Glenda INGLIS-GILLESPIE

Salesian College Rupertswood

VCE Studio Arts

VCE Studio Arts

Unit 3: Studio Practices and Processes

VCE Studio ArtsUnit 3: Studio Practices and Processes

Area of Study One:

Exploration Proposal – Outcome 1 (SAT 1)

“Prepare an exploration proposal that formulates the content and parameters of an individual studio process including a plan of how the proposal will be undertaken.” – Study Design

Learning Tasks

Read Chapter 8 of your Art-isan textbook. Read through assessment criteria and the sample Exploration Proposals (below,

and others provided by teacher). Analyze the sample Exploration Proposals – highlight where the student is

addressing each criterion, using highlighters or clear annotations. Complete the “all about me” questionnaire to help gather ideas about possible

folio ideas. A blog by Steve Gray that can be a fabulous inspiration and

source of ideas is:

http://artstuff.net.au/category/vce-studio-arts/

Make a list of possible topics or themes. Use the “About Me” planner to help clarify your ideas.

Narrow your list down to three or four that you might explore further. Use the “clarifying my thoughts” brainstorming activity to begin to focus your thoughts on each of these topics.

Find at least two inspiration artists (not necessarily those who use the same theme, the artists should be those you really like), collect images from them and write (no more than two paragraphs each) about what you like in their work- you must mention elements, principles, subject/content, style, materials and techniques and mood.The National Gallery of Victoria (and most public art galleries) have some great information on a wide range of artists. http://www.ngv.vic.gov.au/whats-on/exhibitions/exhibitions/past-exhibitions?ExhibitionYear=

Find at least two other sources of inspiration/information that help you to establish mood, explore your ideas, inspire style... these could be songs, bands,

films, writing, poetry, newspaper articles etc.- write briefly about how you will use this to inform your ideas.

Work through the “My Style” planning guide in Chapter 9 (2017 edition) of Art-i-san textbook (begin in Step Up/transition and complete this for holiday homework!)

From your mind maps and planning guides, narrow your ideas down into two possible ideas.

Write 2 dot point Exploration Proposals for peer and teacher feedback, one for each idea, with a proposal checklist attached to both drafts.

Write down three to five questions that you would like to know about other students’ ideas in this class. Possible questions include: What is the main theme or concept you are using, why did you choose this idea, what do you want to express about your idea in your art, have you seen other artworks that use a similar theme?

Share your 2 possible ideas with a partner. Ask your partner three to five questions. You can take notes or record the process.

After peer interviews, each student tells the class about their partners two ideas. As each idea is presented, class members write down some positive opportunities and challenges that each idea might present. This feedback is given to the student whose ideas are being presented.

Based on teacher feedback, peer feedback, and your own preferences decide on which main idea you will explore in your Design Process Folio (Outcome 2).

Consider some “what if” questions to consolidate your ideas, such as, “what if I explored an opposite to this theme?”, “What if I focus on just a small, personal aspect of this theme? , “What if I imagine I am looking at this theme through another person’s point of view?”

Write your first full draft Exploration Proposal (again, attach copy of checklist). Your Exploration Proposal should NOT mention a plan for a specific Final Artwork. Your Artworks in Unit 4 MUST stem from potential directions that arise from your Studio Process (Outcome 2)

Write a detailed weekly Work Plan.

Assessment Tasks:

Submission of detailed Exploration Proposal, a written document of 2 to 3 pages, presented as a Word documented, printed. This will be attached to the front of your Unit 3 Folio. The document must address all the requirements. (Use the Exploration Proposal checklist and attach it to your draft proposal).

Submission of a detailed Exploration Proposal Work Plan, a weekly plan that explains how you will work through the studio process to fulfil your proposal.

