2011 printmaking

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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

description

Generate and develop ideas using drawing processes and procedures in printmaking practice

Transcript of 2011 printmaking

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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

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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.

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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.

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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

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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

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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.

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Student Work: Sara Stewart 2005

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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)

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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

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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.

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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.

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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)

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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

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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

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• 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

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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.

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• Linocut, Clairmont, 1976

Black areas have not

been cut, white areas

are the areas that

have been cut

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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

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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

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Student exemplar – High Excellence

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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.