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Shelley ryde on approaches to teaching painting and printmaking

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  • 1. Shelley Ryde Title:Approaches to Painting & Printmaking for NCEA levels 1 to 3
  • 2. 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.
  • 3. APPROACHES TO TEACHING LEVEL 1 PAINTING & PRINTMAKING1.1 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.
  • 4. Level 1 2005RESEARCH & RELATED STUDIES 1.1 Students will demonstrate their ability to:1. Research the theme of the LANDSCAPE in the form of a RESEARCH the artwork of TWO contemporary photo-essay & comment on their NEW ZEALAND ARTISTS who feature aspects of ideas in relation to their art the landscape in their work. practice. PROVIDE at least THREE examples for each2. Reference, explore & collate artist. information on appropriate COMMENT on each artist identifying their artist exemplars from European background, style, theme, & attitude to the traditions in a NEW ZEALAND subject & their IDEAS. SHOW in your research how each artist draws context. from European traditions & DEMONSTRATES in3. Research & study aspects of their work aspects of New Zealand culture &/or Maori art to use in their own art attitudes. works & to demonstrate an ANALYSE each work & identify the PICTORIAL understanding of the way visual ELEMENTS. culture reflects & is shaped by PRODUCE a technical study of ONE work by the beliefs, needs & values of each artist to demonstrate your understanding of the MATERIALS TECHNIQUES PROCEDURES society. The study should reflect & PROCESSES APPLIED. Maori attitudes & values to the ALL NOTES TO BE ON A3 PAGES IN JOURNAL land & relate it to the art works ALWAYS INCLUDE A BIBLIOGRAPHY studied.
  • 5. STUDY aspects of Maori art &artefacts to DEMONSTRATE anunderstanding of Maori attitudes tothe land.At the Museum IDENTIFY & MAKEdetailed drawings of objects thatrelate to the theme of land use &occupation.Make notes on each drawingindicating the reason you selected itto draw and its relevance to thetheme.PRODUCE TWO A3 workbook pagesof drawings & notes on the site. (Oneof these will be used for 1.2)RESEARCH ONE CONTEMPORARYMAORI ARTIST TO IDENTIFY Maoriattitudes to land issues & ideas.MAKE notes, provide backgroundinformation, include technical studies& provide at least two examples ofwork by the artist selected.
  • 6. Students are required to produce a photo essay to begin their investigation of the Land. The Photo Essay will providethe reference for the development of ideas to make individual art works .Landscape: A Study of the Occupation of the Land. This Students SELECT & RESEARCH Artist referenceswork will form the basis of your 1.2 Achievement Standard on the basis of how their ideas developed from*Looking at patterns, marks surfaces, textures, structures, their attitudes to the LAND.symbols and other means of documentation or recordingoccupation of 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.Photo essay: A student ASSEMBLE all the researchexample 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.
  • 7. 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. In these examples by one student the requirements for the standard are met with facility & understandingThis achievement standard involvesrecording information from subject matterusing a variety of drawing media,techniques and conventions, andcomposing elements or forms for a varietyof art-making purposes.
  • 8. DRAWING METHODS DRAWING PROCESSES & MATERIALS RESOURCE SHEET 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 approachCHARCOAL: BLACK INK AND PENCIL: Black & OIL STICKS, CHALK COLLAGED &On white paper, WASH INCLUDING white & including LITHOGRAPHI PASTELS & PREPAREDrubbed & worked TUSCHE: the dark wash pencil C CRAYONS & CONTE: SURFACES:with rubber & On white or brown range using water. OIL PASTELS: (Can be used to Oil paint or oil sticksblender. paper, watercolour On white paper using Black and white explore colour scraped to cover aOn newsprint using papers or thin card. different grades oil sticks over a fields, tonal white, black orthe side to blend the Using pen, brush, including 6B/8B coloured &/or relationships & coloured smooth ortones. stick and/or sponges On brown paper prepared shellac limited tonal textured paper.On brown paper (blocking areas of with white highlights. ground. (tape can ranges) Tissue applied ontowith white pastel for tone) Using 8B with white be used to isolate Rubbed and paper using collagehighlights. Using water or oil and black oil sticks, areas) blended and glue wallpaper pasteCombined with ink based printing ink & on white or brown Black oil stick overdrawn on or gesso & sealedand wash. making mono prints paper. blended with white, toned, with primal orOver a water colour as drawing. Rubbed and blended turpentine. textured, & shellac.or gouache base. Over coloured with overdrawing Black or other coloured papers & Coloured papersOver a pastel grounds using a and highlight with colours including overdrawn on glued down onto aground. range of media malleable rubber. Payne’s grey oil prepared grounds. smooth surface.Over a ground including collage On white paper paint scraped & Chalk pastels over Dye or pureprepared with gesso. painted with Gesso & rubbed into white gesso combined pigments prepared in combination with or coloured paper with 8B pencils & under a gesso ground charcoal or ink overdrawn with charcoal. The (can be sealed for washes. white oil stick/ surfaces can be reworking) and or white oil blended with pastels or wax erasers or wiped crayons. back.
