2011 printmaking
description
Transcript of 2011 printmaking
2011
Internal Assessment Resource
Subject Reference: Visual Art 2.2
“Identity in Print”
Achievement Standard: 90478 version 2
Title: Generate and develop ideas using drawing processes and procedures in
print.
Assessment: internal Credits: 6
Date version published: April 2005
Ministry of Education For use in internal assessment
quality assurance status from 2005
Adapted for use at One Tree Hill College, 2011
Student Instruction Sheet
• Completion Date: Week 8 Term 1
• Submission Date: Week 8 Term 2
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• This Achievement Standard requires generating and developing ideas using drawing methods related to established practice, and using drawing materials, processes and techniques with skills appropriate to printmaking.
• You will generate and develop ideas for printmaking. You will use a study of artists’ works to clarify ideas using techniques and conventions appropriate to printmaking. You will need to provide evidence showing how this has been done through drawings and prints.
There are four tasks within this
Assessment.
• Task 1: Research and Generating Ideas 6 hours
• Task 2: Generating and Developing Ideas 10 hours
• Task 3: Techniques and Processes of Artist Models 6 hours
• Task 4: Analysing and Clarifying Ideas 13 hours
• You will submit this work at the beginning of Term 2 and will have no further assessment opportunities throughout the year.
Task 1: Researching and Generating Ideas (6 Hours)
• The title for this page is ‘Whakapapa’. Fine the meanings for each of the following
words: whakapapa, waka, maunga, awa, iwi. As a class we will discuss the significance of these words
• Draw a family tree that traces back to your great-grandparents for both sides of your family – your mother’s side and your father’s side. This is a shortened version of your whakapapa. If you can go further back, make your tree show more information and more relatives.
• You will need to find the names of your waka ( the boat or plane you or your relatives arrived into New Zealand on or in) your maunga, (the mountain closest to your family’s place of origin) your awa (the river closest to your family’s place of origin) and your iwi ( the tribe or family you come from) You may choose to use information gathered from either your mother’s or your father’s side, or both. If you come from another country, you may still be able to gather the same information. You may also identify your whakapapa within your immediate surroundings so your information will be based on where you live and even your school. Make sure you ask your family to help you in your research for this task.
• NB. All examples of student work by Sarah Stewart. 2005
Transfer this information to the following: (the statement on the left is in
Maori and the statement on the right is the English translation)
• Ko…………………..taku ingoa My name is …………………………
• Ko…………………..te waka …………………………is my canoe
• Ko…………………..te maunga ………………………is my mountain
• Ko…………………..te awa ……………………………is my river
• Ko…………………..te iwi …………………………….is my tribe
Draw a series of small sketches of symbols relating to your waka, maunga, awa, and iwi. These may be symbols or taken from actual objects or places.
Evidence may include:
• Photocopies or photographs of actual objects
• Written notes describing object, its significance and why you chose it.
• Maps or charts, travel brochures, plane tickets, boat tickets car licence etc
NB If you are drawing from books you need to include a bibliography.
Student Work: Sara Stewart 2005
Task 2: Generating and Developing Ideas
(based on artist models)
Concepts
You have approximately 10 hours of classroom and homework time to complete this task.
This task involves selecting an artist model(s) and completing a series of related ‘Identity’ drawings.
• Produce a series of small related drawings that analyse how at least 2 artists have used references to their whakapapa in their work. At least 1 of your artist must belong to a culture you identify yourself with. (Could just be a New Zealander) You need to draw a minimum of 1 studies per artist. – 4 drawings in all.
Examples of New Zealand and International Artist Models who have used ‘Identity’ as subject matter include: Phillip Clairmont,( NZ) Fatu Feu’u (Samoan) Nigel Brown, (NZ) Michel Tuffrey (Samoan), Paratene Matchitt (Maori), Claudia Pond Eyley (NZ), , Ernst Ludwig Kirchner( European), Van Gogh, (European) Shane Cotton (Maori), John Pule (Niuean), Roby Kahukiwa (Maori), Richard Killeen (NZ) Seraphine Pick (NZ)
Michel Tuffery was born in 1966 in Wellington, Aotearoa/New Zealand and
currently lives and works there. An artist of Samoan, Tahitian and Cook
Island descent, the artist’s work is a public outlet for the personal
exploration of the many dimensions of his cultural background. He has
stated "I am using traditional design motifs, stories, dances and songs in a
contemporary way." Tuffery regularly involves the pacific island
communities in his performance works.
In small groups, discuss what traditional item this work is based on and the
materials it is made of. Make notes on the group ‘dump’ sheet, then
transfer them onto this page.
Now draw the image in the picture box
provided on the right and if you have
time, colour carefully.
Pacific Artist
Michel Tuffrey
Notes about Michel’s
work……………………
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John Pule: Born in Niue, a small nation in the Pacific, John
Pule moved with his family to Auckland, New Zealand at the age
of two.
Mythology and history are of specific interest to John as he
weaves fish, people and birdlike creatures into a very personal
response to the colonisation of the Pacific.
In small groups, discuss what traditional item this work is based
on and the materials it is made of. Make notes on the group
‘dump’ sheet, then transfer them onto this page.
Now draw the image in the picture box provided on the right.
Take care to ‘grid’ your composition.
