Generate and develop ideas using drawing processes and procedures in printmaking practice

1. 2011
Internal Assessment Resource
Subject Reference: Visual Art 2.2
“Identity in Print”
Achievement Standard: 90478 version 2
Title: Generate and develop ideas using drawing processes and procedures in
print.
Assessment: internal Credits: 6
Date version published: April 2005
Ministry of Education For use in internal assessment
quality assurance status from 2005
Adapted for use at One Tree Hill College, 2011

2. Student Instruction Sheet
• Completion Date: Week 8 Term 1
• Submission Date: Week 8 Term 2
____________________________________________
• This Achievement Standard requires generating and
developing ideas using drawing methods related to
established practice, and using drawing materials,
processes and techniques with skills appropriate to
printmaking.
• You will generate and develop ideas for printmaking.
You will use a study of artists’ works to clarify ideas
using techniques and conventions appropriate to
printmaking. You will need to provide evidence showing
how this has been done through drawings and prints.

3. There are four tasks within this
Assessment.
• Task 1: Research and Generating Ideas
6 hours
• Task 2: Generating and Developing Ideas
10 hours
• Task 3: Techniques and Processes of Artist Models
6 hours
• Task 4: Analysing and Clarifying Ideas
13 hours
• You will submit this work at the beginning of Term 2 and will have
no further assessment opportunities throughout the year.

4. Task 1: Researching and Generating Ideas (6 Hours)
• The title for this page is ‘Whakapapa’. Fine the meanings for each of the following
words: whakapapa, waka, maunga, awa, iwi. As a class we will discuss the
significance of these words
• Draw a family tree that traces back to your great-grandparents for both sides of your
family – your mother’s side and your father’s side. This is a shortened version of your
whakapapa. If you can go further back, make your tree show more information and
more relatives.
•
You will need to find the names of your waka ( the boat or plane you or your relatives
arrived into New Zealand on or in) your maunga, (the mountain closest to your
family’s place of origin) your awa (the river closest to your family’s place of origin)
and your iwi ( the tribe or family you come from) You may choose to use information
gathered from either your mother’s or your father’s side, or both. If you come from
another country, you may still be able to gather the same information. You may also
identify your whakapapa within your immediate surroundings so your information will
be based on where you live and even your school. Make sure you ask your family to
help you in your research for this task.
• NB. All examples of student work by Sarah Stewart. 2005

6. Transfer this information to the following: (the statement on the left is in
Maori and the statement on the right is the English translation)
• Ko…………………..taku ingoa My name is …………………………
• Ko…………………..te waka …………………………is my canoe
• Ko…………………..te maunga ………………………is my mountain
• Ko…………………..te awa ……………………………is my river
• Ko…………………..te iwi …………………………….is my tribe

8. Draw a series of small sketches of symbols relating to
your waka, maunga, awa, and iwi. These may be
symbols or taken from actual objects or places.
Evidence may include:
• Photocopies or photographs of actual objects
• Written notes describing object, its significance and why
you chose it.
• Maps or charts, travel brochures, plane tickets, boat
tickets car licence etc
NB If you are drawing from books you need to include a
bibliography.

9. Student Work: Sara Stewart 2005

10. Task 2: Generating and Developing Ideas
(based on artist models)
Concepts
You have approximately 10 hours of classroom and homework time to complete this
task.
This task involves selecting an artist model(s) and completing a series of related
‘Identity’ drawings.
• Produce a series of small related drawings that analyse how at least 2 artists have
used references to their whakapapa in their work. At least 1 of your artist must
belong to a culture you identify yourself with. (Could just be a New Zealander) You
need to draw a minimum of 1 studies per artist. – 4 drawings in all.
Examples of New Zealand and International Artist Models who have used ‘Identity’ as
subject matter include: Phillip Clairmont,( NZ) Fatu Feu’u (Samoan) Nigel Brown,
(NZ) Michel Tuffrey (Samoan), Paratene Matchitt (Maori), Claudia Pond Eyley (NZ),
, Ernst Ludwig Kirchner( European), Van Gogh, (European) Shane Cotton (Maori),
John Pule (Niuean), Roby Kahukiwa (Maori), Richard Killeen (NZ) Seraphine Pick
(NZ)

