The document outlines a structured approach to analyzing three still life paintings for assessment purposes, focusing on techniques, composition, and influences. It highlights the need for a detailed examination of established painting practices within a defined genre and the importance of integrating various artistic ideas for successful outcomes. Additionally, it discusses the research and analysis of design approaches, emphasizing the influence of key designers and the necessity for students to explore ideas through explicit and implicit connections.

1. ‘DREAMTIME’
Level 3
Painting Exemplar
Research & analyse approaches within
established Painting practice
AS 90667 3.1
Assessment: Internal Credits: 4

2. This sample completes a visual transcript (copy) and
detailed analysis of three conventional still life paintings.
Analysis categories (techniques/colour,
composition/space, ideas/influences) ensure the student
addresses aspects of both the methods AND ideas in
detail.
• The three artists all operate within a clearly
defined, although narrow, set of conventional still
life parameters. This enhances the student's
opportunity to undertake a purposeful
investigation that shows understanding of
specific compositional conventions. It also
means that additional approaches to the genre
will need to be investigated to sustain the level of
pictorial development required to achieve highly
in subsequent standards.

3. • The sample follows a highly structured approach
that explores isolated aspects of the genre
(colour, surface qualities, composition, etc)
before combining these into a unified and
complex final outcome.
• The final painting adheres very closely to the
conventions identified in the research
investigation. This explicit application of
particular methods and ideas is entirely
appropriate within the context of this research
standard. The extended development of
individual ideas implicitly based on established
practice is more suited to the assessment
context of the following 2.2 drawing standard.

4. • Although the symbolic/metaphorical
aspects of the artist models are identified
in the initial investigations, the students
own work focuses on the technical aspects
of the genre. However, a range of formal
ideas has been sufficiently resolved
(transparency, mass, light, balance) to
place the sample comfortably within the
achieved with Excellence grade range.

20. Another Student Analysis
Of
Artist works and ideas
generated for their own
theme

34. A Design Exemplar

35. Achievement Standard 3.1 (90515) 4 Credits
This achievement standard involves:
researching and analysing approaches,
within established design practice.
Relationships between approaches will be investigated
to consider the influences, methods and ideas in context.

36. You will have to choose 1 of the following “key”
designers:
•Rodchenko
•Rand
•Brody
•Carson
And then compare this chosen designer to another
designer of your choice …

37. Alexander Rodchenko

38. Paul
Rand

39. Neville Brody

40. David Carson

42. But how do I
use Designers’
ideas?

43. EXPLICIT IMPLICIT
Alexander Rodchenko
David Carson
Franz Ferdinand
Cicilia Sutjiono,
album cover
Design for
D avid Carson – Book Jacket Design”
“I have always been fascinated with
student the way David Carson messed around
design
with types and fonts, so this book
cover design is completely influenced
by those elements.”
www.cmykmag.com/.../cicilia_sutjiono/index.html

44. This is what good assignments look like…
This example shows:
•A wide range of artworks collected and analysed for each artist
•This includes discussion on influences and ideas
•Methods are unpicked and explored through annotated sketches
•A chosen theme of masks is visually brainstormed
•The ideas of both artists are combined with this theme to produce
implicitly influenced artworks
•These artworks are evaluated and linked to the chosen artists using notes

45. Research exemplar by Glen Hutchins