How to write your exploration proposal

The VCE Studio Arts Study Design clearly defines the key knowledge and skills for the individual exploration proposal. You must include all of the key knowledge and skills when developing your individual exploration proposal. These include:

Conceptual possibilities (including an explanation of the ideas to be explored) A description and explanation of the focus (theme) and subject matter to be

communicated and developed Describe the art form(s) to be explored Discuss the sources of inspiration to be investigated and analysed in relation to

your individual ideas Communicate how the aesthetic qualities may be explored in relation to your own

ideas Discuss the intended use of art elements and principles to be explored Explain the materials to be explored Explain the techniques to be explored and propose how these may support the

communication of ideas An explanation of the selection of materials and techniques Plan the studio process (tasks and deadlines) Apply appropriate terminology in the discussion of the studio process

So, what does this mean?

Conceptual possibilities and ideas to be explored

In this criterion, you are required to develop and explore a range of ideas and concepts that relate to your theme.

Below is an example from Studio Arts student, Mireille Stahle

Conceptually there are many different paths that I would like to explore in relation to insects, as they relate to us in so many ways. When I encounter an insect, I see them as a complete set of moving layers, interconnecting and moving over each other. I hope to explore the psychological and physiological responses that humans encounter when they are faced with an insect such as Dynastes Hercules...

.

...... It would be fascinating to explore the way that insects have influenced our day to day life. I am also interested in exploring the many patterns and layers of shell on an insect’s exoskeleton. I would also like to explore the concept of rebirth that comes with adaptation and exposure to harsh habitats and experiences.

Explain the focus and subject matter to be explored

Subject matter is defined as the subject of an artwork and the objects contained within the artwork. The choice of subject matter can be a theme, a topic or a concept. Subject matter can cover a vast range of ideas. Some examples include still-life, portraiture, landscape and the human figure. There are many possibilities for you to consider when deciding the subject matter for your design process. You are encouraged to research artists by visiting galleries, reading art journals/magazines (including A2 in Saturdays The Age newspaper) and viewing various art programs, such as Artscape (ABC) to engage with contemporary thinking and practice.

Example below

My focus and subject matter throughout the design process will be based on my immediate environment. I plan to focus on where I live, St Kilda. I always have had a connection with the environment. Throughout the design process, I will focus on the urban landscape, architecture and the people of St Kilda.

The art form(s) to be explored

The choice of art form(s) needs to be clearly defined in this criterion.

Art forms include painting, printmaking, sculpture, drawing, photography, multimedia, textiles and ceramics.

Identify why you have chosen this art form. Link your art form to your intent and theme; mention its ability to enhance aesthetic qualities (such as tone, texture, time). What are the special properties of your art form?

For sculpture this may be form and volume....

For glass it could be fragility, strength and transparency.

Below is an example from Morgan Koegel

The choice to work in film and photography was obvious to me. After studying Media as a Unit 3/4 last year, I was inspired to continue with this art form in Studio Arts. I feel that I have the resounding knowledge and filmmaking skills to explore my ideas fully. The decision to explore my theme through photography stems from my love of the frozen image. I adore the intimacy of black and white photography, the ability to capture and preserve a single moment in time. I feel passionate and comfortable with both art forms.

An example from Charlotte

Transformation is something that really intrigues me, helps me understand and form sometimes, conclusions of how society and culture works and my place within it. Transformations of people and places from day to night and what happens in between is the most interesting aspect of this idea. This is one of the influencing factors in my decision to explore photography and the electronic moving image that I believe will best highlight and depict movement and change.

Sources of inspiration and how this relates to the student's own ideas

Sources of inspiration include artists, exhibitions, galleries, novels, films, personal experiences, newspapers, articles and journals. You are advised to include at least two artists as inspiration in your exploration proposal. It is important that you discuss how these sources of inspiration relate to your own ideas.

Below is an example from Camilla Counsel

My artistic influence is derived from many different artists such as Daniel Zeller. Zeller's intricate and finely detailed work represents an aspect of illusion in the space around us. This will be a strong factor in my exploration of the topic. Zeller's work evokes a sense of mystery and confusion through the use of detail. It represents an area of space that, from a distance, may appear quite empty; however, upon closer inspection it is finely detailed. This is a technique and an aesthetic quality that I would like to explore throughout the design process.

