1. Shelley Ryde
Title:
Approaches to
Painting &
Printmaking
for NCEA
levels 1 to 3

2. OUTLINE
• The process of working from resource material & research to explore
methods, processes, procedures & techniques will be discussed & the role
of drawing as a thinking & working process at the different levels & in the
fields of painting & Printmaking & the use of different thinking skills in art
making will be examined in depth.
• The thinking strategies that are used when examining artworks as models
for learning will be also be addressed.
Models used as exemplars underpin much of the learning in the Visual Arts
& by developing an understanding of the thinking behind a work of art
students are able to extend their own thinking & vocabulary.
• The workshop will also look at course planning, sample programmes, the
use of a range of materials, techniques & processes & offer some ways of
linking these to pictorial issues, artist models & contemporary practice.
• The presentation will also examine standards based assessment & will
discuss examples of work at different levels & at different standards of
achievement.

3. APPROACHES TO TEACHING LEVEL 1
PAINTING & PRINTMAKING
1.1 This achievement standard involves
researching art and artworks from
Mäori and European traditions to make
comment, using art terminology, on art
and artworks in relation to their local or
contemporary contexts. As such, it
aims to acknowledge the bicultural
nature of New Zealand art and society.

4. Level 1 2005
RESEARCH & RELATED
STUDIES 1.1
Students will demonstrate
their ability to:
1. Research the theme of the
LANDSCAPE in the form of a
RESEARCH the artwork of TWO contemporary
photo-essay & comment on their
NEW ZEALAND ARTISTS who feature aspects of
ideas in relation to their art the landscape in their work.
practice. PROVIDE at least THREE examples for each
2. Reference, explore & collate artist.
information on appropriate COMMENT on each artist identifying their
artist exemplars from European background, style, theme, & attitude to the
traditions in a NEW ZEALAND subject & their IDEAS.
SHOW in your research how each artist draws
context.
from European traditions & DEMONSTRATES in
3. Research & study aspects of their work aspects of New Zealand culture &/or
Maori art to use in their own art attitudes.
works & to demonstrate an ANALYSE each work & identify the PICTORIAL
understanding of the way visual ELEMENTS.
culture reflects & is shaped by PRODUCE a technical study of ONE work by
the beliefs, needs & values of each artist to demonstrate your understanding
of the MATERIALS TECHNIQUES PROCEDURES
society. The study should reflect
& PROCESSES APPLIED.
Maori attitudes & values to the ALL NOTES TO BE ON A3 PAGES IN JOURNAL
land & relate it to the art works ALWAYS INCLUDE A BIBLIOGRAPHY
studied.

5. STUDY aspects of Maori art &
artefacts to DEMONSTRATE an
understanding of Maori attitudes to
the land.
At the Museum IDENTIFY & MAKE
detailed drawings of objects that
relate to the theme of land use &
occupation.
Make notes on each drawing
indicating the reason you selected it
to draw and its relevance to the
theme.
PRODUCE TWO A3 workbook pages
of drawings & notes on the site. (One
of these will be used for 1.2)
RESEARCH ONE CONTEMPORARY
MAORI ARTIST TO IDENTIFY Maori
attitudes to land issues & ideas.
MAKE notes, provide background
information, include technical studies
& provide at least two examples of
work by the artist selected.

6. Students are required to produce a photo essay to begin their investigation of the Land. The Photo Essay will provide
the reference for the development of ideas to make individual art works .
Landscape: A Study of the Occupation of the Land. This Students SELECT & RESEARCH Artist references
work will form the basis of your 1.2 Achievement Standard on the basis of how their ideas developed from
*Looking at patterns, marks surfaces, textures, structures, their attitudes to the LAND.
symbols and other means of documentation or recording
occupation of the land.
SELECT a subject or an area for
study based on the THEME of
LANDSCAPE: (a study of the
occupation of the land & how we use
it)
Take at least 24 frames of film,
RECORDING & EXPLORING aspects
of the area selected.
PRODUCE sequences & focus on
details.
IDENTIFY aspects of the theme for
closer study.
For example: viewpoint, pattern,
scale, texture, repetition, grids,
ornament, symbols, perspective &
structures.
RESEARCH & COLLATE any
additional information on the selected
site & theme.
Photo essay: A student ASSEMBLE all the research
example information & photo documentation
in your diary
COMMENT on the photographs in the
context of your own work & ideas IN
YOUR DIARY in your own words.

