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Notes about 2.2 and 2.3 from session one

Key issues for 2.2 and 2.3

Drawing standards – practical explorations of personal propositions based on the methods and ideas of established practice

Standards alignment policy = 1 criterion for each standard

Old 2.2 split into two standards

New 2.2 = conventions – technical, media, procedural, pictorial conventions

New 2.3 = develop ideas – thematic, conceptual, communicative, formal

Difficult to do one without the other

Solution = One learning activity that does both – assess parts or whole through different assessment lens as appropriate

For example:

One – Identify a pictorial/thematic concern – 1 hour

Two – Gather resources – observation drawing – photography, collecting – 5 hours

Three - Identify four appropriate artist models and note key methods/ideas – 2 hours

Four – make eight concept drawings (or two photo shoots) – 4 hours

Five – Select two ideas and make three versions of each – 4 hours

Six – make one finished work (print, painting, maquette, etc) – 4 hours

Seven – evaluate strengths and weaknesses of this outcome – 1 hour

Eight - Make six new concept drawings (look at new artist models if needed) – 6 hours

Nine – Make series of three related works - 12 hours

Total (about) 40hours – ten weeks or one term = eight credits but at least 30 hours explicitly generating work for each standard

2.2

- Technical skill in use of media for specific purpose – recording, decorative, geometric

- Understanding of characteristics and constraints of process and procedure appropriate to field – Sculpture = fabrication, multicolour print = registration, etc

- Pictorial conventions – colour, composition, texture, pattern, line,

- Communication devices – symbolism, juxtaposition, distortion, deconstruction

2.3

- Developmental journey – movement from a starting position to somewhere new – this may be linear or non-linear (back and forth between ideas) but CANNOT BE EPISODIC (unrelated outcomes)

- Extremely useful for students to identify thematic/pictorial/conceptual concerns and make ongoing evaluative annotations – (but evidence is the visual result of this consideration not the words themselves).

- Must acknowledge established practice – can be generic or relate to specific artists approach

image

2.2 - Low Merit

Strengths:

This sample begins with the general concept of teenage identity and explores a range of visual approaches loosely related to this theme.  There is an active pictorial intelligence evident in all photo-shoots with some sequences being purposefully conceived rather than contrived after the fact (see top right triptych of page four)

The first half of the investigation demonstrates the ability to apply the specific conventions of documentary photography (pages 3 to 8) and studio portraits (pages 9 and 10).

The seventeen pages of evidence exceed that normally expected for this four credit standard. The second part explores alternative approaches to subject matter with varying degrees of success.

The sample is at the beginning of the Merit grade range because:

While the strengths of the early series demonstrate Merit level application of specific conventions, the failure to build upon this knowledge of technical and pictorial conventions in the later work prevents the sample from moving higher into the Merit grade range.  The final selection is not the student’s strongest images in terms of technical conventions (light, tonal values) or communicative meaning (teenage identity). 

More secure Merit samples in Photography will show the critical editing of generated images to identify sequence, modify and enlarge the selected images that best communicate the student’s pictorial or thematic proposition.

2.3 High Achieved

Strengths:

This comprehensive sample adopts a ‘scattergun’ approach where extensive photo-shoots are undertaken in the hope that successful images will emerge.  To be successful this strategy needs to undertake a thorough critiquing and critical editing when presenting evidence to prove purposeful decision making is evident.

The final images attempt to identify the most promising approaches but do not yet apply the comments of the peer critique to advance the ideas to level needed to fulfil the clarification requirements of the Merit criterion.

The sample is not yet Merit because:

The sample repeatedly embarks on new photographic situations without building upon the strengths of the preceding work.  While a thematic proposition of teenage identity is stated at the beginning of the investigation, the photo-shoots themselves appear to depart from this purpose.

For Merit the student needs to review images more closely to generate selective sequencing, enlargements of more successful images, and evaluating the strengths of these to revisit and advance the initial idea. For example the triptych sequences on the top left hand side of page four offer a potential avenue for development that may lead to the clarification needed for Merit.