An example from Morgan Koegel

Bands such as TV on the Radio, PNAU, The Presets, Nada Surf, Arctic Monkeys and The Wombats are hugely influential to my work, not only because I intend to include them in my films, but they also act as triggers for thought processes that lead me to some of my best ideas.

Aesthetic qualities to be explored in relation to the student's own ideas, including elements and principles, and moods/feelings.

In this criterion, you are required to discuss how various art elements and design principles will be employed to create an aesthetic quality. It is important to consider what you want the viewer to feel when looking at your work. Is the work intended to be pleasing to the eye, confrontational, thought-provoking, ambiguous or challenging? Once you have decided on the aesthetic qualities, you will need to consider which of the art elements and design principles will enhance this.

Below is an example from Camilla Counsel

Aesthetically, I am aiming for my work to exude a sense of menace and ambiguity. I want my work to be visually challenging as well as unsettling for the viewer, opening up the possibility of multiple meanings. To achieve this, I will explore various art elements and design principles such as tone, colour, shape, balance and space. Colour will be restricted to a monochromatic palette of dark shadows and light. This will hopefully capture a sense of ambiguity and uncertainty. Shapes will be undefined and fairly organic in nature and placed in asymmetrical compositions to create an unsettling atmosphere. Both negative and positive space as well as enclosed and empty spaces will be employed to heighten the mood of the work.

Materials and techniques to be explored and developed and how this supports the communication of ideas

You are required to discuss the materials and techniques you plan to explore.

Examples of techniques include carving, modelling, casting, photomontage, intaglio and relief printmaking.

Examples of materials include paper, brushes, copper plates, palette knives, oil paints, gouache, charcoal and watercolour

Below is an example from Morgan Koegel

I aim to experiment with a range of materials and techniques throughout the design process. Film requires a range of materials, from the equipment needed during the filming process to the intricate programming of the editing process. During the production process I will need a tripod, extra batteries and tapes. To edit my film, I will use Premiere Pro. Premiere Pro will allow me to manipulate time and image to any desired effect and will be effective when using a large number of sounds and images simultaneously. I would like to focus largely on time manipulation, angles and shot sizes during both the production and post production period. Equally important are the props and models. I intend to work with interesting actors who can bring their own experience to my exploration of adolescence. Subtle prop placement, costume and set decisions will all be factors that I will need to consider.

Below is an example from another student

I will explore a range of materials and techniques throughout the design process. I plan on exploring various drawing techniques- in particular, cross hatching, tonal rendering and contour line drawings. I will need to experiment with a range of media, such as charcoal, ink, pastel, coloured paper, wood and canvas, and possibly the introduction of found objects to create a textural effect that may make my work more interesting.

Explain the selection of materials and techniques

This criterion encourages you to explain why you have chosen various materials and techniques and to discuss various qualities of specific materials, as well as restrictions and limitations. Reasons will vary greatly; however, this process enables you to explain to the assessor why you have chosen certain materials and or techniques and provide reasons for your decisions. This criterion may not be applicable to every student.

Example

I plan to use silicon instead of latex to create my molds as I believe I will be able to mass produce a greater number of seed pods with the silicon mold. The silicon molds last much longer that the latex and the detail that can be achieved with a silicon mold is far greater. Ideally, I would love to set these seed pods in bronze; however, due to financial constraints, this will not be possible. I then started to think about creating transparent seed pods instead. The concept of clear seed pods started to sound fairly appealing. From this constraint I have been able to come up with a better idea. I now plan to place some found objects into the silicon molds and set them in using transparent coloured resin.

(student samples and description of assessment criteria from wikispace: http://cshsstudio3-4.wikispaces.com/Writing+your+exploration+proposal)

Plan the Studio Process

You are required to include a plan that clearly sets out how you will undertake the proposal.