7. 1.2 USE DRAWING PROCESSES & PROCEDURES
Students are introduced to a range of materials & media &
are given tasks that identify pictorial issues & set specific
problems such as selection of viewpoints, working with
warm colours over a cool ground (complementaries) &
exploration of positive & negative compositions with wet &
dry media.
In these examples by one student the requirements for the
standard are met with facility & understanding
This achievement standard involves
recording information from subject matter
using a variety of drawing media,
techniques and conventions, and
composing elements or forms for a variety
of art-making purposes.

8. DRAWING METHODS
DRAWING PROCESSES & MATERIALS RESOURCE SHEET
Present evidence of a practical investigation to show understanding of ideas and methods
appropriate to the selected tradition. The following methods & techniques suggest some possibilities
for a drawing approach
CHARCOAL: BLACK INK AND PENCIL: Black & OIL STICKS, CHALK COLLAGED &
On white paper, WASH INCLUDING white & including LITHOGRAPHI PASTELS & PREPARED
rubbed & worked TUSCHE: the dark wash pencil C CRAYONS & CONTE: SURFACES:
with rubber & On white or brown range using water. OIL PASTELS: (Can be used to Oil paint or oil sticks
blender. paper, watercolour On white paper using Black and white explore colour scraped to cover a
On newsprint using papers or thin card. different grades oil sticks over a fields, tonal white, black or
the side to blend the Using pen, brush, including 6B/8B coloured &/or relationships & coloured smooth or
tones. stick and/or sponges On brown paper prepared shellac limited tonal textured paper.
On brown paper (blocking areas of with white highlights. ground. (tape can ranges) Tissue applied onto
with white pastel for tone) Using 8B with white be used to isolate Rubbed and paper using collage
highlights. Using water or oil and black oil sticks, areas) blended and glue wallpaper paste
Combined with ink based printing ink & on white or brown Black oil stick overdrawn on or gesso & sealed
and wash. making mono prints paper. blended with white, toned, with primal or
Over a water colour as drawing. Rubbed and blended turpentine. textured, & shellac.
or gouache base. Over coloured with overdrawing Black or other coloured papers & Coloured papers
Over a pastel grounds using a and highlight with colours including overdrawn on glued down onto a
ground. range of media malleable rubber. Payne’s grey oil prepared grounds. smooth surface.
Over a ground including collage On white paper paint scraped & Chalk pastels over Dye or pure
prepared with gesso. painted with Gesso & rubbed into white gesso combined pigments prepared
in combination with or coloured paper with 8B pencils & under a gesso ground
charcoal or ink overdrawn with charcoal. The (can be sealed for
washes. white oil stick/ surfaces can be reworking)
and or white oil blended with
pastels or wax erasers or wiped
crayons. back.

9. Printmaking
study level 1
1.4 extension
Research on
artist models
& planning for
the print

10. Diocesan VISUAL ARTS Department NCEA VISUAL ARTS
YOU ARE REQUIRED TO MAKE AND
LEVEL 1 Subject Reference: VISUAL ARTS Achievement Standard SUBMIT A 3 BOARD FOLIO FOR the
Domain: PRACTICAL ART Folio Planning for 1.3 external standard 1.3.
You should produce:
This achievement standard involves using a range of drawing media and techniques to generate and
develop ideas from subject matter and showing how these are based on the study of artists’ works. ONE BOARD beginning with information
drawings, drawing studies and multimedia
work.
Board 1 Board 3
ONE BOARD of developmental works
Plan for drawings & mixed media work Show concluding work
based on your research & understanding of
artist models.
ONE BOARD of painting studies &
paintings.
Begin THE FOLIO establishing the theme and
demonstrate evidence of development of
ideas through compositions and a variety of
media.
DO NOT REPEAT IMAGES OR
COMPOSITIONS.
SECURE ALL WORK WITH BLUTACK AND
DO NOT GLUE OR TAPE
Evidence of ability to generate and develop ideas
will be identified in a range of work within or
THE FOLIO must establish the
across selected fields.
subject in the first drawings. This This may involve different processes, procedures,
is the starting point. The work materials and techniques, all of which can be
should systematically develop understood as drawing.
Board 2 leading to the final work and in In effect, being able to make paintings,
Show development based on the reading show a steady photographs, prints or sculpture, or to develop
research & understanding of progression and linking of design ideas, is dependent upon recognising and
ideas. using drawing as a thinking and working process.
materials techniques &
Drawing is an ongoing decision-making process
processes that enables a continuum to be established and
maintained. Aspects of drawing are also
identifiable in finished work. For example:
Painting drawing may include drawing notes,
Generate and develop ideas in sketches, monochromatic and colour studies,
collage, small works and finished works.
making artworks

