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Visual arts
Assessment Guidelines for Level Two Visual Art Standards
90233, 90471, 90472, 90473, 90474
Research and document methods and ideas in the context of a drawing study in (painting, photography, printmaking, sculpture design)
Version: 2 | Credits: 6 | Assessment: Internal
| Achieved | Merit | Excellence | ||
|---|---|---|---|---|
| Methods (materials, tools , techniques) of artists have been documented | √ | √ | √ | |
| Ideas (influences, subjects, concept and formal pictorial issues) of artists have been documented | √ | √ | √ | |
| Art terminology has been used appropriately | √ | √ | √ | |
| Particular methods and ideas are clearly applied in the practical investigation (explicitly or implicitly) | √ | √ | √ | |
| Materials and tools (e.g. pen, pencil, paint, camera, computer) are appropriate to context/field (design, painting, photography, printmaking, sculpture) | √ | √ | √ | |
| Techniques and processes (engraving, dark room chemistry, casting, digital manipulation) are appropriate to context/field (design, painting, photography, printmaking, sculpture) and methods/ideas | √ | √ | √ | |
| The duration of the investigation is commensurate with the credit weighting of the standard | √ | √ | √ | |
| The level of performance is commensurate with the level 7 strands of The Arts in the New Zealand Curriculum (Explanatory note 1) | √ | √ | √ | |
| Merit Relevant methods and ideas Select and use with control |
Discussion is specific to how particular materials and techniques are used to achieve a desired conceptual or pictorial concern | √ | √ | |
| Materials and tools are used with confidence to support the conceptual/pictorial concerns | √ | √ | ||
| Techniques and processes demonstrate an awareness of the particular characteristics and constraints of the field | √ | √ | ||
| Excellence Analyse relevant methods and ideas Purposefully investigate ... to show understanding of conventions |
Identifies and explains how the methods and ideas of art work relates to specific personal concerns, technical characteristics and social/ /environmental/historical contexts | √ | ||
| A clearly defined conceptual/pictorial concern is sustained through the research and practical investigation with specific ideas developed | √ | |||
| Materials and tools are used with skill and dexterity to advance conceptual/pictorial concerns | √ | |||
| Techniques and processes demonstrate an understanding of the particular constraints, characteristics, and conventions of the field | √ | |||
Notes:
- Written response templates and prompt questions can be employed to assist learners to understand the nature, quality and quantity of information required to achieve at each level of the standard.
- Extensive biographical information about the artist/s is often less relevant.
- Written and practical evidence are of equal importance
- The student's own drawing study should relate directly to the ideas and methods identified.
- Appropriate facilities should be available (e.g. darkroom, computers, software, printing press)
- Students should have access to sufficient resources about an appropriate range of artists.
90234, 90475, 90476, 90480, 90481, 90482
Generate and develop ideas using drawing processes and procedures in (painting, photography, printmaking, sculpture design)
Version: 2 Credits: 6 Assessment: Internal
| Achieved | Merit | Excellence | ||
|---|---|---|---|---|
| Ideas are generated and developed ? a theme, concept, issue or technique is explored and advanced through an ongoing decision- making process | √ | √ | √ | |
| A clear technical, conceptual, or pictorial concern is shared in multiple works producing a related series ? this may be in the form a linear development or multiple, related outcomes | √ | √ | √ | |
| Explicit or implicit pictorial, technical and/or conceptual characteristics of established practice are clearly evident in the work | √ | √ | √ | |
| Drawing materials (e.g. pen, pencil, paint, camera, computer) are appropriate to the field (design, painting, photography, printmaking, sculpture) | √ | √ | √ | |
| Processes and techniques (e.g. engraving, dark room chemistry, casting, digital manipulation) are appropriate to the field (design, painting, photography, printmaking, sculpture) | √ | √ | √ | |
| The duration of the investigation is commensurate with the credit weighting of the standard. | √ | √ | √ | |
| The level of performance is commensurate with the level 7 strands of The Arts in the New Zealand Curriculum (Explanatory note 1) | √ | √ | √ | |
| Merit Clarify ideas Use materials, processes and techniques with understanding |
Particular ideas are clearly identified and then sustained and developed throughout a number of works | √ | √ | |
| Specific effects are consciously created /developed through the use of particular techniques or pictorial devices. | √ | √ | ||
| A developmental logic is evident in the production of the work | √ | √ | ||
| Excellence Critical analysis Clarity of purpose |
Work shows that the underpinning ideas have been considered in-depth - this can be in the form of written annotations or the progressive advancement/refining of conceptual, pictorial, or technical concerns | √ | ||
| The evidence reveals a clear and convincing link between the materials, processes and techniques used and the purpose/meaning of the work. | √ | |||
| A clear sequential development (although not necessarily linear) is evident in the work | √ | |||
Notes:
- A series of unrelated works (episodic) undermines the 'related series' requirement of the standard
- All developmental work is considered valid evidence for this standard including rough sketches, notes, plans, media experiments, or other such material generated as part of the investigative process
- Written research and notes should not be prioritised at the expense of the practical investigation
- Resource gathering exercises can be an essential precursor to the generating and developing of ideas
- Learners should have access to sufficient resources about an appropriate range of artists
Last updated: 06 October 2009