  • 9. Printmakingstudy level 11.4 extensionResearch onartist models& planning forthe print
  • 10. Diocesan VISUAL ARTS Department NCEA VISUAL ARTS YOU ARE REQUIRED TO MAKE AND LEVEL 1 Subject Reference: VISUAL ARTS Achievement Standard SUBMIT A 3 BOARD FOLIO FOR the Domain: PRACTICAL ART Folio Planning for 1.3 external standard 1.3. You should produce:This achievement standard involves using a range of drawing media and techniques to generate anddevelop ideas from subject matter and showing how these are based on the study of artists’ works. ONE BOARD beginning with information drawings, drawing studies and multimedia work.Board 1 Board 3 ONE BOARD of developmental worksPlan for drawings & mixed media work Show concluding work based on your research & understanding of artist models. ONE BOARD of painting studies & paintings. 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 THE FOLIO must establish the across selected fields. subject in the first drawings. This This may involve different processes, procedures, is the starting point. The work materials and techniques, all of which can be should systematically develop understood as drawing. Board 2 leading to the final work and in In effect, being able to make paintings, Show development based on the reading show a steady photographs, prints or sculpture, or to develop research & understanding of progression and linking of design ideas, is dependent upon recognising and ideas. using drawing as a thinking and working process. materials techniques & Drawing is an ongoing decision-making process processes 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, Generate and develop ideas in sketches, monochromatic and colour studies, collage, small works and finished works. making artworks
  • 11. PURPOSEFULStudy what it is you are required to do to achieve this standard. DECISIONMAKINGRead the descriptions. develop & resolveDo you understand what the words mean? ideas from fluent control ofMake a check list for yourself & check off each part. subject matter. media and techniques is there evidence of decision making? Achievement with Excellence is there a development & integration of artists work in your own work? Show evidence of purposeful is there a fluency & control of the media & technique in the decision-making and fluent control recording of information? of media and techniques in recording information, and are the ideas developed & resolved from the subject matter? developing and resolving ideas from subject matter. Are the ideas integrated into an individual personal expression? Show that ideas, techniques or Each student will see the topic specified or selected in his or her own conventions from artists’ works unique way. In the process of framing with viewfinder or the camera lens have been developed and integrated students make decisions about composition and pictorial issues into own work. 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 Ideas ideas, developed vocabulary to be used, creative invention and the influence of artistic techniques or exemplars in the context of a wider understanding of art and society. & conventions integrated Students need to understand that the subject matter is the starting point from artists’ for making art works but it is THE IDEAS behind the response to the into own works used with work. subject that is important. understanding & The ideas come from UNDERSTANDING how artists work and the invention vocabulary used to make an individual statement.