There are many ways in which you may present your plan. See the text book, Art-isan, and teacher samples, for a guide. It is best not to use a template; you need to develop a plan that best suits your topic, art forms etc.

Use of appropriate art language and terminologyIt is important that you use appropriate art language and terminology when writing your exploration proposal. Reading other students' proposals (such as the one below) will enable you to gain a better understanding of the language required.

SAMPLE EXPLORATION PROPOSALS for Analysis:

Sample One, from Studio Arts Study Design

The beauty of imperfection ‘I see that there will be no end to imperfection, or to doing things the wrong way. Even if you grow up no matter how hard you scrub, there will always be some other stain, or spot, somebody frowning.’ from Margaret Atwood’s Cats Eye.

This quote has stayed with me long after finishing Margaret Atwood’s novel, Cats Eye, as I believe it exposes the common struggle humans experience between unrelenting forces of perfectionism and the ‘unwanted’ forces of imperfection. I have been a perfectionist ever since I was a child, placing extreme pressure on myself to succeed based on unrealistic expectations and standards I placed on myself. Atwood’s words, however, finally broke the vicious cycle I have been otherwise trapped in. The reality dawned on me that satisfaction and beauty never comes as anything less than perfection, the only beauty in life is when one is able to finally step back and embrace their imperfections.

This year I am passionate about celebrating imperfection through my artwork, encouraging the acceptance of nature and of people by revealing the beauty of what is organic. Beauty has become restricted to what is considered to fit

‘within’ the frame in society, the idealistic notion of beauty that dictates slowing down the ageing process and covering up wrinkled skin, masking the spiritual beauty that lies dormant within. I want to try and extend that frame, uncovering and exposing the unconscious beauty of faults and defects, moving away from the mass media’s projection of beauty which is unrealistic and towards an imperfect aesthetic world. I will explore imperfection in nature and in people, eradicating the barriers that prevent us from seeing and appreciating true beauty. By using rough and simplistic style, I will investigate the natural aesthetic surfaces of people and their outward projection of emotion through capturing the facial expressions which are usually kept concealed from the physical appearance. Humans disassociate themselves with their emotional experiences such as anger or depression; however, I would like to capture the beauty of anger which is normally perceived as a frightening and ‘imperfect’ emotion.

In Units 1 and 2, I explored different media and materials to create textural qualities, this year I would like to take that further by embedding images of emotional faces to portray different emotional aspects and feelings from within. I would therefore like to juxtapose the physical textures that I create with images that are transferred onto canvas or board using turpentine, by rubbing over the back of a photograph. I am interested in the natural process of disintegration as it is only natural that everything eventually falls to pieces. The elderly are beyond chasing perfection and exude a natural self-acceptance which I believe personifies imperfect beauty. I would like to investigate the texture of wrinkled skin through the use of different materials, distorting fabric and tissue paper from its natural flow of being flat; scrunching it up and gluing it down so that it gives a wrinkled effect.

I would like to explore the encaustic method as by layering I might achieve different surfaces and tensions of imperfection in society. By incorporating wax with different pigments and manipulating the wax I will create a variety of surfaces, textures and visual effect that I hope will create depth within the composition. This relates to the fact that beauty is not only skin deep opposing artists who simply replicate what lies before them in an idealistic way.

I have been inspired by Robert Rauschenberg. His innovative style embraced the juxtaposition between painting, collage and sculpture. The artist combined a range of mediums as his paintings evolved from traditional oil paint brushed

onto a canvas to include collages of transferred images and mixed media. I would also like to explore a broad range of materials such as paper, glass enamel, fabrics, gold pigment and images taken from pictures books and my own photographs. I intend to fuse all different textured elements together to try and convey the beauty of imperfection. I would like to imitate his abstract style, in order to reflect imperfect aesthetic qualities. Rauschenberg’s ‘Red painting’ involves an exploration of the different layers and effects of one monochromatic colour. I would like to explore the tonal variation of certain colours in order to convey the intensity of flawed emotion. I would like to prove that a single colour, such as black or grey can look very colorful when isolated by itself.

