Transcript
3.1 RESEARCH & DRAWING Getting Started 2013
Achievement Criteria
Achievement Achievement with
Merit
Achievement with
Excellence
Research and analyse
information relevant
to selected
approaches, which
includes examples
from established
painting practice.
Research and
analyse information
relevant to selected
approaches, which
includes examples
from established
painting practice.
Research information
and make an in-depth
analysis of selected
approaches, which
includes examples from
established painting
practice.
Present evidence of a
practical investigation
that is appropriate to
the selected
approaches.
Present evidence of a
practical
investigation that is
appropriate to the
selected approaches.
Present evidence of a
practical investigation
that is appropriate to the
selected approaches.
Identify relationships
between selected
approaches with
reference to
influences, methods
and ideas.
Analyse
relationships
between selected
approaches with
reference to
influences, methods
and ideas.
Critically analyse the
relationships between the
selected approaches to
show understanding of
influences, methods and
ideas.
Subject
Reference
Visual Arts 3.1
Title Research and analyse approaches
within established painting practice
Level 3 Credits
4
Assessment
INTERNAL
Subfield Visual Arts
Domain Practical Art version 2
This achievement standard involves researching and
analysing approaches within established painting
practice. Relationships between approaches will be
investigated to consider the influences, methods and
ideas in context.
ONE TREE HILL COLLEGE
VISUAL ARTS DEPARTMENT
STUDENTS MAY WORK FROM THEIR OWN PHOTOGRAPHS OR DIGITAL COMPOSITIONS.
HOWEVER, WHEREVER IT IS POSSSIBLE STUDENTS SHOULD WORK FROM DIRECT OBSERVATION.
Students are encouraged to focus research projects on work relating to their own cultural milieu and interests. Where relevant, research will
include examples/approaches from contemporary established New Zealand and international practice.
Approaches refers to artists’ ways of working. Approaches taken may be derived from artists’ response to subject matter, technical processes,
concepts, ideas, and historical, cultural or geographic locations.
Relationships may include similarities and differences, links, both implicit and explicit, between ideas, methods, techniques, influences, theories
and contexts, for example social, political, cultural, historical.
To analyse, students would need to investigate the features of selected approaches and/or examples of art works. To critically analyse, students
would need to investigate the key features of selected approaches and explain the significance of relationships.
Established practice refers to work by artists that is recognised as belonging to a particular tradition, style, genre or type.
Research includes:
Locating, gathering and analysing information relevant to the selected approaches and/or examples of art works
Student’s own analysis and reflection on art works
Practical investigation such as drawing notes, sketches, monochromatic and colour studies, collage, technical experiments/studies,
developmental works, research drawing sequences, annotated drawings and digital data files.
Evidence for this achievement standard may be in the form of: visual diaries or data files with reports, annotated bibliographies, interviews,
notes, visual maps, diagrams; slide talks with notes; seminar presentations.
Sources for research information could include relevant publications (e.g. books, journals, magazines, catalogues), internet, video, films, slide
library, the artists’ works studied, interviews, discussions, gallery and studio visits, marae, museums, public places, private collections.
It is recommended students have access to quality examples of work. Contexts may include: gallery or museum, marae, public or private
collections, urban and/or natural environment, studio or workshop situations.
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,
LITHOGRAPHIC
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 in-depth 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
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
Ground painted with pure
pigment & acrylic medium on
arches paper worked over with
oil sticks & gesso.
COLOUR PERSPECTIVE VIEWPOINT SCALE
LIGHT CONTRAST TONE SHAPE FORM
LINE TRANSPARENCY PATTERN TEXTURE
DECORATION REPETITION GRID LAYERS SPACE
PLANE VIEWPOINT OVERLAPPING FORMS DEPTH
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.
Your Choice of THEME: Select from one or more of the
categories listed
Figuration
Landscape
Interior/Spatial
Exterior/Construction Still life
LANDSCAPE: Issues
Trees & houses
Surrealism Expressionism
Pictorial issues:
Scale
Colour
Texture
STILL LIFE/INTERIOR Issues
pattern and
colour.
LANDSCAPE Issues
pattern ,
texture,
line
flat colour as structure
STILL LIFE: Issues
pattern,
colour,
line,
form and
repetition
TASK 1 : 1 x A3 page
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. PREPARE A TIMELINE IDENTIFYING THE MAJOR STYLISTIC DEVELOPMENTS WITHIN YOUR SELECTED CATEGORY (time frame 2 lessons – you may do this on the computer)
TASK 2: 2 x A3 pages (Two of the artists you have used in your work this year – use the task sheet provided) 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: 1 x A3 page (You did this as a class Colin McCahon/Bill Sutton in Term 1) a) Select a New Zealand artist & identify the tradition (what time did he work – what are the influences/genre) of the work selected
(description & context) b) List the concepts & ideas in selected works & comment on how these relate to other work by the same artist. c) Discuss the LINKS between the identified tradition & the influences on the New Zealand artist studied. (Time frame One week)
TASK 4: 4 x A4, 1 x A3
Use ONE of your selected artists AS A MODEL for the drawing portfolio. (The artist selected MUST represent relevant & contemporary practice) Produce a Portfolio of FIVE drawings & painting studies (Time frame for the drawing sequence: Two weeks)
Critically analyse & discuss your own work & demonstrate through the practical investigation and research approaches within established painting practice. Relationships between approaches will be investigated to consider the influences, methods and ideas in context.
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
Visual Arts 3.1 Painting: 90659 version 2 Title: Research and analyse approaches within established painting practice
Level 3 Credits 4 Assessment INTERNAL
This achievement standard involves researching and analysing approaches within established painting practice. Relationships between approaches will be investigated to consider the influences, methods and ideas in context. Achievement Criteria
Tasks
COMMENTS:
This assignment is entirely my own work: Student name:…………………………………..Date: ….......................................... Teacher: …………………………………………..Date…………………………………………….
Achievement Achievement with Merit Achievement with Excellence
Research and analyse information relevant to
selected approaches, which includes examples
from established painting practice.
Research and analyse information relevant to selected approaches, which includes examples from established painting practice.
Research information and make an in-depth analysis of
selected approaches, which includes examples from established painting practice.
Present evidence of a practical investigation that is appropriate to the
selected approaches.
Present evidence of a practical investigation that is appropriate to the selected approaches.
Present evidence of a practical investigation that is appropriate to the selected approaches.
Identify relationships
between selected approaches with reference to influences, methods and ideas.
Analyse relationships between
selected approaches with reference to influences, methods and ideas.
Critically analyse the
relationships between the selected approaches to show understanding of influences,
methods and ideas.
1 1 x A3 timeline
2 1 x A3 Artist
Research
1 x A3 Artist
Research
3 1 x A3 Artist
Research
4 1 x A4 Ptg
1 x A4 Ptg
1 x A4 Ptg
1 x A4 Ptg
1 x A3 Ptg
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