Visual arts - external exemplars Level 3 2018 - Printmaking

Show: External Exemplars

The resources below contain examples of candidate work submitted in 2018 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, 544KB) Panel 2 (JPG, 585KB) Panel 3 (JPG, 635KB)
Entire Folio (JPG, 1.7MB)

A clear proposition is established on panel one through confident drawing exploring a wide range of options and possibilities. Ideas relating to the social impact of the housing crisis are investigated through viewpoint, proximity, testing and juxtaposing imagery and trying options with different media and techniques. There is a sense of dislocation of people from communities conveyed through the use of woodcut, a powerful expressive medium employed to establish the emotional message of fractured society and traditionally used for protest or to convey a political message.

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 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 installations provide options and inform the stacked works on the last panel. Successful ideas are analysed and prioritised, showing evidence of deep thinking, critical reflection, and informed decision-making.

The choice and placement of colour and tone is deliberate, carefully considered and used to extend pictorial options. Mark making is used for its expressive qualities and to describe tonal shifts. Velvety black ink has been used with control and sensitivity to create contrast and dynamic images. Printmaking methods have consistently been used with fluency and flair, exploiting their characteristics and potential.

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


(click icon images to see a large version)
Panel 1 (JPG, 417KB) Panel 2 (JPG, 376KB) Panel 3 (JPG, 341KB)
Entire Folio (JPG, 1.1MB)

On the first panel, works exploring the juxtaposition of abstract patterns against the landscape, and moving into the weaving of pattern on pattern and framing the landscape, show a depth of ideas and a strong entry point. There are considered investigations into figure / field and positive / negative and relationships and cultural references to Pasifika and Western traditions, investigating both, without compromising either.

There is an informed interest in surface, texture, grids, framing devices and limited colour explored through proficient use of printmaking, including frottage rubbings. At the top of the second panel, collaged prints build on the layering set up on panel one.

A strength of this submission is the conceptual and explorative nature of the inquiry and a willingness to be inventive, take risks and build on successes. The initial pencil drawings show limited drawing skill and there are areas where similar compositions are presented. However, the candidate makes the most of ideas and their potential, through analysis and regeneration of ideas. This submission is purposeful in the progression of the investigation.


(click icon images to see a large version)
Panel 1 (JPG, 404KB) Panel 2 (JPG, 391KB) Panel 3 (JPG, 361KB)
Entire Folio (JPG, 1.1MB)

The candidate successfully presents a range of ideas through the use of printmaking and collage drawings to integrate conventions and set up thematic concerns associated with architectural forms. Techniques, including collagraph, stencils, cyanotype, photographic pronto, drypoint and monoprint, are well integrated and composition is explored through layering, shape, colour, scale, line, texture and tonal shifts. There are references to architectural plans / blueprints and understanding of positive and negative space. Picture making becomes more complex and assured as ideas are regenerated.

Each panel references the previous by revisiting images to extend the visual journey. The layout demonstrates the developmental process in a way that clearly identifies pictorial shifts and shows the candidate's thinking and decision-making towards geometric abstraction.

Printmaking conventions are appropriate to the candidate’s purpose and are used with understanding throughout the submission. The candidate demonstrates knowledge of the characteristics and constraints of processes for their textural or graphic qualities. A strength of this submission is the way new techniques are introduced to promote different ways to explore ideas.

Colour has been selected purposefully. The subtle tonal shifts within the limited palette and use of opaque and transparent ink show understanding and sensitivity.

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 capitalise on strengths, by consistently integrating the inventive use of media with explorations changing viewpoint, scale and placement. Exploiting the more adventurous options and arrangement of elements would have enabled further compositional refinement.

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