Rauschenberg’s spontaneous painting has a certain order to it; he has created unity through colour and balance. I intend to apply materials and paint loosely and boldly, to concentrate on achieving a balanced composition that can prove that imperfection and chaos can be beautiful and ordered. I want to emulate the artist’s intense use of layering and the different aesthetic textures and surfaces he creates.

Sample Two from Mirielle Stahl (Art-isan textbook, Chapter 8, 2016 edition)

Insects are a constant presence in the lives of human beings, and have been particularly influential in my life. My father has a background as an entomologist, and has a fascination with insects, a passion that he has nurtured in me since a very young age. The kinetic movement of insects, their motion, discretion and constant presence in our lives is fascinating. A young girl confronted with a spider or a cockroach is immediately revolted and afraid, and I would like to explore what it is about insects and arachnids such as the huntsman that is so repulsive and yet so captivating. I want to explore the aspects and elements that make up an insect, and experience their gestures, movements, patterns and colours in a bid to learn more about them, and how they influence us in our day to day life.

I am captivated by their distinguishing features. Their complex bright colours, layers of hair and shell and highly textured surfaces, each representing a different purpose and adaptation, many of which have been exploited by the human race to benefit themselves. My aim is to enter into an open-ended enquiry into the concept of the direct effects that insects have on people, what elements of the insects instil fear, pleasure, fascination and repulsion into the hearts of humans, and the way that humans have indirectly used insects to learn and better themselves, whether it's their movement, texture or intangible nature.

Conceptually there are many different paths that I would like to explore in relation to insects, as they relate to us in so many ways. When I encounter an insect, I see them as a complete set of moving layers, interconnecting and moving over each other. I enter through a several corridors of psychological space, firstly, paralysed by wonder, then horror. I hope to explore psychological and physiological responses that humans encounter when they are faced with an insect such as Dynastes Hercules, and other species of rhinoceros beetle. It would be fascinating to investigate the way that insects have influenced our day-to-day life, such as the idea of crushed cochineal, used to create the colour "pure" red. And the many patterns and layers of shell on an insects exoskeleton, creating a

highly textured surface. Through the shedding of a cocoon, one of the steps in the metamorphosis from a grub to a moth, I hope to explore rebirth and demonstrate the deep emotional and physiological roots in an insects many layers, which came with adaptation and exposure to harsh environments and habitats.

The art forms that I will be using in my exploration of insects are drawing and sculpture- with a main underlying component of drawing to influence my sculptural work. In my exploration of drawing I would like explore the intricate detail and scientific precision in the drawing of insects. I want to capture the texture and movement of an insect, as well as the effects that these features have on the human race, extending my exploration of ecology in my sculptural work. In sculpture I would like to focus on the layers of insects, playing with transparency and the idea of revealing the core of the insect and its true intentions, looking beyond the psychological repulsion instilled by a tarantula, to look at it through a completely scientific paradigm- a paradigm completely free of speciesism inspired bias.

My main artistic influence comes from books such as 'Insects of the world' by Walter Linsenmaier and Bourne as well as artists such as Del Kathryn Barton, James Morrison, Louise Weaver and Ah Xian.Though they are only a few of my most influential artists, I relate directly to their use of line, form and colour. Another influence is Professor Steve Simpson, a well-known entomologist who uses insects to explore nutrition in humans. His teaching on the importance of insects inspires me, and I would like to take in his passion for insects in my work in the future.

James Morrison is an inspiration because of the way that he uses line and bright colour to create a warm and inviting mood. Spatially his work is cluttered and disorganised, but in this way I believe that his work is honest. The contrast of the black and white insects, drawn in excruciating detail and precision, juxtaposed against the unrealistic blue of the three-toed sloth (Bensbach River, 2004) is beautiful. I am inspired to explore Morrison's use of foreground and background structures as a compositional device in my own work. Morrison's other works such as The Great Tasmanian Wars, 2004 highlight his exquisite botanical and organic eye for detail, creating a spectrum of emotions over 55 panels of gouache and watercolour on canvas. I would also like to explore his use of intense bright colours and precise, stark lines. These aspects of his work, I predict, will be most influential in my work.