  • 12. Boards 1 & 2 include drawings & developments in a range of media with an emphasis on sequences of worksto show the thinking
  • 13. The student must explore artisticconventions in the generation anddevelopment of their own work.Works presented should be related andmay involve a range of media &techniques as these apply acrossdifferent art fields.Issues addressed include:Pattern, line, layers, colour, shape,changes in scale & repetition.Artist references include:Serephine Pick Larry Rivers David Salle& Sigmar PolkeAll artists work with a personal vocabulary.The vocabulary of an artist consists of pictorialelements, & the particular combination of elementsthat an artist employs contributes to their personalstyle.When analyzing the composition or the PICTORIALISSUES in an Artwork you need to identify theparticular elements evident in the work & the way theartist uses them & use what you need to make yourown work
  • 14. Level 1 folio exampleBoard 1: the theme or subjectfor the folio is presentedthrough a series of preliminarydrawings & the student worksfrom a range of collatedinformation including artistreferences such as KarlMaughan & Pat Steir.The print (bottom right) usesmultiple dry point etchings tobuild colour, collagraphs & aSolarplate print in the centre todevelop an idea based on thework of Pat SteirThe use of multiple plates in the dry pointetchings allows the exploration of colourseparations & the student uses the gridformat to explore colour scale & viewpoint
  • 15. THEME: The GardenReferences: Monet,Karl Maughan, PatSteir, 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
  • 16. The work on this board (board 3)develops the idea of the surface &texture with reference to Louise Fong.After the ground is prepared thesurface is stained with a mixture ofpure pigment & primal to build layersof translucent colourLouise Fong Pat Steir
  • 17. LEVEL 1 PRINTMAKING FOLIOBOARD 1 establishes theinformation. for this folio & ideasbegin to develop through theexploration of a range oftechniques.The initial idea evolves from a studyof the work of Graeme SydneyThe student also looked at the workof Colin McCahon to identifypictorial issues of repetition gridline & colour layers & to analyze theessence of the landscape & theprofile of the land Dry point Solarplate Collagraph
  • 18. Dry pointEtchingaquatintsLitho sketch overmono print
  • 19. Level 1 folio: painting & print
  • 20. Level 1 folio using Sean Scully as the artist reference (boards 2 & 3)
  • 21. 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. Achievement with Merit Achievement with ExcellenceAchievementResearch and document methods and ideas Research and document relevant methods and ideas Research, document and analyse relevant methods andrelating to art and artworks and apply them in relating to art and artworks and apply them in the ideas relating to art and artworks and apply them in thethe context of a drawing study. context of a drawing study. context of a drawing study.Use drawing and painting materials, tools, Select, and use with control, drawing and painting Purposefully investigate and use drawing and paintingtechniques and processes appropriate to purpose materials, tools, techniques and processes materials, tools, techniques and processes to showin that context. appropriate to purpose in that context. 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
  • 22. RESEARCH & CONSTRUCTION 1. There are two parts to this unit. THIS UNIT IS NOT PART OF THE GETTING STARTED 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 Note studies. The model may be any size but The model is required for should contain sufficient identified pictorial beginning the elements to sustain a course of study. The introductory drawing model should also be linked to artistic models if not based on an artistic reference. You may 2. elect to set up a still life within a contained space for your subject matter. RESEARCHTASK 1 Research study & collate information on selected artists by identifying examples of work & any ideas related to the1.RESEARCH & ANALYZE the pictorial problems identified in your constructionMETHODS & IDEAS of: This information needs to be assembled for your referenceONE INTERNATIONAL, ONE NEW before you begin work on the drawing component toZEALAND & ONE demonstrate understanding of art making ideasCONTEMPORARY painter & You will be starting with drawing directly from theRESEARCH THEIR WORK construction & will be required to identify specific pictorial issues from the beginning based on your research & youNote: The artist must be contemporary understanding of contemporary practice in the field of studyin terms of current practice.
  • 23. 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 stylisticenvironment that the artist study represents. This study includes technical studies that investigate the way theartist 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 GestureMovementPhotocopy at least 3 examples of the work by each artist & make notes analyzing the style, themes, subjectmatter & 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 analyzingthe way the artist works. These are technical studies. It is important that there is a range of examples of workfrom 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 forthe drawings.When you research the work of others study how the selected artist constructed the work:COMPOSITIONALLYTECHNICALLYDoes 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?
