1 ncea level 3 - visual arts 2008 examples of candidate work – 90669 printmaking

Download 1 NCEA Level 3 - Visual Arts 2008 Examples of Candidate Work – 90669 Printmaking

Post on 02-Jan-2016

214 views

Category:

Documents

0 download

Embed Size (px)

TRANSCRIPT

  • NCEA Level 3 - Visual Arts 2008Examples of Candidate Work 90669 Printmaking

  • Achieved

  • AchievedThis submission shows drawing studies that have generated and developed a range of information and ideas about identity within Maori culture. These have been represented in small sequential developments on panel one, using the woodblock print process where imagery, icon and textured surfaces have been juxtaposed.

    There is a consistent approach to print techniques which have been employed using icons and carvings layered over positive and negatives circular shapes. Also evident is the repetition of a wood grain texture and vertical panel divisions, used here as a compositional device to develop and clarify ideas.

    The investigation of ideas centred on identity and Maori culture has been thought through and understood which has resulted in a logical and linear development of ideas. Ideas continue to show re-generation in the final panel with new compositions and messages.

    The pictorial ideas generated, analyse relationships between identity and art forms within Maori culture and are clarified into simple and effective works in print. There is knowledge and understanding of Shane Cottons works and wood block conventions, which have been developed into the candidates own work.

    This portfolio may have benefited from more in-depth drawing on subject matter and research to provide new ideas and options within compositions for later panels. This would have prevented the heavy reliance on the use of the same icons and textures being used repeatedly.

  • AchievedIn this submission drawing skills have been used to record information on panel one, showing a range of compositional arrangements with flowers. The generative drawings that follow demonstrate sufficient evidence of clarifying and regenerating ideas. The ideas that have been explored on panels two and three show analysis of the concept of repetition through the juxtaposition of positive and negative flowers, silhouettes and line, which later transforms a rhythm of shape and colour, creating the illusion of floating water lilies.

    Selected drawing and printmaking methods are appropriate to purpose and demonstrate knowledge of the characteristics and constraints of the chosen print processes. The print works clarify and regenerate ideas where there is a limited range of pictorial devices having been investigated, from the pattern and shapes of the flowers through to the linear form of water.

    Despite some of the same plates being used repeatedly, there is evidence that ideas have been evaluated with decisions made to explore the relationships between many pictorial elements.

    Ideas have been developed logically through selected forms of established practice, in particular the work of Monet and Andy Warhol which have informed the development of ideas and printmaking methods.

  • Merit

  • MeritThis submission shows evidence that drawing has been used to purposefully generate information and ideas based on the relationship between man and nature. Composition demonstrates a depth of ideas of how nature connects in form to human anatomy. Some of the more developed works on panels two and three show analysis and clarification of picture making concerns. Flat patterns, cut outs and blocks of colour have been used to establish and isolate parts of the many forms and shapes of human internal organs, used and to flatten and silhouette key elements to create relationships with surrounding space.

    Many printmaking techniques have been used with sound understanding of required processes. There are formal devices that drive the proposition through the use of form, silhouette, repetition and line - using various plant forms; foliage and roots. Colour is tonal and earthy and purposefully links to the forms selected and employed in the works.

    This submission develops systematically and ideas have been analysed to enable the movement into new compositions which explore a juxtaposition of flat planes of colour, contrasting shapes and silhouettes, to later develop into cut outs on panel three. Pictorial ideas develop through to a more formal arrangement of interlocking forms, to convey ideas about how the human body and nature are intertwined. A range of established practice has been researched in-depth to inform techniques and ideation, including New Zealand artists such as Dick Frizzell and Fiona Hall. The decision-making around pictorial ideas and colour conclude the selection, and demonstrate an understanding of the artistic references.

  • MeritThe drawing in this submission has been purposefully generated and appropriate imagery selected from photographs and sources to define the proposition that investigates ideas about politics, war, death and hope. These drawings have developed a range of pictorial ideas which analyse positive and negative silhouettes, expressive mark-making and text. These have been further clarified into engaging social and political messages.

    The stencilling method, in collaboration with expressive mark-making, shows a sound control of printmaking techniques. A knowledge and understanding of Banksys works (stencilling conventions), have been extended into the candidates own ideas. The colour selection used enhances and develops the proposition centred on Americas political status.

    A systematic and critical approach has ensured a focus on the development of pictorial ideas and relationships shared between text, silhouettes, icons and scale. These relationships lift and enhance the work from earlier ideas of repetition, into works on panel three to help build imagery, juxtaposing expressive layers of ink, text and message.

    Further regeneration from a more in-depth drawing base and greater technical fluency overall would have moved this portfolio to Excellence.

  • Excellence

  • ExcellenceDrawing on panel one clearly defines the proposition undertaken and investigates what might happen when we are asleep. There is a comprehensive engagement of study and ownership in the selection of ideas with drawing being playful, dramatic, purposeful and in-depth.

    The integrated use of subject matter, relating to dreams, nightmares and sleep, analyses and clarifies ideas through juxtaposition; play with figure in space, scale, texture and over-exaggerated drama.

    There is a clear fluency of printmaking methods that combine techniques with purpose and understanding, including colour mixing, registration, overlays, pop- outs and pull tabs. The selection of colour has been deliberate dark tones suggesting childhood nightmares and fears and the middle of the night. Compositions set up intelligent relationships between figure, the bedroom and the story book which is read before the lights are turned out. This candidate demonstrates an advanced understanding of all printmaking processes used, showing the successful evaluation of ideas throughout the submission.

    The work has resulted from a thorough study and careful selection of ideas from a variety of artistic and stylistic references such as Pop Surrealism, Camille Rose Garcia, Ana Bagayan and Gary Taxali. Through the appropriate selection of artistic reference, the candidate has been able to demonstrate a depth and range of established practice, which has been synthesised into the candidates own work.

  • ExcellenceIn this submission panel one clearly defines the proposition and generates ideas derived from industry, in particular the factory workplace. There is an intelligent engagement of study as ideas have been contained within an illustrative and technical drawing style, demonstrating sophisticated understanding of picture making and composition.

    The integrated use of figure in space shows the happenings within a factory or workshop. Analysis and clarification of ideas are evident through the juxtaposition of figure(s) and the mechanical grid. Pictorial devices such as scale, line, contrast, silhouettes and perspective have been utilised effectively and with control.There is a clear technical fluency of printmaking methods that combine techniques with purpose and in-depth understanding, including registration and printing. Restraints in the use of colour show subtle tonal shifts and compositions set up interesting relationships and tensions between the figure and combination of two and three dimensional spatial devices.

    Panel three continue to analyse and critically re-evaluate, demonstrating an advanced and mature understanding of the depth and breadth that the proposition offers. The linear figure in overalls, versus the silhouette, provides pictorial direction and further options for the production of new work.

    The work results from a thorough study and careful selection of ideas from a variety of contemporary practices, such as Jennifer Bartlett, David Salle and Moholy - Nagy. The strong references to these practices (and obviously others) have been well considered and show understanding of formal picture making and compositional devices.