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2009 Photography 3.3 Outline
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2009 Photography 3.3 Outline

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  • 1. Practical Art Achievement Standard Number 90668 Level 3 Produce Original Work within PHOTOGRAPHY to Show Extensive Knowledge of Art 2009 Standard: 3.3 Number of Credits 14 Making Methods & Ideas Method of assessment: Portfolio EXTERNAL REMEMBER TO: Task 1 • Engage in a process of reflection, questioning and analysis • Build on, develop and expand initial ideas and content The PROPOSAL • Revisit, analyse, clarify and regenerate ideas about subject matter and organisation of those ideas • Develop a proposal, brief or project outline with initial ideas • Analyse and clarify purpose and uses of selected artist models for development • Research and explore the formal properties and characteristics of • Record and discuss initial ideas artworks studied. • Understand that the purpose of the initial proposal, brief or Revisit and build on ideas by: outline is to generate ideas about subject matter, possible • Researching characteristics and constraints of established artist models, processes, procedures, materials and processes, procedures, materials and techniques techniques. • Developing a systematic approach to relating ideas and methods. • Revisit ideas and develop a systematic approach to evaluating ideas and methods. Write your proposal out in your diary Critically evaluate the work, looking for: • You may find using the words WHAT WHY & HOW as • Use of ideas founded in recent and established practice headings for framing your initial questions useful to start the • Knowledge of characteristics and constraints of established practice thinking process • Options for regenerating ideas • Your proposal could be presented as a mind map. • Systematic evaluation of ideas and methods and production of original work. • Remember this work could also be the first page of eight for the scholarship workbook
  • 2. ASSESSMENT CRITERIA Note: drawing means showing your Achievement Achievement with Merit Achievement with Excellence thinking. Identify the problem or question you are addressing. Present a range and depth of ideas • Use drawing as the • Use drawing as the • Use drawing as the central Investigate options central means to generate, central means to means to purposefully generate Regenerate work from what you have analyse, clarify and purposefully generate, a range and depth of ideas to done. regenerate ideas. Learn from yourself and others analyse, clarify and analyse, clarify and regenerate regenerate options. options. • Show knowledge of the • Show knowledge and • Show knowledge and characteristics and understanding of the understanding of the Demonstrate your understanding of painting methods constraints of established characteristics and characteristics and constraints Base your understanding on your processes, procedures, constraints of established of established processes, research materials and techniques processes, procedures, procedures, materials and Use techniques that are appropriate used. materials and techniques techniques, and use with Show purposeful decision making Demonstrate fluency with the media used. fluency and purpose. • Develop a systematic • Use a systematic • Systematically and critically approach to relating ideas approach to relating and relate, evaluate and synthesise a Work systematically but not in a linear way Show a range of ideas and possibilities and methods in the evaluating ideas and range of ideas and methods in Show you have critically selected from your production of work. methods in the the production of work. own work possibilities for extension production of work. Evaluate your own work Synthesize all the elements to produce your own work • Use ideas and methods • Use and understand • Understand and build upon a founded in recent and particular ideas and range and depth of ideas and established practice in the methods founded in methods in context, and use production of original recent and established these with insight in the work. practice in the production production of original work. of original work. Demonstrate your understanding by referencing your ideas in context Be careful not to rely on the model as the only means of exploring your ideas use multiple references to enhance your thinking and show insight in applying these to your own work Use your ideas in new and original ways Produce distinctive and innovative work
  • 3. This folio achieved Excellence in level 3 Visual Arts Photography It is a very interesting and very individual body of work in that a number of ideas and options are explored using the information loosely assembled on board 1. Drawing is used as the central means of purposefully generating a range and depth of ideas to analyse, clarify and regenerate options. The development of the ideas show clear evidence of understanding of knowledge and understanding of the characteristics and constraints of established processes, procedures, materials and techniques, and the techniques are applied with fluency and purpose. This student understands and builds upon a range and depth of ideas and methods in context, and uses these with insight in the production of original work. The work is innovative and expressive and many of the ideas could be redeveloped and extended beyond the folio.
