Visual arts - external exemplars Level 3 2017 - Printmaking

Show: External Exemplars

The resources below contain examples of candidate work submitted in 2017 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, 513KB) Panel 2 (JPG, 521KB) Panel 3 (JPG, 501KB)
Entire Folio (JPG, 1.4MB)

Confident drawing on Panel One clearly establishes the proposition. A wide range of options and possibilities are set up through drawings exploring, testing and juxtaposing imagery dealing with the contrast between control vs chaos, man-made vs nature, structured vs organic. There is a sense of history and time established through the subject matter of built structures and trees/roots. The circle references a point on the map, circumference of the tree and the bird’s eye view of the compass. Roots become like maps and develop into contours and connections.

Drawing approaches purposefully integrated ideas. Graphic mark and solid, impermeable, hard-edged forms contrast with lyrical, soft, painterly washes and textures. Opaque shapes overlap transparent elements with the construction of the images echoing the subject matter. These contrasts become key components of compositions in the journey towards abstraction. The steps taken to evolve from real to flattened space are clear and show evidence of deep thinking, critical reflection and informed decision-making.

The candidate tests out many combinations of subject matter through sophisticated explorations combining pictorial devices such as scale, shape, blocks of tone, colour, line, repetition and layering, always informed from and building on previous works. Sequences on each panel set up possibilities dealing with spatial relationships, that could head in multiple directions. The candidate successfully navigates and tests through small series and shows more resolved ideas in larger prints.

The choice and placement of colour and tone is deliberately selected, carefully considered and used to extend pictorial options through layering in later works. Ink has been used sensitively, with many shifts in tone from watery subtle, silvery greys to warm sepia tones and contrasting, rich, velvety blacks. Through the use of a range of markmaking and contrast, the candidate produces elegant and dynamic prints.

Printmaking methods have consistently been used with fluency and flair, exploiting their characteristics and potential. All imagery has been hand drawn, including the map on Panel One. Monoprint, intaglio, woodcut, lithograph/pronto plate and photo release techniques have been combined with purpose and in-depth understanding.

The submission results from thorough research, combining ideas from a variety of artistic and stylistic references. The candidate has been able to investigate picture making approaches informed by the meaningful synthesis of ideas from established practice. Works have been critically ordered.

The nine complex works on the third panel continue to evolve and expand on new possibilities within a formal investigation, through analysis and intelligently re-evaluating. Successfully reforming ideas explored earlier demonstrates the richness and breadth of the proposition. 


(click icon images to see a large version)
Panel 1 (JPG, 1.1MB) Panel 2 (JPG, 1.6MB) Panel 3 (JPG, 1.1MB)
Entire Folio (JPG, 3.4MB)

On the first panel, the inclusion of woodcuts of bats and balls, a fragmented collage from the sports page and trajectory drawings establish ideas associated with motion, movement, repetition and force. Recording ethereal moments, like a snap shot in time, allows the viewer to follow the path and becomes a focus throughout the submission.

There is an interest in surface and texture explored extensively through physical experiments and frottage rubbings recorded in ink. At the top of the second panel, layered prints show the force of impact of an inked ball dropping. This work builds on the layering set up on Panel One. It also informs the final sequence, documenting a print installation in a basketball gym, where the imprint of the inked ball is documented as it is dribbled and bounced along the tissue paper surface, leading from the floor to the hoop.

A strength of this submission is the conceptual and explorative nature of the inquiry and a willingness to be inventive and take risks, in allowing an object to make the mark. The series where an image is carved into the cricket bat and then transferred to the ball, and the works of sports shoes sets up further possibilities around footwork.

Ideas informing this body of work span sculpture practice, performance, photography (Eadweard Muybridge and his photographic studies of horses moving), as well as printmaking (Kiki Smith’s human head prints shown on a flat surface, creating a spatial play between the three-dimensional object and flat paper).

The large works and number of images documenting a single idea prevented the candidate from generating the depth and range of ideas required to have gained Excellence. 


(click icon images to see a large version)
Panel 1 (JPG, 1.1MB) Panel 2 (JPG, 1.4MB) Panel 3 (JPG, 1.8MB)
Entire Folio (JPG, 3.8MB)

The candidate successfully uses observational drawing to set up thematic concerns associated with sea birds, fishing, the sea and locating the environment. A map of Stewart Island/Rakiura, boats, islands and landscapes contextualize the images and ideas. A variety of pictorial approaches are explored, enhanced by a broad range of processes and individual images. The amount of work helps establish the theme and informs the telling of the story in a conceptual and pictorial manner.

Each panel references the previous by revisiting images to extend the visual journey. The layout demonstrates the developmental process in a way which is clear to identify.

Printmaking 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 processes for their painterly or graphic qualities. A strength of this submission is the way new techniques are introduced to promote different ways to explore ideas, for example the weaving of food baskets, feathers and the abstraction of environmental shapes relating to wind and water.

Colour has been selected purposefully and specifically used to highlight pattern and particular features in the compositions appropriate to the subject matter. The subtle tonal shifts within the limited palette and use of opaque and transparent ink shows understanding and sensitivity. Pattern-making assists both the storytelling and spatial shifts.

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 capitalize on strengths, by integrating the inventive use of media with explorations changing viewpoint, scale and placement. Exploiting the more adventurous options and arrangement of elements and motifs seen earlier in the portfolio, would have enabled further compositional refinement. The narrowing down of pictorial options was emphasized by repeated use of the same plate. 

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