1. Practical Art Achievement Standard Number 90668 Level 3 Produce Original Work within PHOTOGRAPHY
to Show Extensive Knowledge of Art
2009
Standard: 3.3 Number of Credits 14
Making Methods & Ideas
Method of assessment: Portfolio EXTERNAL
REMEMBER TO:
Task 1 • Engage in a process of reflection, questioning and analysis
• Build on, develop and expand initial ideas and content
The PROPOSAL
• Revisit, analyse, clarify and regenerate ideas about subject matter
and organisation of those ideas
• Develop a proposal, brief or project outline with initial ideas • Analyse and clarify purpose and uses of selected artist models
for development • Research and explore the formal properties and characteristics of
• Record and discuss initial ideas artworks studied.
• Understand that the purpose of the initial proposal, brief or Revisit and build on ideas by:
outline is to generate ideas about subject matter, possible
• Researching characteristics and constraints of established
artist models, processes, procedures, materials and processes, procedures, materials and techniques
techniques. • Developing a systematic approach to relating ideas and methods.
• Revisit ideas and develop a systematic approach to evaluating
ideas and methods. Write your proposal out in your diary Critically evaluate the work, looking for:
• You may find using the words WHAT WHY & HOW as • Use of ideas founded in recent and established practice
headings for framing your initial questions useful to start the • Knowledge of characteristics and constraints of established practice
thinking process • Options for regenerating ideas
• Your proposal could be presented as a mind map. • Systematic evaluation of ideas and methods and production of
original work.
• Remember this work could also be the first page of eight for
the scholarship workbook

2. ASSESSMENT CRITERIA
Note: drawing means showing your
Achievement Achievement with Merit Achievement with Excellence thinking. Identify the problem or question
you are addressing. Present a range and
depth of ideas
• Use drawing as the • Use drawing as the • Use drawing as the central Investigate options
central means to generate, central means to means to purposefully generate Regenerate work from what you have
analyse, clarify and purposefully generate, a range and depth of ideas to done.
regenerate ideas. Learn from yourself and others
analyse, clarify and analyse, clarify and regenerate
regenerate options. options.
• Show knowledge of the • Show knowledge and • Show knowledge and
characteristics and understanding of the understanding of the Demonstrate your understanding of
painting methods
constraints of established characteristics and characteristics and constraints Base your understanding on your
processes, procedures, constraints of established of established processes, research
materials and techniques processes, procedures, procedures, materials and Use techniques that are appropriate
used. materials and techniques techniques, and use with Show purposeful decision making
Demonstrate fluency with the media
used. fluency and purpose.
• Develop a systematic • Use a systematic • Systematically and critically
approach to relating ideas approach to relating and relate, evaluate and synthesise a Work systematically but not in a linear way
Show a range of ideas and possibilities
and methods in the evaluating ideas and range of ideas and methods in
Show you have critically selected from your
production of work. methods in the the production of work. own work possibilities for extension
production of work. Evaluate your own work
Synthesize all the elements to produce your
own work
• Use ideas and methods • Use and understand • Understand and build upon a
founded in recent and particular ideas and range and depth of ideas and
established practice in the methods founded in methods in context, and use
production of original recent and established these with insight in the
work. practice in the production production of original work.
of original work. Demonstrate your understanding by
referencing your ideas in context
Be careful not to rely on the model as the
only means of exploring your ideas use
multiple references to enhance your thinking
and show insight in applying these to your
own work
Use your ideas in new and original ways
Produce distinctive and innovative work

3. This folio achieved Excellence in level 3 Visual Arts Photography
It is a very interesting and very individual body of work in that a number of ideas and options are explored using the information loosely assembled on board 1.
Drawing is used as the central means of purposefully generating a range and depth of ideas to analyse, clarify and regenerate options.
The development of the ideas show clear evidence of understanding of knowledge and understanding of the characteristics and constraints of established
processes, procedures, materials and techniques, and the techniques are applied with fluency and purpose.
This student understands and builds upon a range and depth of ideas and methods in context, and uses these with insight in the production of original work.
The work is innovative and expressive and many of the ideas could be redeveloped and extended beyond the folio.