  • 4. Explanatory Notes This achievement standard is derived from The Arts in the New Zealand Curriculum, Learning Media, Ministry of Education, 2000; Level 8 strands, p. 81, Developing Practical Knowledge in the Visual Arts, Developing Ideas in the Visual Arts, Communicating and Interpreting in the Visual Arts and Understanding the Visual Arts in Context. Evidence of the ability to generate, analyse, clarify and regenerate ideas will be identified in a range of work within photography practice. • This may involve different processes, procedures, materials and techniques, all of which can be understood as drawing. • This practice 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. • Photography drawing may include sketches, research drawings, drawing notes, monochromatic and/or colour studies, technical experiments/studies, collage, proof, and developmental prints and finished prints. • Photography drawing should be used as central means of practical investigation. Where it is appropriate, students may include processes, procedures, methods and techniques from other art fields. Processes refers to the use of particular techniques with tools, technologies and materials. Procedures refers to the order and nature of steps taken in getting from the beginning to the end of the problem. Show knowledge of the characteristics and constraints of established processes, procedures, materials and techniques used. All forms within photography practice are constrained by their kind, by the processes and procedures belonging to work of its kind and of the materials that characterise it. It is part of showing a practical understanding of photography practice to show an understanding of its limitations. This does not mean that students must not test the limits of such constraints. Indeed, if this is done successfully, the student should be rewarded. If, however, those constraints are ignored, then there can be no evidence, in the work, of the student’s knowledge of their existence and thus no evidence that they are understood. Develop a systematic approach to relating ideas and methods in the production of work. As part of producing work, it is important to be able to reflect critically on its outcome in a practical sense. This reflection will be evident in the work that follows. Evidence will be critically edited, ordered and related to show the nature and order of steps undertaken. The process of evaluating, as required for achievement with merit and achievement with excellence, will be evident in the analysis and clarification of ideas in order to regenerate.
  • 5. Format of assessment Each candidate presents for assessment a portfolio Use ideas and methods founded in recent and established practice in the consisting of three A1-sized panels representing the production of original work. requirements of the standard. Panels of markers appointed by NZQA assess the portfolios submitted by candidates. Learning from established practice is the use of artists as models of practice and Candidates may enter portfolios for assessment in one or investigating the context within which art works are made. The purpose of this is to more of the level 3 Visual Arts external achievement inform the student’s own work. Students are encouraged to explore work relating to standards. their own cultural milieu and interests. What counts as recent and established practice is a matter for teachers and students to determine together while taking account of the work of those contemporary New Zealand artists who have achieved Portfolio specifications critical acclaim. • Each portfolio is free-standing and consists of Note: Original work, in this context, does not carry the meaning normally associated three A1-sized panels of cardboard. with the work of mature and innovative artists. Original refers to the extent to • Work is portrait in orientation and mounted on which the submission develops beyond the study of established practice and reveals three continuous faces. the student’s ability to make the work their own. • The three panels are hinged with a suitable bookbinder’s self-adhesive tape or a glued Critically relate refers to the student’s ability to reflect on the outcomes of their binding cloth. The two outside panels fold work, make appropriate decisions and act as a consequence of that reflection in the inwards over the middle panel to ensure that works that follow. artwork is not damaged. • All work is dry and fixed. Synthesise refers to the ability to bring together ideas and methods from different • Artwork presented for assessment is consistent sources, to integrate them in the development of the student’s own work. with the size of the portfolio panels. • Three-dimensional work or large-scale work that cannot be included in the portfolio in the original form may be represented by photographs and, where appropriate, accompanied by sketches, headings or diagrams. In such cases, the candidate should provide descriptive information about media and processes used, scale and site.
