Visual arts - external exemplars level 3 2016 - printmaking

Show: External Exemplars

The resources below contain examples of candidate work submitted in 2016 for assessment for the Visual Arts Achievement Standard 91458 Produce a systematic body of work that integrates conventions and regenerates ideas within printmaking practice. The purpose of this resource is to assist art teachers prepare their teaching programmes and their students for assessment.


(click icon images to see a large version)
Panel 1 (JPG, 1.2MB) Panel 2 (JPG, 1.4MB) Panel 3 (JPG, 1.4MB)
Entire Folio (JPG, 3.8MB)
  • Confident drawing on Panel One clearly establishes the proposition. It questions the belief that America is the land of freedom and opportunity and examines the role media plays in this ideology. A wide range of options and possibilities are set up through prints exploring, testing and juxtaposing imagery of the middle class, Camp America and Guantanamo Bay Detention Camp.
  • Drawing approaches integrate ideas and are purposeful and in-depth. Graphic mark, digital references, screens, film sprockets, pixels, grids and censored blocked out areas become key components of compositions.
  • The candidate tests out many combinations of subject matter through the exploration of specific pictorial devices such as scale, shape, blocks of colour, pattern, line, repetition and layering of various elements. Through overlapped forms prisoners faces emerge from pixelated layers and then get pushed back in space, disappearing or blacked out. At other times masks, hoods and balaclavas obscure or hide identity. This eludes to the reality of life for these prisoners.
  • The choice of colour and placement of fleshy pink tones and bright boiler suit orange worn by detainees is deliberately selected, carefully considered and used boldly to extend pictorial options through layering in later works. Both opaque and transparent ink has been used sensitively. The use of contrasting black and white enables the candidate to produce dynamic and powerful graphic prints.
  • Printmaking methods have been use fluently and with flair. Mono print, intaglio, pronto plate and photo release techniques have been combined with purpose and in-depth understanding.
  • The submission results from thorough research and careful selection of ideas from a variety of artistic and stylistic references. The candidate has been able to demonstrate a depth and range of picture making approaches informed by the meaningful synthesis of ideas from established practice. Works have been critically ordered.
  • Panel Three continues to analyse and intelligently re-evaluate, demonstrating the richness and breadth of the proposition.


(click icon images to see a large version)
Panel 1 (JPG, 1.4MB) Panel 2 (JPG, 1.4MB) Panel 3 (JPG, 1.2MB)
Entire Folio (JPG, 3.8MB)

This submission shows evidence that:

  • A sense of place; a rural NZ landscape is established on Panel One. The inclusion of roads in observational drawings sets up the idea of a journey, reflected later in the panel in the more cinematic way, evocative of memories. In later works there is a suggestion of movement and glimpses of hazy, fleeting views as if traveling through the landscape.
  • Earthy colours are used initially to reference the land, watery golden and pink tones on Panel Two suggest dawn or dusk, the bare trees and blue greys are reminiscent of winter and old, faded photographs or films. The sprocket shapes used on Panel Three reinforce this. Mark making is used purposefully and becomes softer to extend these ideas.
  • There is an interest in texture and surface explored extensively through a wide range of media on the first two panels including collagraphs, monoprint, digital print, pronto, screen-print, and drypoint. Some experimental prints explore silhouette through the use of tussock plants as a stencil. A large scale (1.5mt x 0.8mt) charcoal drawing with frottage elements from the actual landscape is documented and presented on the bottom of the first panel. This work sets up a gestural approach and moody atmosphere that is further developed through Panel Two and Three.
  • Strengths of this submission are the seamless and confident way techniques are integrated and the systematic manner in which works transition from real 3D space to flattened, abstract space. Ink is used with sensitivity from bold, opaque colour to thin veils of transparency as ideas develop.
  • Research and considered synthesis of ideas from landscape artists have provided the candidate with picture making devices and ideas to advance into new work.
  • The range of print conventions, viewpoints and proximity studies explored offer scope to allow for development, synthesis and extension into new work. The middle of Panel Two successfully explores compositional options based on formal pictorial devices and investigations into abstraction. At times however, a couple of variations of similar works are presented. Greater shifts between sequences of works would have been required to have gained Excellence.


(click icon images to see a large version)
Panel 1 (JPG, 1.6MB) Panel 2 (JPG, 1.7MB) Panel 3 (JPG, 1.4MB)
Entire Folio (JPG, 4.7MB)

This submission shows evidence that:

  • The candidate uses installation and initial drawings to set up a range of ideas associated with Polynesian navigation, mapping and passages of travel. Sequences of naive figurative works establish the theme of carrying identity.
  • Gestural, energetic mark making is used with expressive intent.
  • Ideas develop through related sequences of images. Works are laid out systematically to show development, despite small movements of progression particularly between the second and third panel. Imagery is re-contextualized in collaged works at the bottom of the second panel. The submission would benefit from more breathing space between works, particularly the bottom half of Panel Two.
  • Woodcut conventions are appropriate to the candidate’s purpose and are consistently used with understanding throughout the submission. The candidate demonstrates knowledge of the characteristics and constraints of the expressive use of woodcut.
  • Colour has been employed as a construct and specifically used to highlight pattern and particular features in the compositions. Patternmaking assists both the story telling and spatial shifts.
  • The fragmentation of images and considered rearrangement of shapes is used as a compositional device. Through revisiting previous works and changing the scale of imagery, works on the final panel clarify and regenerate ideas.
  • This candidate meets the requirements for Achievement in the New Zealand Arts Curriculum at Level 8. To achieve a higher grade, the candidate needed to show greater refinement of composition and sensitivity in the use of techniques.
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