4. Explanatory Notes
This achievement standard is derived from The Arts in the New Zealand Curriculum, Learning Media, Ministry of Education, 2000; Level 8 strands, p. 81,
Developing Practical Knowledge in the Visual Arts, Developing Ideas in the Visual Arts, Communicating and Interpreting in the Visual Arts and
Understanding the Visual Arts in Context.
Evidence of the ability to generate, analyse, clarify and regenerate ideas will be identified in a range of work within photography practice.
• This may involve different processes, procedures, materials and techniques, all of which can be understood as drawing.
• This practice is dependent upon recognising and using drawing as a thinking and working process.
• Drawing is an ongoing decision-making process that enables a continuum to be established and maintained. Aspects of drawing are also
identifiable in finished work.
• Photography drawing may include sketches, research drawings, drawing notes, monochromatic and/or colour studies, technical
experiments/studies, collage, proof, and developmental prints and finished prints.
• Photography drawing should be used as central means of practical investigation. Where it is appropriate, students may include processes,
procedures, methods and techniques from other art fields.
Processes refers to the use of particular techniques with tools, technologies and materials.
Procedures refers to the order and nature of steps taken in getting from the beginning to the end of the problem.
Show knowledge of the characteristics and constraints of established processes, procedures, materials and techniques used.
All forms within photography practice are constrained by their kind, by the processes and procedures belonging to work of its kind and of the materials that
characterise it. It is part of showing a practical understanding of photography practice to show an understanding of its limitations. This does not mean that
students must not test the limits of such constraints. Indeed, if this is done successfully, the student should be rewarded. If, however, those constraints are
ignored, then there can be no evidence, in the work, of the student’s knowledge of their existence and thus no evidence that they are understood.
Develop a systematic approach to relating ideas and methods in the production of work.
As part of producing work, it is important to be able to reflect critically on its outcome in a practical sense. This reflection will be evident in the work that
follows. Evidence will be critically edited, ordered and related to show the nature and order of steps undertaken.
The process of evaluating, as required for achievement with merit and achievement with excellence, will be evident in the analysis and clarification of ideas in
order to regenerate.

5. Format of assessment
Each candidate presents for assessment a portfolio Use ideas and methods founded in recent and established practice in the
consisting of three A1-sized panels representing the production of original work.
requirements of the standard. Panels of markers appointed
by NZQA assess the portfolios submitted by candidates. Learning from established practice is the use of artists as models of practice and
Candidates may enter portfolios for assessment in one or investigating the context within which art works are made. The purpose of this is to
more of the level 3 Visual Arts external achievement inform the student’s own work. Students are encouraged to explore work relating to
standards. their own cultural milieu and interests. What counts as recent and established
practice is a matter for teachers and students to determine together while taking
account of the work of those contemporary New Zealand artists who have achieved
Portfolio specifications critical acclaim.
• Each portfolio is free-standing and consists of Note: Original work, in this context, does not carry the meaning normally associated
three A1-sized panels of cardboard. with the work of mature and innovative artists. Original refers to the extent to
• Work is portrait in orientation and mounted on which the submission develops beyond the study of established practice and reveals
three continuous faces. the student’s ability to make the work their own.
• The three panels are hinged with a suitable
bookbinder’s self-adhesive tape or a glued Critically relate refers to the student’s ability to reflect on the outcomes of their
binding cloth. The two outside panels fold work, make appropriate decisions and act as a consequence of that reflection in the
inwards over the middle panel to ensure that works that follow.
artwork is not damaged.
• All work is dry and fixed. Synthesise refers to the ability to bring together ideas and methods from different
• Artwork presented for assessment is consistent sources, to integrate them in the development of the student’s own work.
with the size of the portfolio panels.
• Three-dimensional work or large-scale work that
cannot be included in the portfolio in the original
form may be represented by photographs and,
where appropriate, accompanied by sketches,
headings or diagrams. In such cases, the
candidate should provide descriptive information
about media and processes used, scale and site.