Another artist who I am strongly influenced by is the Australian Archibald Prize winner, Del Kathryn Barton. Her incredible, meandering lines and transparent, layered colours evoke feelings of calmness and complacency. Barton's portraits often have overlapping themes, such as the relationship between humans and animals (particularly monkeys) and the relationships between family members. Her exploration of relationships and ecology entrances me, as she seems to get the message across, despite the quasi-Surrealist style that she works in. I plan to explore Barton's treatment of colour and use of line throughout the design process. Aesthetically, I am aiming for my work to be engaging for the viewer. I want my work to not only exude the sensation of revulsion on the uncovering of a 'nasty' insect, but I also would like to be able to take the viewer on a psychological journey past the initial feeling of horror, and beyond. I want them to experience first-hand their gestures, colour and texture, and for them to appreciate just how captivating and beautiful these creatures can be. Though I have discussed wanting to express the horror that a lot of insects are associated with, it is important for me to make my artworks aesthetically pleasing. Line will define my works, while colour will evoke various feelings. In my exploration of sculpture, scale, proportion and form will be crucial in creating the highly detailed shells of insects as well as giving them an organic and curvaceous quality that I adore. Within sculpture, I think it will be important that I use a variety of materials to create coarse, prickly and/or smooth textures, according to the insect that I am investigating. The

use of implied texture will hopefully be engaging for the viewer.

I plan on using a range of materials and techniques throughout the design process. I am interested in experimenting with various types of cartridge papers, wood and canvas because they have an organic feel and it is their textures that I am naturally drawn to. I plan to experiment on transparency papers, which will allow me to create transparent layers of subtle colour and pattern. Fineliners, graphite pencils, charcoal, markers, inks, and different size brushes will be used in my exploratory works. I would like to photocopy my drawings onto a laser photocopier and experiment with various features such as mirror image, negative image, single colour function and offset printing. I also intend to print my drawings onto textured papers using an inkjet printer. I will need to explore various drawing techniques- in particular, cross hatching and tonal rendering. Bold line, fine, delicate and broken lines will all be used to create the boundaries of my insects, delineating the shape and form of the insect, as well as filling it in with complex and elaborate strokes. In sculpture, I will experiment with resin and silicone casting, creating moulds of various insects. I intend using both opaque and transparent resins throughout the design process.

I plan to develop a series of potential directions that reflect my theme effectively. Ultimately, I hope that my exploration reflect the intangible psychological journey that a person may experience when they encounter an insect. Challenging the viewer to see beyond the sometimes aesthetically displeasing exterior of an insect and to see the multi-faceted beauty that figuratively lies beneath the shell will be a concept that I aim to explore throughout the design process. I will be satisfied if the viewer is able to see beauty and grace in the movement and aesthetics of the insect, and that they will think again before crushing the next beetle they see, perhaps realising what that beetle has exposed about the true nature of the human race.

Sample pages from top scoring folios, and a detailed analysis of how they have met the criteria, can

be found on the National Gallery of Victoria Top Arts Hub:

http://www.ngv.vic.gov.au/learn/top-arts-hub/2014/folios/paris-triantis/s1-1-1

http://www.ngv.vic.gov.au/learn/top-arts-hub/2014/folios/claire-kopietz/1-1

http://www.ngv.vic.gov.au/learn/top-arts-hub/2013/folios/sarah-ujmaia/intro

http://www.ngv.vic.gov.au/learn/top-arts-hub/2012/study-areas

‘About me’ – brainstorming activityComplete the brainstorming chart below in order to assist you to identify a direction for research.

