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