  • 24. TASK 2DRAWING: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 techniqueRecording 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 ofperspective, viewpoint and scale.d)Develop skills in identifying pictorial issues and setting pictorial problems through a response to subject and throughresearch into examples derived from contemporary practice.e)Extend understanding and skills in composition.f)Develop an understanding of technique THE THEME: Figures in the landscape PICTORIAL ISSUES: light, shade, tone, An expressionist figurative colour,& shape painting based on the study of a work by Alistair Nesbitt-Smith, These works were part of a New Zealand Painter who a drawing sequence works in the tradition of the Bay exploring the ideas Area Painters in America such based on a range of artist as David Park and Joan Brown models including: and the German Expressionists Eric Fischl, Lucien Freud, David Hockney
  • 25. When you research the work of others study how the selected artist constructed the work:COMPOSITIONALLYTECHNICALLYDoes 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 2DRAWING: 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 techniqueRecording and analyzing tone & form from a construction designed to set up for investigation spatial problemsor issues.The intention of these studies is:To investigate spatial relationships and light sources and to develop an appreciation of different methods ofdefining 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 andunderstanding of perspective, viewpoint and scale.Develop skills in identifying pictorial issues and setting pictorial problems through a response to subject andthrough research into examples derived from contemporary practice.Extend understanding and skills in composition.Develop understanding of technique
  • 26. ‘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.’TASK 1RESEARCH & ANALYZE the METHODS & IDEAS of: ONE INTERNATIONAL, ONE NEW ZEALAND & ONE CONTEMPORARY PRINTMAKER & RESEARCH THEIRWORK.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 stylisticenvironment that the artist study represents. This study includes technical studies that investigates the way theartist 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, subjectmatter & 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 theway the artist works. These are technical studies. It is important that there is a range of examples of work fromthe 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 forthe drawings.
  • 27. These two drawings useTHE THEME: Coastal Landscape Mono print techniques to explore the ideas ofPICTORIAL ISSUES: line tone, colour, layering, mark making &gesture & shape colour.These works were part of a drawing METHOD: Oil basedsequence printing inks, turpentineExploring the ideas based on a range of plexiplate & multipleartist models including: plates.Kim Westcott, Peter James Smith,
  • 28. VISUAL 2.3 PAINTING ARTS VISUAL ARTS PAINTING & PRINTMAKING PRODUCE A BODY OF WORK within THE The course includes a drawing selected form of practice to show component, a PRINTMAKING study & understanding of art making methods & ideas. LEVEL 2 a PAINTING study. Theoretical studies This achievement standard involves using researching the work of specific drawing as the central means to generate & artists to use as a basis for personal develop ideas. It also involves using a study are also required & these are systematic approach to generate & develop documented in student diaries. ideas & using processes, procedures,FIELDS: materials & techniques from established The course consists of TWO folio submissions (Externally moderated) practice in producing a body of work withinPAINTING & PRINTMAKING. There is no theory examination. painting. Each folio is worth 12 credits. Presented in folio format. PRINTMAKING 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.
  • 29. LEVEL 2 NCEA 2.3 VISUAL ARTS PROGRAMME OUTLINE The course is divided into two disciplines: Painting & PrintmakingGETTING STARTED 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.RESEARCH & CONSTRUCTION Note The model is required for beginning the introductory drawing This model is inspired by the work of Ron Davis The student intends to work with pattern There are two parts to this unit. shape& colour 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.