Things I dislikeThings I like

Local issues that impact on me Global issues that impact on me

Brainstorming activity:

ABOUT ME

‘Clarifying my thoughts’ – brainstorming activityConsider the topics listed on your brainstorm above. Choose three to explore in further detail using the pro forma below.

What do I know about the topic? How do I feel about the topic?

How might I communicate my ideas/concerns/feelings?

Which artists have considered this topic?

How did they communicate their ideas/concerns?

Thinking and communicating with clarity and

precision

Summary Exploration proposal checklistComplete the checklist below and attach it to your draft exploration proposal.

Key knowledge and skills

Completed (tick box)

Teacher comments

Discussion of focus and subject to be explored (i.e. topic, theme, concept, content)

Discussion of conceptual possibilities and ideas

Description of the art form/s to be explored (e.g. painting, drawing, ceramics, textiles, photography, multimedia, sculpture, film, etc.)Discussion of the sources of inspiration and how these relate to the student’s individual ideasA discussion of aesthetic qualities (i.e. design elements and principles, signs and symbols)

Materials and techniques to be explored

Use of appropriate art language and terminology

Area of Study Two:

Studio Process – Outcome 2 (SAT 1) Folio

“Progressively present an individual studio process recorded in written and visual form that produces a range of potential directions, and reflects the concepts and ideas documented in the exploration proposal and work plan.” – Study Design

Learning Tasks

Read Chapter 9 of your Art-isan textbook, “Studio Process”. Repeat the “Clarifying my thought” brainstorm for your final selected idea or

theme. Create a detailed mind-map of your theme. Work through a process (for example the one outlined in Chapter 9 Art-isan) to

help you identify your preferences for your personal style and potential directions. Complete interview activity 9.5 (page 152 of Art-isan) to help you focus on a

direction for your folio. Work through the studio process in a visual diary (exploration/research, idea

generation, idea development, experimentation of mediums, techniques, effects, styles, symbolism etc.) to build up a folio of artistic exploration.

Regularly evaluate your exploratory and developmental work with thoughtful, relevant and meaningful annotations.

Clearly identify any POTENTIAL DIRECTIONS, that is, any aspect of your explorations that you consider worth identifying as a potential direction for a Final Artwork (that you will create in Unit 4). You might highlight these with labels, highlighters, or sticky notes, for example.

Potential directions should be evaluated with annotation.

Assessment Tasks

Submission of a Folio of artistic explorations that uses a planned studio process and clearly identifies (at least 6) potential directions. This is part of your SAT, which is formally assessed at the conclusion of Unit 4, however you need to submit Outcome 2 by the due date and your assessor will begin assessing the criteria that relate to Outcome 2 when it is submitted.

TIPS FOR YOUR UNIT 3 FOLIO

NOTES of folio work should be given regular attention as you progress through Studio Arts Unit 3.

Annotation is an integral part of the school-assessed Task - exploration proposal and studio process for VCE Studio Arts Unit 3.

You need to take this element of your work seriously and give it regular attention as you progress through the individual studio process.

Familiarise yourself with the assessment criteria descriptors for VCE Studio Arts. Examine closely the annotation requirements to support evidence of documentation in Criterion 1- 5 at www.vcaa.vic.edu.au/correspondence/bulletins/2012/February/2012FEBSUP1.pdf

You should also consult Outcomes 1 and 2, key knowledge and skills for the VCE Studio Arts Study Design for Unit 3. www.vcaa.vic.edu.au/vce/studies/studioarts/studioartssd2010.pdf

As you annotate your folio ensure you:

HAVE explored the development of ideas and concepts in your design process, and in evaluating these you have made clear links to the subject matter, ideas and aesthetics that have been identified in your exploration proposal.

ENSURE that you have used words and terminology in context relevant to the Study Design in your annotation.

ANALYSE the impact of sources of inspiration to the development of your design process. How was your use of materials and techniques, use of aesthetics and the development of your subject matter influenced by other artists, styles or other arts practices?

