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