  • 30. THE YEAR WILL BE DIVIDED IN HALFBEGINNING THE FOLIO TASK 3: DRAWING. FOR EACH COURSE OF STUDY IN EACH FIELD. 12 Field: credits Printmaking YOU MUST demonstrate that you Painting can use DRAWING as the central means to GENERATE & DEVELOP IDEAS.TASK 2 Diary ResearchResearch study & collate information on selected artists by identifying SHOW your thinking & workingexamples of work & any ideas related to the pictorial problems identified in process by the use of ayour construction SYSTEMATIC APPROACH toThis information needs to be assembled for you reference before you begin GENERATE & DEVELOP IDEASwork on the folio to demonstrate understanding of art making ideas USE PROCESSES PROCEDURESYou will be starting with drawing directly from the construction & will be MATERIALS & TECHNIQUES fromrequired to identify specific pictorial issues from the beginning based on your ESTABLISHED PRACTICE toresearch & you understanding of contemporary practice in the field of study PRODUCE A BODY OF WORKPRODUCE A BODY OF WORK There are three parts to this TASK.WITHIN A FIELD TO SHOW This unit will be repeated for each of the 2UNDERSTANDING OF ARTMAKING FIELDSMETHODS & IDEAS PAINTING & PRINTMAKINGThis achievement standard involves PART Ausing drawing as the central means Drawing Studies SEE SEPARATE TASK SHEETto generate & develop ideas. It also Record & analyze THE COMPOSITIONAL ELEMENTS embodied or contained within theinvolves using a systematic constructionapproach to generate & develop The objective is to collect information & to produce observational drawings directly from aideas and using processes, subjectprocedures, materials and PART Btechniques from established practice Media Studies Develop pictorial issues from the construction using a range of materials & techniquesin producing a body of work. including wet & dry media
  • 31. GENERATE HAVE YOU ASSEMBLED ALL THE INFORMATION YOU NEED TO BEGIN? ANALYSE SUBJECT THEME WHAT CLARIFY ARTIST MODELS METHOD TECHNIQUES IDEAS DEMONSTRATE a HAVE YOU A PLAN? depth DO YOU KNOW HOW TO TEST & range of ideas YOUR IDEAS? USE a systematic & criticalONCE YOU HAVE approachESTABLISHED THE STARTING WHY?POINT FOR YOUR FOLIO YOU GENERATE & DEVELOP ideasNEED TO CONSTANTLY with purpose and understandingREVISIT YOUR INFORMATIONNOT JUST THE DRAWINGSBUT THE RESEARCH AS WELL HOW? REGENERATE WHAT DO THESE WORDS MEAN IN Artist Model: Pat Steir THIS CONTEXT? Pictorial Issues: pattern, layering, transparency, scale, line tone texture & colour SHOW YOUR THINKING SEQUENTIALLY LEARN FROM YOURSELF AND FROM OTHERS
  • 32. PRODUCE A BODY OF WORKWITHIN THE FIELD OF eitherPAINTING or PRINTMAKING TO 2.3 FOLIO (2 BOARDS)SHOW UNDERSTANDING OFARTMAKING METHODS & IDEASASSEMBLE the observationaldrawings, developmentalsequences & media studies inorder on a folio board Painting sampledemonstrating your ability to Oil on canvas Second board of Issues addressed print sample include: Light showing colour layering development of shape line tone theme Transparency & Techniques used scale include Artist references: manipulation of Ross Blechner, photocopies to Sam Francis, build layers for a Louise Fong, Terry solar plate and winters, Jackson etching aquatint Pollock with spit bite.
  • 33. THEMES AND SUBJECT MATTER FOR Select ONE of the categories to study.PAINTING NCEA LEVEL 3 You will need to identify the subject matter & collate visual resources as part of the research study LANDSCAPE INTERIOR/ EXTERIOR/ FIGURATION. SPATIAL. CONSTRUCTION. STILL LIFE. Crayons & oil stick on a black ground painted with oil paint on white card. Artist reference Elmer Bischoff Landscape drawing for print demonstrating Drawing using oils on layers of surface & card pre-prepared with texture. Materials a black oil painted used include ground & with a white gesso, shellac & taped inset. black ink. Theme of reality & illusion based on Gerhardt Richter
  • 34. Arches paper painted with gesso & worked with 8B Black & white pencil, wiped & blended with water for tones.Ground on white card gesso ground on Artist reference Jim Dine. Theme: domestic interior.overdrawn with oil stickswax crayons & 8B pencil arches paper withArtist reference Pat Steir oil sticks & 8BTheme: reflected pencillandscape in the rear Painted canvas groundvision mirror with paint & chalk pastels Ground prepared with tones of oil paint scraped & blended on arches paper & overdrawn with wax oil pastels, 8B pencil & oil sticks