DISCUSS and evaluate your effective exploration of materials and techniques throughout the Design Process. Clearly identify materials and techniques that you have explored. Annotate how you have refined your working methods and strengthened your understanding of the properties of particular materials and techniques through experimentation.

DESCRIBE techniques and say how you have applied these. Which techniques appear more effective than others? How did these techniques add to the aesthetic development of your ideas in your exploration proposal? Do they clearly support communication of individual ideas?

WHERE possible, use diagrams and sketches to reinforce your understanding of working methods and your understanding of composition. Don't be precious about drawing over work you have produced if it helps you to articulate what you are trying to communicate. Remember, these are not finished works; they are part of an experimental and explorative process.

DISCUSS how your design process exploration strengthened and refined exploration ideas aesthetically. Analyse how the art elements (and principles) shaped the development of your work through investigation and strengthened your studio process ideas.

IDENTIFY potential directions as you progress through the studio process. You may isolate selected Potential directions separately as your Outcome 2 studio process draws to an end. Critically appraise your selection of these and analyse how these may be used in the development of your cohesive folio of artworks in Unit 4. Selected Potential directions will be those that most effectively communicate concepts and ideas in the exploration proposal. Identify and define a range of

Potential Directions separate from the annotation that discusses the materials, techniques, aesthetic considerations, ideas and concepts explored and outlined in the Exploration Proposal.

ACKNOWLEDGE all sources of information that you have used as inspiration and make sure you have clearly distinguished your individual work from that of other artists. Practicing clear and effective annotation will help you when you prepare for your examination.

Area of Study Three:

Artists and Studio Practices – Outcome 3 (Assessment task and Examination)

“Examine the practice of at least two artists, with reference to two artworks by each artist, referencing the different historical and cultural context of each artwork.” – Study Design

Learning Tasks

Read Chapter 10 of textbook Art-isan Complete set tasks based on developing and extending understanding of aesthetic

qualities, elements and principles of art. Describe a range of recognized historical and contemporary artworks. Analyse unseen artworks from different historical and cultural contexts to

determine use of materials and techniques to produce particular styles. Analyse unseen artworks to determine use of materials and techniques to express

messages and meaning. Select TWO artists, and TWO artworks from each artist (4 artworks) to study. The

artists should be those using similar materials/techniques to your own artwork. The artists should be from different historical OR cultural contexts. Please note: YOU WILL BE WRITING ABOUT THESE ARTISTS ON YOUR EXAM! If you are not sure about which artists to select, your teacher can provide some suggestions.

Using analysis tables (see example attached) compare and contrast your selected artists’ use of materials, techniques, styles, meanings and messages.

You MUST address the historical and cultural context of EACH artwork. Write an in depth comparison of your two artists, using examples from their

artworks and your analysis table to support your writing.

Outcome 3 will be assessed, a total of 30 marks is allocated.

Outcome 3 SAC contributes 5% of your Study Score

All material covered in Unit 3 and 4 is examinable. The end of year examination will contribute 30% of your Study Score.

Artists and studio practices – Outcome 3

“Examine the practice of at least two artists, with reference to two artworks by each artist, referencing the different historical and cultural context of each artwork.” – Study Design

Comparison of artworksUse the table below as a guide to make comparisons between two artworks.

Artwork 1 Artwork 2

Name of artist

Title of artwork

Date of work

Subject matter

Materials

Processes

Ideas

Influences

Aesthetic qualities

Historical/cultural context

Personal response

Comparison of artworks

LEGAL OBLIGATIONS AND ETHICAL CONSIDERATIONS

Use the table below as a guide to make comparisons between two artworks. Artwork 1 Artwork 2

Name of artist

Title of artwork

Date of work

Subject matter

Materials

Processes

Ideas

Influences

Aesthetic qualities

Historical/cultural context

Personal response

LEGAL OBLIGATIONS AND ETHICAL CONSIDERATIONS