11. PURPOSEFUL
Study what it is you are required to do to achieve this standard. DECISIONMAKING
Read the descriptions.
develop & resolve
Do you understand what the words mean? ideas from fluent control of
Make a check list for yourself & check off each part. subject matter. media and
techniques
is there evidence of decision making?
Achievement with Excellence
is there a development & integration of artists work in your own
work?
Show evidence of purposeful
is there a fluency & control of the media & technique in the decision-making and fluent control
recording of information? of media and techniques in
recording information, and
are the ideas developed & resolved from the subject matter? developing and resolving ideas
from subject matter.
Are the ideas integrated into an individual personal
expression?
Show that ideas, techniques or
Each student will see the topic specified or selected in his or her own conventions from artists’ works
unique way. In the process of framing with viewfinder or the camera lens have been developed and integrated
students make decisions about composition and pictorial issues into own work.
intuitively.
The selection of subject matter is the starting point, but the interpretation
of the subject involves assembling and balancing a whole combination of
factors. These factors include individual choice, understanding of the Ideas
ideas, developed
vocabulary to be used, creative invention and the influence of artistic techniques or
exemplars in the context of a wider understanding of art and society. &
conventions integrated
Students need to understand that the subject matter is the starting point from artists’
for making art works but it is THE IDEAS behind the response to the into own
works used with work.
subject that is important. understanding &
The ideas come from UNDERSTANDING how artists work and the invention
vocabulary used to make an individual statement.

12. Boards 1 & 2 include drawings & developments in a range of media with an emphasis on sequences of works
to show the thinking

13. The student must explore artistic
conventions in the generation and
development of their own work.
Works presented should be related and
may involve a range of media &
techniques as these apply across
different art fields.
Issues addressed include:
Pattern, line, layers, colour, shape,
changes in scale & repetition.
Artist references include:
Serephine Pick Larry Rivers David Salle
& Sigmar Polke
All artists work with a personal vocabulary.
The vocabulary of an artist consists of pictorial
elements, & the particular combination of elements
that an artist employs contributes to their personal
style.
When analyzing the composition or the PICTORIAL
ISSUES in an Artwork you need to identify the
particular elements evident in the work & the way the
artist uses them & use what you need to make your
own work

14. Level 1 folio example
Board 1: the theme or subject
for the folio is presented
through a series of preliminary
drawings & the student works
from a range of collated
information including artist
references such as Karl
Maughan & Pat Steir.
The print (bottom right) uses
multiple dry point etchings to
build colour, collagraphs & a
Solarplate print in the centre to
develop an idea based on the
work of Pat Steir
The use of multiple plates in the dry point
etchings allows the exploration of colour
separations & the student uses the grid
format to explore colour scale & viewpoint

15. THEME: The Garden
References: Monet,
Karl Maughan, Pat
Steir, Louise Fong
Media: oil pastels & oil sticks working
into a wet surface (liquin)
Dye & primal, working over a ground of
gesso
Oil paint & Acrylic Paint
Pictorial issues include: colour pattern
scale grid repetition texture

16. The work on this board (board 3)
develops the idea of the surface &
texture with reference to Louise Fong.
After the ground is prepared the
surface is stained with a mixture of
pure pigment & primal to build layers
of translucent colour
Louise Fong
Pat Steir

17. LEVEL 1 PRINTMAKING FOLIO
BOARD 1 establishes the
information. for this folio & ideas
begin to develop through the
exploration of a range of
techniques.
The initial idea evolves from a study
of the work of Graeme Sydney
The student also looked at the work
of Colin McCahon to identify
pictorial issues of repetition grid
line & colour layers & to analyze the
essence of the landscape & the
profile of the land
Dry point
Solarplate
Collagraph

18. Dry point
Etching
aquatints
Litho sketch over
mono print

19. Level 1 folio: painting & print

20. Level 1 folio using Sean Scully as the artist reference (boards 2 & 3)

21. This achievement standard requires researching and documenting methods and ideas relating to art and
artworks, and applying them in the context of a drawing study in painting. It involves the use of drawing
materials, tools, techniques and processes appropriate to purpose in that context.
Achievement with Merit Achievement with Excellence
Achievement
Research and document methods and ideas Research and document relevant methods and ideas Research, document and analyse relevant methods and
relating to art and artworks and apply them in relating to art and artworks and apply them in the ideas relating to art and artworks and apply them in the
the context of a drawing study. context of a drawing study. context of a drawing study.
Use drawing and painting materials, tools, Select, and use with control, drawing and painting Purposefully investigate and use drawing and painting
techniques and processes appropriate to purpose materials, tools, techniques and processes materials, tools, techniques and processes to show
in that context. appropriate to purpose in that context. understanding of conventions in that context.
Theme: Mapping & Colonialism
in New Zealand Painting
Methods: acrylic on paper &
canvas
Pictorial Elements: pattern
Repetition, Grid, Layers, Tones
Line, Colour Scale
Artist exemplars: Peter James
Smith, Shane Cotton
This folio demonstrates the
links between the Research,
Drawing, Pictorial issues & the
Techniques applied

