscape
drawing for print
demonstrating
layers of surface &
texture. Materials
used include
gesso, shellac &
black ink.
Drawing using oils on
card pre-prepared with
a black oil painted
ground & with a white
taped inset.
Theme of reality &
illusion based on
Gerhardt Richter
Crayons & oil stick on a black
ground painted with oil paint
on white card. Artist reference
Elmer Bischoff
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 Steir
Theme: 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
JIM DINE
JOHN WALKER
BRICE MARSDEN
JUDE RAE (NZ)
LARRY RIVERS
ELIZABETH MURRAY
FRANCES HODGKINS
(NZ)
WILLIAM SCOTT
ROBERT ELLIS (NZ)
MICHAEL SMITHERS
(NZ)
RENE MAGRITTE
DAVID BLACKBURN
STEPHEN BANBURY
LEON KOSSOFF
IMMENDORFF
JOHN HOYLAND
JOHN PAPAS (NZ)
BARBARA STRATHDEE
(NZ)
JOAN SNYDER
KARL MAUGHAN (NZ)
BONNARD
JOHN DRAWBRIDGE
(NZ)
MAX BECKMAN
FREDA KAHLO
ROBERT RYMAN
TONY FOMISON (NZ)
SHANE COTTON (NZ)
PATRICK HERON
FRANCES BACON
DE CHIRICO
PETER GIBSON SMITH
(NZ)
ROSS RITCHIE (NZ)
PAT STEIR
JENNIFER BARTLETT
GERDA LEENARDS (NZ)
MICHAEL SHEPHERD
(NZ)
ALAN PEARSON (NZ)
GRAHAM SYDNEY (NZ)
CALLUM INNES
BONNARD
DUFY
FRANZ KLINE
ANDRE DERAIN
JOHN WALKER
GAUGUIN
MONET
TURNER
EUAN MCLEOD (NZ)
SYLVIA SIDDELL (NZ)
GEOFFREY HARRIS (NZ)
SASKIA LEEK (NZ)
REVOR MOFFITT (NZ)
BEN NICHOLSON
SEAN SCULLY
HOWARD HODGKINS
TAPIES
GORKY
ERIC FISCHL
LUCIEN FREUD
PHILLIP PEARLSTEIN
NATHAN OLIVERIA
ROSALIE GASGOINE
(NZ)
DICK FRIZZELL (NZ)
MARK ROTHCO
DAVID SALLE
VUILLARD
PAUL NASH
MOTHERWELL
GERHART RICHTER
AUDREY FLACK
ARTHUR BOYD
SEREPHINE PICK (NZ)
SUSAN ROTHENBERG
RICHARD KILLEEN
(NZ)
MICHAEL TUFFERY
(NZ)
FATU FEUU (NZ)
PHILLIPA BLAIR (NZ)
ROB MCLEOD (NZ)
KITAJ
DAVID HOCKNEY
SIMON MCINTYRE
(NZ)
BILL HAMMOND
(NZ)
KRISTY GORMAN
(NZ)
LOUISE FONG (NZ)
JOHN REYNOLDS
(NZ)
JOAN BROWN
ELMER BISHOFF
EDWARD HOPPER
WAYNE THIEBAUD
MORANDI
ERIC FISCHL
MATISSE
HANS HOFMANN
ARTHUR BOYD
MOTHERWELL
JASPER JOHNS
SIMON OGDEN
(NZ)
FRANK AUERBACH
SIMON MCINTYRE
(NZ)
CY TWOMBLY
WAYNE
THIEBAULD
PHILLIP TRUSTUM
(NZ)
NICKY FOREMAN
(NZ)
ROSS GREY (NZ)
COLIN MCCAHON (NZ)
WILLIAM SUTTON (NZ)
JASPER JOHNS
JOHN FIRTH SMITH (NZ)
CEZANNE
MONET
DAVID PARK
BRUCE MCGRAW
RICHARD DIEBENCORN
RALPH HOTERE (NZ)
ROSS BLECKNER
JOHNATHON LASKER
TERRY FROST
MONDRIAN
KEN DONE
SABINA OTT
MERVYN WILLIAMS (NZ)
JONATHON LASKER
BRUCE NAUMAN
ROSS BLECKNER
DAVID REED
SIGMAR POLKE
WILLIAM DE KOONING
FRANZ KLINE
WILLIAM BAZIOTES
PHILLIP GUSTON
Identify the pictorial issues relevant to the drawing as you
initiate it, and in reference to the process/method and
artist reference selected.
These are some of the elements of composition
Some will be more important than others in a
work.
WHAT ARE THE PRIMARY PICTORIAL ELEMENTS
AND 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.
When analyzing the composition or the
PICTORIAL ISSUES in an Artwork you
need to identify the particular elements
evident in the work and the way the artist
uses them.
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.
In the process of selecting subject matter for study, the
potential of the subject in terms of providing pictorial
issues for development in the students own work should
be identified.
PICTORIAL ISSUES
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
TASK 1
Select from ONE of the SUBJECT or THEMATIC categories as listed.
Consider carefully & make sure that the subject or theme chosen is manageable, accessible & relevant, & of
sufficient interest to sustain a years work
RESEARCH the treatment of your subject within a historical & a contemporary context. Write an overview & provide
examples to illustrate your comments. (Time frame One week)
TASK 2
Select TWO ARTISTS & study ONE work from each. Comment on each work in depth & compare & contrast the way
the two artists treat the subject. (To be recorded in the diary/workbook) (Time frame One week)
TASK 3
Select a New Zealand artist & identify the tradition of the work selected (description & context)
List the concepts & ideas in selected works & comment on how these relate to other work by the same artist.
Discuss the LINKS between the identified tradition & the influences on the New Zealand artist studied.
(Time frame One week)
TASK 4
Produce a Portfolio of FIVE drawings & painting studies
(Time frame for the drawing sequence: Two weeks)
Use ONE of your selected artists AS A MODEL for the drawing portfolio.
(The artist selected MUST represent relevant & contemporary practice)
Critically analyse & discuss your own work & demonstrate through the practical investigation your understanding of
the links between the selected tradition and relevant recent New Zealand and/or international practice. (Time frame
One week)
In the practical investigation you must work from the theme or SUBJECT MATTER selected for your research
Record all the research information in your art diary including the practical investigation. Label & identify each task.
Use your own words & identify any quotes with footnotes & acknowledge all source material
Provide a BIBLIOGRAPHY for all tasks including web sites & internet addresses.
3.1 research for Painting
Drawing for 3.1 painting
Printmaking folio: artistic references include Kim Westcott & John
Firth Smith