  • 6. This achievement standard involves using drawing as the central means to generate, analyse, clarify and regenerate ideas. It also involves showing knowledge of the characteristics and constraints of established processes, procedures, materials and techniques, developing a systematic approach to relating and evaluating ideas and methods, and using ideas and methods founded in recent and established practice in the production of an original body of work within PHOTOGRAPHY. This folio achieved an Excellence in Level 3 Visual Arts Photography in 2008. The candidate explains their proposition clearly at the outset of this submission and then proceeds in a manner that is intelligent, insightful and original. The layout of the portfolio and the use of the slide carrier and camera to link across the panels add to the overall pictorial impact. Works are developed as series but also are successful as individual images and show a high level of consideration of the portfolio as an entire body of related works. As the portfolio progresses the ideas are clarified and there is a clear link between the generative work and the regeneration that allows the student to make purposeful decisions in regard to the pictorial and conceptual proposition undertaken.
  • 7. TASK 2: INFORMATION STUDIES: referencing the subject. Panel One layout example • The objective for this task is to establish a starting point for the folio through DRAWING • Record through DRAWING & through observation & ANALYSIS information about the subject taken from your resource material • Work directly from the subject and consider a variety of compositional elements when setting up the initial photographs • Explore the possibilities of a range of media appropriate to a drawing study • Select media to support identified pictorial issues appropriate to the theme or field in which you are working • Make decisions about possible directions based on your research & identified artistic exemplars BEFORE you begin. TASK 3: COMPOSITIONAL STUDIES TASK 4: SEQUENCES TASK 5: CLARIFICATION & TASK 6: PRODUCE A BODY IMAGINE PANEL ONE Begin to explore the possibilities LINKING IDEAS & DEVELOPMENT OF IDEAS OF WORK THAT EXPLORES STARTING LIKE THIS… of the subject, media pictorial PICTORIAL ELEMENTS Critically EVALUATE the work to date & IDEAS FOUNDED IN elements & influences derived WITH ARTISTIC produce works that CLARIFY the key RECENT AND ESTABLISHED The first few images establish the subject from research in the form of REFERENCES aspects in a printing study PRACTICE matter and deal with compositional studies Show your THINKING demonstrating KNOWLEDGE & Demonstrate knowledge the pictorial issues Show continuity in the work & logically & sequentially in a UNDERSTANDING of the characteristics you’re initially of characteristics and interested in. demonstrate your thinking series of drawing & & constraints of selected printmaking constraints of established sequentially. painting studies in which processes, procedures materials & practice & explore Options You show a Do not repeat yourself but work the ideas, pictorial techniques. The printing study should for regenerating ideas. development of ideas and by the end of the systematically by responding to elements, media & artistic demonstrate your understanding of all Systematically evaluate panel you have the previous work & clarify the references are combined & the aspects previously explored & introduced your first ideas & methods to ideas, through an EDITING & explored with fluency & should provide the LINK FOR THE NEXT artist model. produce original & EVALUATIVE Process. purpose. BODY OF WORK innovative work.
  • 8. This folio achieved an Excellence in Level 3 Visual Arts Photography in 2005. This candidate has recognised the importance of exploring a wide range of options at the start of panel one. There is careful consideration of composition, framing and background WHAT? that relate specifically to the genre of portraiture. Establishing this much information Subject: Self-Portrait about both portraiture and picture making issues such as viewpoint, depth of field, gridding, etc. gives the candidate range and depth from which to make further decisions. WHY? HOW? Artist references: Proposal Pictorial Issues Christian Boltanski, Annette For my board I had six main ideas, which were lines, frames, depth Messager, Louise Lawler, Julia Lines, frames, depth of field, focus (which makes of field, focus (which makes movement), repetition and colour. I Rrap, August Sanders and movement), repetition and colour. chose to use digital photography to study colour as well as to be Mike and Doug Starn. able to enhance photographs through Photoshop so the viewer would look twice to see if it was real or not.