22. RESEARCH & CONSTRUCTION 1. There are two parts to this unit.
THIS UNIT IS NOT PART OF THE
GETTING STARTED MARKING FOR NCEA, BUT IT IS A
REQUIRED PREPARATION
Part 1 Construction.
The first task is the assemblage of a three-
dimensional spatial model using card & other
materials to provide a structure for future
Note
studies. The model may be any size but
The model is required for
should contain sufficient identified pictorial
beginning the
elements to sustain a course of study. The
introductory drawing
model should also be linked to artistic models
if not based on an artistic reference. You may
2. elect to set up a still life within a contained
space for your subject matter.
RESEARCH
TASK 1
Research study & collate information on selected artists by
identifying examples of work & any ideas related to the
1.RESEARCH & ANALYZE the
pictorial problems identified in your construction
METHODS & IDEAS of:
This information needs to be assembled for your reference
ONE INTERNATIONAL, ONE NEW
before you begin work on the drawing component to
ZEALAND & ONE
demonstrate understanding of art making ideas
CONTEMPORARY painter &
You will be starting with drawing directly from the
RESEARCH THEIR WORK
construction & will be required to identify specific pictorial
issues from the beginning based on your research & you
Note: The artist must be contemporary
understanding of contemporary practice in the field of study
in terms of current practice.

23. Research the work and in particular the pictorial issues and style of work representative of the artist/s selected.
Provide as part of the study, evidence of your understanding of the genre and the social and stylistic
environment that the artist study represents. This study includes technical studies that investigate the way the
artist treats viewpoint, surface, perspective, scale, tone, colour and other pictorial elements in a composition.
Think about: THEME, SUBJECT MATTER, STYLE, & GENRE in the context of the artist/s studied.
Comment on aspects such as:
Composition Method Media Scale Colour Surface Line Form Pattern Light Contrast Tone Texture Shape Gesture
Movement
Photocopy at least 3 examples of the work by each artist & make notes analyzing the style, themes, subject
matter & technical vocabulary employed.
Study & define the main pictorial elements & how each artist uses them referring to the examples selected
IDENTIFY the ideas used by each artist.
DISCUSS the methods (techniques) used by each artist.
SELECT one work, analyse it in depth & PRODUCE compositional and painting studies in your diary analyzing
the way the artist works. These are technical studies. It is important that there is a range of examples of work
from the one artist to refer to, and to study, and that the artist is well established.
SELECT ONE ARTIST & ONE TECHNIQUE (preferably the artist chosen for analysis) to use as an exemplar for
the drawings.
When you research the work of others study how the selected artist constructed the work:
COMPOSITIONALLY
TECHNICALLY
Does the artist use colour or tone as a foundation?
How does this affect the subsequent layers?
Are the layers created by transparent layers of colour or by overlapping shapes?
Does the artist use line? How?
Can you identify the techniques used? How?
How does the artist use tone?

24. TASK 2
DRAWING:
REFER TO THE ARTIST MODEL & USE IN ALL TASKS TO IDENTIFY PICTORIAL ISSUES
1)Charcoal Studies. Select DIFFERENT aspects of the construction & make TWO small detailed tonal studies in
charcoal investigating the spatial relationships within the area selected, the light sources, different viewpoints &
changes in scale.
2)Produce A CROSS SECTION from the model using white on black paper& using a range of media with an
emphasis on line shape & contrasts.
3) Produce one Observational Study investigating negative space
4)Produce a sequence of 3 A5 studies to investigate a selected painting technique.
5)Produce One painting study based on the artist model research in the selected technique
Recording and analyzing tone & form from a construction designed to set up for investigation spatial problems or issues.
The intention of these studies is:
a)To investigate spatial relationships and light sources and to develop an appreciation of different methods of defining tone.
b)To collect a range of visual responses and find different technical means and media to record the response.
c)Develop skills in observing and recording forms and structures, particularly through knowledge and understanding of
perspective, viewpoint and scale.
d)Develop skills in identifying pictorial issues and setting pictorial problems through a response to subject and through
research into examples derived from contemporary practice.
e)Extend understanding and skills in composition.
f)Develop an understanding of technique THE THEME: Figures in
the landscape
PICTORIAL ISSUES:
light, shade, tone,
An expressionist figurative colour,& shape
painting based on the study of
a work by Alistair Nesbitt-Smith, These works were part of
a New Zealand Painter who a drawing sequence
works in the tradition of the Bay exploring the ideas
Area Painters in America such based on a range of artist
as David Park and Joan Brown models including:
and the German Expressionists Eric Fischl, Lucien Freud,
David Hockney