  • 35. JIM DINE SHANE COTTON (NZ) BEN NICHOLSON KITAJ COLIN MCCAHON (NZ)JOHN WALKER PATRICK HERON SEAN SCULLY DAVID HOCKNEY WILLIAM SUTTON (NZ)BRICE MARSDEN FRANCES BACON HOWARD HODGKINS SIMON MCINTYRE JASPER JOHNSJUDE RAE (NZ) DE CHIRICO TAPIES (NZ) JOHN FIRTH SMITH (NZ)LARRY RIVERS PETER GIBSON SMITH GORKY BILL HAMMOND CEZANNEELIZABETH MURRAY (NZ) ERIC FISCHL (NZ) MONETFRANCES HODGKINS ROSS RITCHIE (NZ) LUCIEN FREUD KRISTY GORMAN DAVID PARK(NZ) PAT STEIR PHILLIP PEARLSTEIN (NZ) BRUCE MCGRAWWILLIAM SCOTT JENNIFER BARTLETT NATHAN OLIVERIA LOUISE FONG (NZ) RICHARD DIEBENCORNROBERT ELLIS (NZ) GERDA LEENARDS (NZ) ROSALIE GASGOINE JOHN REYNOLDS RALPH HOTERE (NZ)MICHAEL SMITHERS MICHAEL SHEPHERD (NZ) (NZ) ROSS BLECKNER(NZ) (NZ) DICK FRIZZELL (NZ) JOAN BROWN JOHNATHON LASKERRENE MAGRITTE ALAN PEARSON (NZ) MARK ROTHCO ELMER BISHOFF TERRY FROSTDAVID BLACKBURN GRAHAM SYDNEY (NZ) DAVID SALLE EDWARD HOPPER MONDRIANSTEPHEN BANBURY CALLUM INNES VUILLARD WAYNE THIEBAUD KEN DONELEON KOSSOFF BONNARD PAUL NASH MORANDI SABINA OTTIMMENDORFF DUFY MOTHERWELL ERIC FISCHL MERVYN WILLIAMS (NZ)JOHN HOYLAND FRANZ KLINE GERHART RICHTER MATISSE JONATHON LASKERJOHN PAPAS (NZ) ANDRE DERAIN AUDREY FLACK HANS HOFMANN BRUCE NAUMANBARBARA STRATHDEE JOHN WALKER ARTHUR BOYD ARTHUR BOYD ROSS BLECKNER(NZ) GAUGUIN SEREPHINE PICK (NZ) MOTHERWELL DAVID REEDJOAN SNYDER MONET SUSAN ROTHENBERG JASPER JOHNS SIGMAR POLKEKARL MAUGHAN (NZ) TURNER RICHARD KILLEEN SIMON OGDEN WILLIAM DE KOONINGBONNARD EUAN MCLEOD (NZ) (NZ) (NZ) FRANZ KLINEJOHN DRAWBRIDGE SYLVIA SIDDELL (NZ) MICHAEL TUFFERY FRANK AUERBACH WILLIAM BAZIOTES(NZ) GEOFFREY HARRIS (NZ) (NZ) SIMON MCINTYRE PHILLIP GUSTONMAX BECKMAN SASKIA LEEK (NZ) FATU FEUU (NZ) (NZ)FREDA KAHLO REVOR MOFFITT (NZ) PHILLIPA BLAIR (NZ) CY TWOMBLYROBERT RYMAN ROB MCLEOD (NZ) WAYNETONY FOMISON (NZ) THIEBAULD PHILLIP TRUSTUM (NZ) NICKY FOREMAN (NZ) ROSS GREY (NZ)
  • 36. PICTORIAL ISSUES 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. LIGHT TEXTURE DECORATION PLANE CONTRAST LINE REPETITION VIEWPOINT COLOUR TONE TRANSPARENCY GRID OVERLAPPING PERSPECTIVE SHAPE PATTERN LAYERS FORMS VIEWPOINT FORM SPACE DEPTH SCALE Identify the pictorial issues relevant to the drawing as you These are some of the elements of composition initiate it, and in reference to the process/method and Some will be more important than others in a artist reference selected. work. WHAT ARE THE PRIMARY PICTORIAL ELEMENTS AND HOW ARE THEY USED TO MAKE A UNIQUE WORK? When analyzing the composition or the PICTORIAL ISSUES in an Artwork you The organization of these elements makes up what is need to identify the particular elements known as the COMPOSITION of an artwork. evident in the work and the way the artist uses them. 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,All artists work with a personal vocabulary. clarifying & regenerating ideas derived from the researchThe vocabulary of an artist consists of pictorial elements, or in depth study from the selected tradition.and the particular combination of elements that an artist Demonstrate a depth &range of ideas & use a systematic &employs contributes to their personal style. critical approach. Show purpose & understanding.
  • 37. TASK 1Select from ONE of the SUBJECT or THEMATIC categories as listed.Consider carefully & make sure that the subject or theme chosen is manageable, accessible & relevant, & ofsufficient interest to sustain a years workRESEARCH the treatment of your subject within a historical & a contemporary context. Write an overview & provideexamples to illustrate your comments. (Time frame One week)TASK 2Select TWO ARTISTS & study ONE work from each. Comment on each work in depth & compare & contrast the waythe two artists treat the subject. (To be recorded in the diary/workbook) (Time frame One week)TASK 3Select 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 ofthe links between the selected tradition and relevant recent New Zealand and/or international practice. (Time frameOne week)In the practical investigation you must work from the theme or SUBJECT MATTER selected for your researchRecord 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.
  • 38. 3.1 research for Painting
  • 39. Drawing for 3.1 painting
  • 40. Printmaking folio: artistic references include Kim Westcott & JohnFirth Smith

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