Pacific Artist
John Pule
Notes about John Pule’s
work……………………………………………………………………
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Contrast &
Compare:
Create word
banks to
illustrate the
similarities &
differences
between the
2 works
Similarities Differences N Brown, Seven Last
Words 1, hand coloured
lithograph, 335 x 240mm
M Tuffrey: Tianiga, 1989
Further research possibilities
• Prints and printmakers from Australia,
Papua, New Guinea, Japan and Europe.
An excellent book for this task is
• Butiter, Rl., (2001) ‘Islands in the sun –
Prints by Indigenous artists of Australia
and the Australasian Region’ National
Gallery of Australia, Canberra.
Concepts
• Produce a series of small drawings (6x A6)
using the styles of the artists you have chosen
but the subject matter will be derived from
your research and symbols of waka, maunga,
awa and iwi. Your drawings could show the
following:
• Perspective and Scale
• Application of media
• Style of chosen artists.
• symbols of your waka, maunga, awa and iwi.
Developments:
• You need to develop at least 4 works (A5).
• From these 4 developments choose one you think will work as a woodcut. Use the work of Schmidt-Rotluff; see below (Expressionist) to guide you in determining relief areas (black these in with ink/brush or pencil) and cut areas (white. leave these unmarked, but you can use markmaking to show where your cuts will be)
Wood or Linocut
The Expressionists made
prints (mostly woodcuts) as
well as paintings. The
woodcut technique helped
them to work quickly and
directly onto the block. The
images were very dramatic in
their contrasts of dark and
light and were often printed
in stark black and white.
The cut lines could be used
to exaggerate the forms and
planes
Task 3: Techniques and Processes of Artist
Models (Develop and clarify ideas)
• You have approximately 6 hours of classroom and homework time to complete this task.
• In this task your teacher will provide:
• Information Examples of Woodcut, Relief print,, Collagraph and Mono-printing techniques. You will explore at least two of these techniques. Write the process of the selected approaches in your Visual Diary to refer to in Task 3
• Using this research, (practical exploration) and information complete the following:
• A monoprint
• A woodcut.
• (if you have time) A Collograph
• Transfer your drawing to the block.
• The quickest way to do this is to shade the back of your paper with chalk or soft pencil.
• Place your image onto the woodblock, chalk side facing the block
• Draw over the outlines firmly to transfer them to the wood or lino
For textured prints
Prepare a sheet of A3 paper for a textured print; see below
• Make a collection of textures to use as your printing surfaces. This may include fabric, different types of paper, leaves, etc. If your textures are coloured, the colours must relate to the colours used in your artist model studies.
• Alternatively you could collage a sheet of A3 paper with ripped newspaper and/or coloured paper.
• Linocut, Clairmont, 1976
Black areas have not
been cut, white areas
are the areas that
have been cut
Task 4: Analysing and Clarifying Ideas
Transfer drawing to woodcut board
• Print 1 quality print using only black printing ink
– 1 x print on quality white paper (black on white)
– 3 x colour prints paper (You will need to print at least 2
x copies of each colour (see Michel Tuffrey’s work)
leave one aside, and print the second one after making
new cuts in the woodblock. Repeat the process for
each colour used
• Final prints are to be presented for assessment
on an A1 Board
Assessment Schedule: AS90478 Visual Art: 2.2 version 2 : “Identity in Print”
Evidence Achievement Achievement with Merit Achievement with
Excellence
Task 1:
1 x A3 page personal
research
2 x A4 Artist research
1 x A3 Artist comparison
Task 2:
6 x A6 developmental
‘Identity’ studies and 4 x
A5 drawings for prints
Task 3:
1 x A5 working print
(monoprint)
Task 4:
1 x A4 print (black on white)
At least 3 single colour prints
A4 and
1 x A4 multi-colour print
The student is able to:
Generate and develop ideas in a
related series of Identity studies
drawings and prints based on
selected artist model(s)
Uses drawing and printmaking
materials, processes and
techniques appropriate to
purpose
The student is able to:
Generate, develop and
clarify ideas in a
related series of
Identity studies
drawings and prints
based on selected
artist model(s)
Use drawing and
printmaking
materials, processes
and techniques with
understanding
The student is able to:
Generate, develop,
critically analyse and
clarify ideas in a
related series of
Identity studies
drawings and prints
based on selected
artist model(s)
Use drawing and
printmaking materials,
processes and
techniques with
understanding and
clarity of purpose
Student exemplar – High Excellence
The analysis of printmaking models (pages 1 to 4) exceeds the
requirements of this drawing standard. This level of sustained academic
research is more suited to the assessment context of achievement standard
90472 (2.1 for other fields). A brief summary of key methods and ideas of
the field is usually sufficient. The technical and pictorial conventions of
established practice may even be implicitly evident in the practical
investigation itself rather than explicitly stated with written notes.
From page 5 the sample proceeds to undertake a comprehensive
development of both compositional and technical aspects of the portrait
theme.
Monoprint, relief, and intaglio processes are convincingly mastered before
the student then integrates all three processes in a successful series of
increasingly complex outcomes.
The depth of pictorial development is sustained by the gathering of a range
of portrait resources rather than relying on one or two drawings. This is then
extended by the appropriate inclusion of hands and text elements which
enhance the autobiographic quality of the images.
The consistent technical control of both drawing and printing processes is
supported by intelligent and critical risk taking. This has resulted in a
sophisticated body of work that represents an exemplary response to the
standard.