25. When you research the work of others study how the selected artist constructed the work:
COMPOSITIONALLY
TECHNICALLY
Does the artist use colour or tone as a foundation?
How does this affect the subsequent layers?
Are the layers created by different techniques or by the use of multiple plates?
Does the artist use line? How?
Can you identify the process used? How?
How does the artist use tone?
TASK 2
DRAWING:
REFER TO THE ARTIST MODEL & USE IN ALL TASKS TO IDENTIFY PICTORIAL ISSUES
Charcoal Studies. Select DIFFERENT aspects of the construction & make TWO small detailed tonal
studies in charcoal investigating the spatial relationships within the area selected, the light sources,
different viewpoints & changes in scale.
Produce A CROSS SECTION from the model using white on black paper& using a range of media with an
emphasis on line shape & contrasts.
Produce one Observational Study investigating negative space
Produce a sequence of 3 A5 studies to investigate Mark-making with reference to a selected printmaking
technique.
Produce One print based on the artist model research in the selected technique
Recording and analyzing tone & form from a construction designed to set up for investigation spatial problems
or issues.
The intention of these studies is:
To investigate spatial relationships and light sources and to develop an appreciation of different methods of
defining tone.
To collect a range of visual responses and find different technical means and media to record the response.
Develop skills in observing and recording forms and structures, particularly through knowledge and
understanding of perspective, viewpoint and scale.
Develop skills in identifying pictorial issues and setting pictorial problems through a response to subject and
through research into examples derived from contemporary practice.
Extend understanding and skills in composition.
Develop understanding of technique

26. ‘Research, document & analyse relevant methods and ideas relating to
PRINTMAKING & apply them in the context of a drawing study’
‘Purposefully investigate & use drawing and printmaking materials, tools,
techniques & processes to show understanding of conventions in that
context.’
TASK 1
RESEARCH & ANALYZE the METHODS & IDEAS of:
ONE INTERNATIONAL, ONE NEW ZEALAND & ONE CONTEMPORARY PRINTMAKER & RESEARCH THEIR
WORK.
Note: The artist must be contemporary in terms of current practice.
Research the work and in particular the pictorial issues and style of work representative of the artist/s selected.
Provide as part of the study, evidence of your understanding of the genre and the social and stylistic
environment that the artist study represents. This study includes technical studies that investigates the way the
artist treats viewpoint, surface, perspective, scale, tone, colour and other pictorial elements in a composition.
Think about: THEME, SUBJECT MATTER, STYLE, GENRE in the context of the artist/s studied.
Comment on aspects such as:
Composition, Method, Media, Scale, Colour, Surface, Line, Form, Pattern, Light, Contrast, Tone, Texture, Shape,
Gesture, Movement.
Photocopy at least 3 examples of the work by each artist & make notes analyzing the style, themes, subject
matter & technical vocabulary employed.
Study & define the main pictorial elements & how each artist uses them referring to the examples selected
IDENTIFY the ideas used by each artist.
DISCUSS the methods (techniques) used by each artist.
SELECT one work, analyse it in depth & PRODUCE compositional and print studies in your diary analyzing the
way the artist works. These are technical studies. It is important that there is a range of examples of work from
the one artist to refer to, and to study, and that the artist is well established.
SELECT ONE ARTIST & ONE TECHNIQUE (preferably the artist chosen for analysis) to use as an exemplar for
the drawings.

27. These two drawings use
THE THEME: Coastal Landscape Mono print techniques to
explore the ideas of
PICTORIAL ISSUES: line tone, colour,
layering, mark making &
gesture & shape colour.
These works were part of a drawing METHOD: Oil based
sequence printing inks, turpentine
Exploring the ideas based on a range of plexiplate & multiple
artist models including: plates.
Kim Westcott, Peter James Smith,