6. This achievement standard involves using drawing as the central means to generate, analyse,
clarify and regenerate ideas. It also involves showing knowledge of the characteristics and
constraints of established processes, procedures, materials and techniques, developing a
systematic approach to relating and evaluating ideas and methods, and using ideas and
methods founded in recent and established practice in the production of an original body of
work within PHOTOGRAPHY.
This folio achieved an Excellence in Level 3 Visual Arts Photography in 2008.
The candidate explains their proposition clearly at the outset of this submission and then proceeds in a manner that is intelligent, insightful and
original. The layout of the portfolio and the use of the slide carrier and camera to link across the panels add to the overall pictorial impact.
Works are developed as series but also are successful as individual images and show a high level of consideration of the portfolio as an entire body
of related works. As the portfolio progresses the ideas are clarified and there is a clear link between the generative work and the regeneration that
allows the student to make purposeful decisions in regard to the pictorial and conceptual proposition undertaken.

7. TASK 2: INFORMATION STUDIES: referencing the subject.
Panel One layout example
• The objective for this task is to establish a starting point for the folio through DRAWING
• Record through DRAWING & through observation & ANALYSIS information about the subject taken from your
resource material
• Work directly from the subject and consider a variety of compositional elements when setting up the initial
photographs
• Explore the possibilities of a range of media appropriate to a drawing study
• Select media to support identified pictorial issues appropriate to the theme or field in which you are working
• Make decisions about possible directions based on your research & identified artistic exemplars BEFORE you begin.
TASK 3: COMPOSITIONAL STUDIES TASK 4: SEQUENCES TASK 5: CLARIFICATION & TASK 6: PRODUCE A BODY IMAGINE PANEL ONE
Begin to explore the possibilities LINKING IDEAS & DEVELOPMENT OF IDEAS OF WORK THAT EXPLORES STARTING LIKE THIS…
of the subject, media pictorial PICTORIAL ELEMENTS Critically EVALUATE the work to date & IDEAS FOUNDED IN
elements & influences derived WITH ARTISTIC produce works that CLARIFY the key RECENT AND ESTABLISHED The first few images
establish the subject
from research in the form of REFERENCES aspects in a printing study PRACTICE
matter and deal with
compositional studies Show your THINKING demonstrating KNOWLEDGE & Demonstrate knowledge the pictorial issues
Show continuity in the work & logically & sequentially in a UNDERSTANDING of the characteristics you’re initially
of characteristics and
interested in.
demonstrate your thinking series of drawing & & constraints of selected printmaking constraints of established
sequentially. painting studies in which processes, procedures materials & practice & explore Options You show a
Do not repeat yourself but work the ideas, pictorial techniques. The printing study should for regenerating ideas. development of ideas
and by the end of the
systematically by responding to elements, media & artistic demonstrate your understanding of all
Systematically evaluate panel you have
the previous work & clarify the references are combined & the aspects previously explored & introduced your first
ideas & methods to
ideas, through an EDITING & explored with fluency & should provide the LINK FOR THE NEXT artist model.
produce original &
EVALUATIVE Process. purpose. BODY OF WORK
innovative work.

8. This folio achieved an Excellence in Level 3 Visual Arts Photography in 2005.
This candidate has recognised the importance of exploring a wide range of options at the
start of panel one. There is careful consideration of composition, framing and background
WHAT? that relate specifically to the genre of portraiture. Establishing this much information
Subject: Self-Portrait about both portraiture and picture making issues such as viewpoint, depth of field,
gridding, etc. gives the candidate range and depth from which to make further decisions.
WHY? HOW?
Artist references: Proposal
Pictorial Issues
Christian Boltanski, Annette For my board I had six main ideas, which were lines, frames, depth
Messager, Louise Lawler, Julia Lines, frames, depth of field, focus (which makes of field, focus (which makes movement), repetition and colour. I
Rrap, August Sanders and movement), repetition and colour. chose to use digital photography to study colour as well as to be
Mike and Doug Starn. able to enhance photographs through Photoshop so the viewer
would look twice to see if it was real or not.