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Visual arts
Assessment Guidelines for Level One Visual Art Standards
90018 | 90019 | 90021
Investigate Maori and European art works from established practice
Version: 3 | Credits: 3 | Assessment: Internal
| Achieved | Merit | Excellence | ||
|---|---|---|---|---|
| Art works by artists working within Maori AND European contexts are described | √ | √ | √ | |
| Bicultural nature of New Zealand art is acknowledged | √ | √ | √ | |
| Relationships between art works and their contexts are identified | √ | √ | √ | |
| Information is relevant to art making ideas and techniques | √ | √ | √ | |
| Art terminology is used to identify pictorial features of works and contexts | √ | √ | √ | |
| Learners use their own words and sources are acknowledged for direct quotes | √ | √ | √ | |
| The duration of the investigation is commensurate with the credit weighting of the standard | √ | √ | √ | |
| The level of performance is commensurate with the level 6 strands of The Arts in the New Zealand Curriculum (Explanatory note 1) | √ | √ | √ | |
| Merit Inform an analysis |
Explains how features have been used for particular effects using terminology | √ | √ | |
| Relationships between art works and their contexts are described | √ | √ | ||
| Consistent use of correct art terminology | √ | √ | ||
| Excellence Demonstrate a depth of understanding |
Explains how and why features are used to convey the intention of the artist(s) | √ | ||
| Sustained investigation of more than one artist (may include more than one work or style) | √ | |||
| Explains how given contexts affect the making of art works | √ | |||
| Discusses how the art works are viewed and valued within given contexts | √ | |||
| Consistent and knowledgeable use of an extended art terminology | √ | |||
Notes:
- Practical investigations are not a requirement of this standard.
- Extensive biographical information is not relevant unless directly related to the methods and ideas of art works or Maori / European contexts.
- Spelling and grammar are not assessment factors where the intention of the statement is clear.
- Types of context include: social (Maori/ European) stylistic (traditional/contemporary), technical (media/processes), location (public/private local/national), intention (political, religious, decorative, expressive)
- Templates, prompt questions and terminology lists are useful and appropriate strategies to support learning in this standard.
90019
Use drawing processes and procedures
Version: 3 | Credits: 5 | Assessment: Internal
| Achieved | Merit | Excellence | ||
|---|---|---|---|---|
| Records appropriate information such as proportion, shading, tonal values, shape, form | √ | √ | √ | |
| Uses basic compositional conventions such as balance, harmony, rhythm, tension, contrast | √ | √ | √ | |
| Demonstrates control of dry media (pastel, pencil, charcoal, chalk) techniques such as shading, hatching, line quality, block tone | √ | √ | √ | |
| Demonstrates control of wet media (paint, dye, ink) techniques such as blending, scumbling, dry brushing, glaze, wash | √ | √ | √ | |
| The duration of the investigation is commensurate with the credit weighting of the standard | √ | √ | √ | |
| The level of performance is commensurate with the level 6 strands of The Arts in the New Zealand Curriculum (Explanatory note 1) | √ | √ | √ | |
| Merit Variety of appropriate information Understanding of particular drawing and compositional conventions Appropriate control of wet and dry media |
Records from a range of subjects and uses media to differentiate between visual properties of subjects such as surface quality/texture | √ | √ | |
| Uses a range of different approaches to a given subjects: analytical, expressive, diagrammatic, deconstructive, etc | √ | √ | ||
| Incorporates established compositional conventions (which may be from specific artist models) | √ | √ | ||
| Controls dry media processes and procedures to enhance communication of the unique visual properties of the subject such as imperfections, textural qualities, reflective properties, etc | √ | √ | ||
| Controls wet media processes and procedures to enhance communication of the unique visual properties of the subject | √ | √ | ||
| Excellence Specific information from subject matter In-depth understanding of particular drawing and compositional conventions Understanding of and facility with wet and dry media |
Accurately records particular details from subject matter and uses media to convincingly communicate the visual properties of subjects | √ | ||
| Uses a range of different drawing approaches and techniques with confidence | √ | |||
| Integrates and develops established compositional conventions (which may be from specific artist models) in own work | √ | |||
| Shows a high level of dexterity and confidence in the manipulation of specific properties of dry media across a range of techniques. | √ | |||
| Shows a high level of dexterity and confidence in the manipulation of specific properties of wet media across a range of techniques. | √ | |||
Notes:
- The generation and development of ideas is not an explicit requirement of the standard but can support the understanding of compositional ideas
- The application of methods and ideas from particular artist models is not an explicit requirement of the standard but can support the understanding of compositional ideas
- Learning in this standard can be appropriately used to support the development of ideas for achievement standard 90020 Generate and develop ideas in making art works
90021
Extend ideas in media and techniques to produce new work
Version: 3 | Credits: 4 | Assessment: Internal
| Achieved | Merit | Excellence | ||
|---|---|---|---|---|
| Work is generated in a new field, for example work generated and developed in paint is extended into print, sculpture, photography or design | √ | √ | √ | |
| Compositional conventions from established practice are used to extend ideas | √ | √ | √ | |
| Techniques, processes and procedures from established practice are appropriate to media and purpose in the field (print, sculpture, photography, design). This may be painting where the original body of work is completed in a field other than painting. | √ | √ | √ | |
| Demonstrates control of media and techniques specific to the particular field of practice (print, sculpture, photography, design) | √ | √ | √ | |
| The duration of the investigation is commensurate with the credit weighting of the standard | √ | √ | √ | |
| The level of performance is commensurate with the level 6 strands of The Arts in the New Zealand Curriculum (Explanatory note 1) | √ | √ | √ | |
| Merit Clarify and extend ideas with understanding of techniques and conventions Appropriate to purpose and stages of development |
Modifies ideas with consideration of the characteristics and constraints of the new media within the field | √ | √ | |
| Successfully employs the particular conventions of the given media / technique to produce new work | √ | √ | ||
| Demonstrates understanding of the purpose of each developmental stage including research, concept drawing, developmental work, technical explorations, and final outcome and uses appropriate media for each stage | √ | √ | ||
| Excellence Evaluate clarify and extend ideas Skilful use of media and techniques clearly related to purpose and throughout the stages of development |
Resolves ideas to a higher degree of using the particular characteristics of the new media to enhance new work. This may be inherent in the work itself or supported with notes or annotations | √ | ||
| Demonstrates a high level of skill, dexterity and competence that is beyond that expected at Level 6 strands of The Arts in the New Zealand Curriculum | √ | |||
| Clearly provides evidence that the developmental work has informed the success of the final intended (purpose) outcome | √ | |||
Notes:
- A change in scale and/or the integration of collage elements may not be sufficiently differentiated from the original practice (painting) to constitute a "new field"
- Individual contributions to group work need to be clearly separable for the purposes of assessment
- The specifications of the explanatory notes mean that work for this standard no longer needs to be linked to previous standards at level one
- Test prints, marquettes, or technical experiments are useful evidence of the stages of development
Last updated: 06 October 2009