28. VISUAL
2.3 PAINTING
ARTS VISUAL ARTS PAINTING &
PRINTMAKING
PRODUCE A BODY OF WORK within THE
The course includes a drawing selected form of practice to show
component, a PRINTMAKING study & understanding of art making methods & ideas.
LEVEL 2 a PAINTING study. Theoretical studies This achievement standard involves using
researching the work of specific drawing as the central means to generate &
artists to use as a basis for personal develop ideas. It also involves using a
study are also required & these are systematic approach to generate & develop
documented in student diaries. ideas & using processes, procedures,
FIELDS: materials & techniques from established
The course consists of TWO folio
submissions (Externally moderated) practice in producing a body of work within
PAINTING & PRINTMAKING.
There is no theory examination. painting.
Each folio is worth 12 credits.
Presented in folio format.
PRINTMAKING
PRODUCE A BODY OF WORK within THE selected form
of practice to show understanding of art making
methods & ideas.
This achievement standard involves using drawing as
the central means to generate & develop ideas. It also
involves using a systematic approach to generate &
develop ideas & using processes, procedures, materials
& techniques from established practice in producing a
body of work within printmaking.
Presented in folio format.

29. LEVEL 2 NCEA
2.3 VISUAL ARTS PROGRAMME OUTLINE
The course is divided into two disciplines:
Painting & Printmaking
GETTING STARTED As part of the course students prepare TWO folios documenting a
theme, ONE in PRINT & ONE in PAINTING
Each folio consists of TWO boards of work & is marked
EXTERNALLY. EACH FOLIO IS WORTH 12 CREDITS.
RESEARCH & CONSTRUCTION
Note
The model is required for beginning
the introductory drawing
This model is inspired
by the work of Ron Davis
The student intends to
work with pattern There are two parts to this unit.
shape& colour THIS UNIT IS NOT PART OF THE MARKING
FOR NCEA, BUT IT IS A REQUIRED
PREPARATION FOR THE FOLIO
TASK 1 Construction.
The first task is the assemblage of a three-
dimensional spatial model using card & other
materials to provide a structure for future
studies. The model may be any size but should
contain sufficient identified pictorial elements
to sustain a course of study. The model should
also be linked to artistic models if not based on
an artistic reference. You may elect to set up a
still life within a contained space for your
subject matter.

30. THE YEAR WILL BE DIVIDED IN HALF
BEGINNING THE FOLIO TASK 3: DRAWING. FOR EACH COURSE OF STUDY IN EACH
FIELD.
12 Field:
credits
Printmaking YOU MUST demonstrate that you
Painting can use DRAWING as the central
means to GENERATE & DEVELOP
IDEAS.
TASK 2 Diary Research
Research study & collate information on selected artists by identifying SHOW your thinking & working
examples of work & any ideas related to the pictorial problems identified in process by the use of a
your construction SYSTEMATIC APPROACH to
This information needs to be assembled for you reference before you begin GENERATE & DEVELOP IDEAS
work on the folio to demonstrate understanding of art making ideas USE PROCESSES PROCEDURES
You will be starting with drawing directly from the construction & will be MATERIALS & TECHNIQUES from
required to identify specific pictorial issues from the beginning based on your ESTABLISHED PRACTICE to
research & you understanding of contemporary practice in the field of study PRODUCE A BODY OF WORK
PRODUCE A BODY OF WORK
There are three parts to this TASK.
WITHIN A FIELD TO SHOW
This unit will be repeated for each of the 2
UNDERSTANDING OF ARTMAKING FIELDS
METHODS & IDEAS PAINTING & PRINTMAKING
This achievement standard involves PART A
using drawing as the central means Drawing Studies SEE SEPARATE TASK SHEET
to generate & develop ideas. It also Record & analyze THE COMPOSITIONAL ELEMENTS embodied or contained within the
involves using a systematic construction
approach to generate & develop The objective is to collect information & to produce observational drawings directly from a
ideas and using processes, subject
procedures, materials and PART B
techniques from established practice Media Studies
Develop pictorial issues from the construction using a range of materials & techniques
in producing a body of work.
including wet & dry media

31. GENERATE
HAVE YOU ASSEMBLED ALL THE
INFORMATION YOU NEED TO
BEGIN? ANALYSE
SUBJECT THEME
WHAT CLARIFY
ARTIST MODELS
METHOD
TECHNIQUES
IDEAS
DEMONSTRATE a
HAVE YOU A PLAN? depth
DO YOU KNOW HOW TO TEST & range of ideas
YOUR IDEAS?
USE a systematic &
critical
ONCE YOU HAVE approach
ESTABLISHED THE STARTING
WHY?
POINT FOR YOUR FOLIO YOU
GENERATE & DEVELOP ideas
NEED TO CONSTANTLY
with purpose and understanding
REVISIT YOUR INFORMATION
NOT JUST THE DRAWINGS
BUT THE RESEARCH AS WELL HOW?
REGENERATE
WHAT DO THESE WORDS MEAN IN Artist Model: Pat Steir
THIS CONTEXT? Pictorial Issues: pattern, layering,
transparency, scale, line tone texture &
colour
SHOW YOUR THINKING SEQUENTIALLY
LEARN FROM YOURSELF AND FROM OTHERS

