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1 NCEA Level 3 - Visual Arts 2008 Examples of Candidate Work - Printmaking.

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Presentation on theme: "1 NCEA Level 3 - Visual Arts 2008 Examples of Candidate Work - Printmaking."— Presentation transcript:

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

2 2 Achieved

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6 6 This work shows evidence that drawing studies have generated and developed a range of information and ideas about body/self image. These are represented in small sequences, using colour overlays, however the initial drawing is narrowly selected and defined and the folio may have benefited from more in-depth drawing on subject matter to provide new ideas and options for later panels. There is a consistent approach to print techniques employed using text layered over positive and negatives silhouettes, figure repetition and the grid as a compositional device to develop ideas. The investigation of ideas (focusing on self image and identity) appear to be well thought through and understood resulting in a logical development of ideas. Ideas continue to be re-generated in the final panel. The grid and use of repeated images becomes less structured finishing with a combination of figure and text. The pictorial ideas generated analyse positive and negative relationships, and are clarified into simple colour works in print. There is some knowledge and understanding of Andy Warhol’s works and screen- printing conventions, which have been developed into the candidate’s own compositions.

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10 10 Achieved In this portfolio the drawing skills used to record information on panel one show a range of viewpoints and compositional arrangements, while the generative drawings that follow show sufficient evidence of clarifying and regenerating ideas. The ideas explored on panels two and three analyse the concept of ‘the game’, through the juxtaposition of players, chessmen and the chessboard that later transforms into a 3- dimensional form, creating the illusion of architecture. 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 range of pictorial devices being investigated, from the pattern and shapes on the chessboard being manipulated through to the act of the game taking place. All works are related, despite some of the same plates being used over and over again and there is evidence that ideas have been evaluated, with decisions made to explore the relationships between shape, scale, mark making and 3-dimensions. Ideas have been developed logically through the selected forms of established practice. The work in particular of Escher has informed the development of ideas and printmaking methods.

11 11 Merit

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15 15 Merit In this work drawing has been used to purposefully generate information about New Zealand icons, using a range of Pop Art conventions. Composition shows a depth of ideas about what it is to be Kiwi, investigating the concept of ‘Kiwiana’ and the ‘New Zealand way of life’. Some of the more developed works on panels one and two show analysis and clarification of picture making concerns. Flat planes and blocks of colour have been used to establish and isolate parts of the many motifs used and to flatten and silhouette key elements to create relationships with surrounding space. Many printmaking techniques have been used with apparent in-depth understanding of their processes. There are formal devices that drive the proposition through the use of tone, line, repetition and silhouettes of various images to convey Popular Culture. Colour is bright and purposefully links to the icons selected and employed in the works. The submission develops systematically and ideas have been analysed and edited to enable the movement into new compositions which explore a juxtaposition of objects/icons, flattened planes, contrasting shapes, bright colour and surface texture. Pictorial ideas develop through to a more informal arrangement of icons and images, particularly the last work, which potentially could be seen as a step back to the works at the beginning of panel one. A range of established practice has been researched in depth, from New Zealand artists including Ian Scott, Dick Frizzell, as well as Robert Rauschenberg and Andy Warhol. The decision making about pictorial ideas and choice of colour inform the selection and demonstrate an understanding of the artistic references.

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19 19 Merit This portfolio shows evidence that the drawing on panel one has been carefully executed and is appropriate to purpose as it has generated images selected from photographs and defined the Punk-Rock culture. These drawings have developed a range of pictorial ideas which analyse positive and negative cut outs, and these have been further clarified into complex social and political messages. The stencilling method shows a sophisticated and fluent control, while remaining within a limited range of techniques. The registration and overlay of colour separation has also been very well controlled. There is considerable knowledge and understanding of Banksy’s works and stencilling conventions, which have been extended into the candidate’s own ideas. The colour development shows a thorough and sophisticated understanding of Banksy’s and Andy Warhol’s use of colour and repetition. A systematic and critical approach has focused on the development of pictorial ideas and relationships shared between text, silhouettes, icons and scale. The relationships lift/enhance the work from earlier ideas of repetition, into works on panel three that helps build imagery between juxtaposing layers, text and message. With the pictorial ideas evident, more could have been regenerated from the depth of drawing developed in panel one. Reliance on using the same stencil repetitively often restricts regenerational options.

20 20 Excellence

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24 24 Excellence This candidate work shows evidence that the drawing on panel one clearly defines the proposition undertaken and establishes the nature/ideas of duck shooting. There is a comprehensive engagement of study and ownership in the selection of ideas with drawing being playful, purposeful and in-depth. The integrated use of subject matter relating to duck shooting analyses and clarifies ideas through juxtaposition; play with figure and object, scale, pattern and repetition. There is a clear fluency of printmaking methods that combine techniques with purpose and thorough understanding, including colour mixing, registration and printing. The use of colour shows subtle tonal techniques and colours have been deliberately selected to link to duck shooting and the camouflage pattern. Compositions set up intelligent relationships between figure, duck and shooting target while the rough textured surfaces from the bullet/pellet holes highlight the drama performed in the act of shooting. The candidate demonstrates an advanced mature understanding of all printmaking processes used and ideas have been successfully evaluated throughout the submission. The work results from a thorough study and careful selection of ideas from a variety of artistic references - Jasper Johns, Shane Cotton and Andy Warhol. Through the appropriate selection of artistic reference, the candidate has been able to demonstrate a depth and range of picture-making ideas complimented by a meaningful use of established practice. The final works extend beyond the models, selecting and using appropriate elements into a synthesis that is the candidate’s own.

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28 28 Excellence Panel one clearly defines the proposition and establishes the nature/ideas derived from a narrative of fairy tales set in the forest based in children’s books. There is an intelligent engagement of study as ideas are contained within an illustrative drawing style, demonstrating sophisticated understanding of picture-making. The integrated use of subject matter relating to storytelling analyses and clarifies ideas through the juxtaposition of figures and creatures in the forest while exploring pictorial devices such as texture, shape and line, space, contrast and silhouettes. There is control in the selection and management of the formal qualities employed. There is a clear fluency of printmaking methods that combine techniques with purpose and in-depth understanding, including cut-outs, registration and printing. Restraints in the use of colour show subtle tonal techniques and heighten a sense of drama within the narrative. Compositions set up interesting relationships and tensions between the figure/creatures and the forest/landscape that eventually metamorphose into one. Installation and print ideas in panel three continue to analyse and critically re- evaluate demonstrating a mature understanding of the depth and breadth that the proposition offers. The clarification in pictorial direction continues to provide 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 David Hockney (fairy tales series), Lucian Freud and Odilon Redon including children’s story books such as Where the Wild Things Are by Maurice Sendak and Into the Forest by Anthony Browne. The strong references to these practices are well considered in the understanding of picture-making in this submission.

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