32. PRODUCE A BODY OF WORK
WITHIN THE FIELD OF either
PAINTING or PRINTMAKING TO
2.3 FOLIO (2 BOARDS)
SHOW UNDERSTANDING OF
ARTMAKING METHODS & IDEAS
ASSEMBLE the observational
drawings, developmental
sequences & media studies in
order on a folio board
Painting sample
demonstrating your ability to
Oil on canvas
Second board of Issues addressed
print sample include: Light
showing colour layering
development of shape line tone
theme Transparency &
Techniques used scale
include Artist references:
manipulation of Ross Blechner,
photocopies to Sam Francis,
build layers for a Louise Fong, Terry
solar plate and winters, Jackson
etching aquatint Pollock
with spit bite.

33. THEMES AND SUBJECT MATTER FOR Select ONE of the categories to study.
PAINTING NCEA LEVEL 3 You will need to identify the subject matter
& collate visual resources as part of the
research study
LANDSCAPE INTERIOR/ EXTERIOR/
FIGURATION. SPATIAL. CONSTRUCTION. STILL LIFE.
Crayons & oil stick on a black
ground painted with oil paint
on white card. Artist reference
Elmer Bischoff
Landscape
drawing for print
demonstrating
Drawing using oils on layers of surface &
card pre-prepared with texture. Materials
a black oil painted used include
ground & with a white gesso, shellac &
taped inset. black ink.
Theme of reality &
illusion based on
Gerhardt Richter

34. Arches paper painted with gesso & worked with 8B
Black & white pencil, wiped & blended with water for tones.
Ground on white card
gesso ground on Artist reference Jim Dine. Theme: domestic interior.
overdrawn with oil sticks
wax crayons & 8B pencil arches paper with
Artist reference Pat Steir oil sticks & 8B
Theme: reflected pencil
landscape in the rear
Painted canvas ground
vision mirror
with paint & chalk pastels
Ground prepared
with tones of oil
paint scraped &
blended on arches
paper & overdrawn
with wax oil pastels,
8B pencil & oil
sticks

35. JIM DINE SHANE COTTON (NZ) BEN NICHOLSON KITAJ COLIN MCCAHON (NZ)
JOHN WALKER PATRICK HERON SEAN SCULLY DAVID HOCKNEY WILLIAM SUTTON (NZ)
BRICE MARSDEN FRANCES BACON HOWARD HODGKINS SIMON MCINTYRE JASPER JOHNS
JUDE RAE (NZ) DE CHIRICO TAPIES (NZ) JOHN FIRTH SMITH (NZ)
LARRY RIVERS PETER GIBSON SMITH GORKY BILL HAMMOND CEZANNE
ELIZABETH MURRAY (NZ) ERIC FISCHL (NZ) MONET
FRANCES HODGKINS ROSS RITCHIE (NZ) LUCIEN FREUD KRISTY GORMAN DAVID PARK
(NZ) PAT STEIR PHILLIP PEARLSTEIN (NZ) BRUCE MCGRAW
WILLIAM SCOTT JENNIFER BARTLETT NATHAN OLIVERIA LOUISE FONG (NZ) RICHARD DIEBENCORN
ROBERT ELLIS (NZ) GERDA LEENARDS (NZ) ROSALIE GASGOINE JOHN REYNOLDS RALPH HOTERE (NZ)
MICHAEL SMITHERS MICHAEL SHEPHERD (NZ) (NZ) ROSS BLECKNER
(NZ) (NZ) DICK FRIZZELL (NZ) JOAN BROWN JOHNATHON LASKER
RENE MAGRITTE ALAN PEARSON (NZ) MARK ROTHCO ELMER BISHOFF TERRY FROST
DAVID BLACKBURN GRAHAM SYDNEY (NZ) DAVID SALLE EDWARD HOPPER MONDRIAN
STEPHEN BANBURY CALLUM INNES VUILLARD WAYNE THIEBAUD KEN DONE
LEON KOSSOFF BONNARD PAUL NASH MORANDI SABINA OTT
IMMENDORFF DUFY MOTHERWELL ERIC FISCHL MERVYN WILLIAMS (NZ)
JOHN HOYLAND FRANZ KLINE GERHART RICHTER MATISSE JONATHON LASKER
JOHN PAPAS (NZ) ANDRE DERAIN AUDREY FLACK HANS HOFMANN BRUCE NAUMAN
BARBARA STRATHDEE JOHN WALKER ARTHUR BOYD ARTHUR BOYD ROSS BLECKNER
(NZ) GAUGUIN SEREPHINE PICK (NZ) MOTHERWELL DAVID REED
JOAN SNYDER MONET SUSAN ROTHENBERG JASPER JOHNS SIGMAR POLKE
KARL MAUGHAN (NZ) TURNER RICHARD KILLEEN SIMON OGDEN WILLIAM DE KOONING
BONNARD EUAN MCLEOD (NZ) (NZ) (NZ) FRANZ KLINE
JOHN DRAWBRIDGE SYLVIA SIDDELL (NZ) MICHAEL TUFFERY FRANK AUERBACH WILLIAM BAZIOTES
(NZ) GEOFFREY HARRIS (NZ) (NZ) SIMON MCINTYRE PHILLIP GUSTON
MAX BECKMAN SASKIA LEEK (NZ) FATU FEUU (NZ) (NZ)
FREDA KAHLO REVOR MOFFITT (NZ) PHILLIPA BLAIR (NZ) CY TWOMBLY
ROBERT RYMAN ROB MCLEOD (NZ) WAYNE
TONY FOMISON (NZ) THIEBAULD
PHILLIP TRUSTUM
(NZ)
NICKY FOREMAN
(NZ)
ROSS GREY (NZ)

36. PICTORIAL ISSUES In the process of selecting subject matter for study, the
potential of the subject in terms of providing pictorial
issues for development in the students own work should
be identified.
LIGHT TEXTURE DECORATION PLANE
CONTRAST LINE REPETITION VIEWPOINT
COLOUR TONE TRANSPARENCY GRID OVERLAPPING
PERSPECTIVE SHAPE PATTERN LAYERS FORMS
VIEWPOINT FORM SPACE DEPTH
SCALE
Identify the pictorial issues relevant to the drawing as you These are some of the elements of composition
initiate it, and in reference to the process/method and Some will be more important than others in a
artist reference selected. work.
WHAT ARE THE PRIMARY PICTORIAL ELEMENTS
AND HOW ARE THEY USED TO MAKE A UNIQUE
WORK?
When analyzing the composition or the
PICTORIAL ISSUES in an Artwork you The organization of these elements makes up what is
need to identify the particular elements known as the COMPOSITION of an artwork.
evident in the work and the way the artist
uses them.
Using Drawing to present a practical study of the selected
tradition, identify the subject & the pictorial issues
relevant.
Drawing is the CENTRAL means of generating, analyzing,
All artists work with a personal vocabulary. clarifying & regenerating ideas derived from the research
The vocabulary of an artist consists of pictorial elements, or in depth study from the selected tradition.
and the particular combination of elements that an artist Demonstrate a depth &range of ideas & use a systematic &
employs contributes to their personal style. critical approach. Show purpose & understanding.

37. TASK 1
Select from ONE of the SUBJECT or THEMATIC categories as listed.
Consider carefully & make sure that the subject or theme chosen is manageable, accessible & relevant, & of
sufficient interest to sustain a years work
RESEARCH the treatment of your subject within a historical & a contemporary context. Write an overview & provide
examples to illustrate your comments. (Time frame One week)
TASK 2
Select TWO ARTISTS & study ONE work from each. Comment on each work in depth & compare & contrast the way
the two artists treat the subject. (To be recorded in the diary/workbook) (Time frame One week)
TASK 3
Select a New Zealand artist & identify the tradition of the work selected (description & context)
List the concepts & ideas in selected works & comment on how these relate to other work by the same artist.
Discuss the LINKS between the identified tradition & the influences on the New Zealand artist studied.
(Time frame One week)
TASK 4
Produce a Portfolio of FIVE drawings & painting studies
(Time frame for the drawing sequence: Two weeks)
Use ONE of your selected artists AS A MODEL for the drawing portfolio.
(The artist selected MUST represent relevant & contemporary practice)
Critically analyse & discuss your own work & demonstrate through the practical investigation your understanding of
the links between the selected tradition and relevant recent New Zealand and/or international practice. (Time frame
One week)
In the practical investigation you must work from the theme or SUBJECT MATTER selected for your research
Record all the research information in your art diary including the practical investigation. Label & identify each task.
Use your own words & identify any quotes with footnotes & acknowledge all source material
Provide a BIBLIOGRAPHY for all tasks including web sites & internet addresses.

38. 3.1 research for Painting

41. Drawing for 3.1 painting

46. Printmaking folio: artistic references include Kim Westcott & John
Firth Smith