11. Michel Tuffery was born in 1966 in Wellington, Aotearoa/New Zealand and
currently lives and works there. An artist of Samoan, Tahitian and Cook
Pacific Artist Island descent, the artist’s work is a public outlet for the personal
Michel Tuffrey exploration of the many dimensions of his cultural background. He has
stated "I am using traditional design motifs, stories, dances and songs in a
contemporary way." Tuffery regularly involves the pacific island
communities in his performance works.
In small groups, discuss what traditional item this work is based on and the
materials it is made of. Make notes on the group ‘dump’ sheet, then
transfer them onto this page.
Notes about Michel’s
work……………………
…………………………
…………………………
…………………………
…………………………
…………………………
…………………………
…………………………
…………………………
…………………………
…………………………
…………………………
…………………………
…………………………
…………………………
…………………………
…………………………
…………………………
Now draw the image in the picture box …………………………
provided on the right and if you have ……………………
time, colour carefully.

12. Pacific Artist John Pule: Born in Niue, a small nation in the Pacific, John
Pule moved with his family to Auckland, New Zealand at the age
John Pule of two.
Mythology and history are of specific interest to John as he
Notes about John Pule’s weaves fish, people and birdlike creatures into a very personal
work…………………………………………………………………… response to the colonisation of the Pacific.
…………………………………………………………………………
………………………………………………………………………… In small groups, discuss what traditional item this work is based
………………………………………………………………………… on and the materials it is made of. Make notes on the group
………………………………………………………………………… ‘dump’ sheet, then transfer them onto this page.
…………………………………………………………………………
………………………………………………………………………… Now draw the image in the picture box provided on the right.
…………………………………………………………………………. Take care to ‘grid’ your composition.
.

13. Contrast &
Compare:
Create word
banks to
illustrate the
similarities &
differences
between the
2 works
N Brown, Seven Last M Tuffrey: Tianiga, 1989
Words 1, hand coloured Similarities Differences
lithograph, 335 x 240mm

14. Further research possibilities
• Prints and printmakers from Australia,
Papua, New Guinea, Japan and Europe.
An excellent book for this task is
• Butiter, Rl., (2001) ‘Islands in the sun –
Prints by Indigenous artists of Australia
and the Australasian Region’ National
Gallery of Australia, Canberra.

15. Concepts
• Produce a series of small drawings (6x A6)
using the styles of the artists you have chosen
but the subject matter will be derived from
your research and symbols of waka, maunga,
awa and iwi. Your drawings could show the
following:
• Perspective and Scale
• Application of media
• Style of chosen artists.
• symbols of your waka, maunga, awa and iwi.

17. Developments:
• You need to develop at least 4 works (A5).
• From these 4 developments choose one
you think will work as a woodcut. Use the
work of Schmidt-Rotluff; see below
(Expressionist) to guide you in determining
relief areas (black these in with ink/brush
or pencil) and cut areas (white. leave
these unmarked, but you can use
markmaking to show where your cuts will
be)

18. Wood or Linocut
The Expressionists made
prints (mostly woodcuts) as
well as paintings. The
woodcut technique helped
them to work quickly and
directly onto the block. The
images were very dramatic in
their contrasts of dark and
light and were often printed
in stark black and white.
The cut lines could be used
to exaggerate the forms and
planes

20. Task 3: Techniques and Processes of Artist
Models (Develop and clarify ideas)
• You have approximately 6 hours of classroom and
homework time to complete this task.
• In this task your teacher will provide:
• Information Examples of Woodcut, Relief print,,
Collagraph and Mono-printing techniques. You will
explore at least two of these techniques. Write the
process of the selected approaches in your Visual Diary
to refer to in Task 3
• Using this research, (practical exploration) and
information complete the following:
• A monoprint
• A woodcut.
• (if you have time) A Collograph

21. • Transfer your drawing to the block.
• The quickest way to do this is to shade the back of your paper with chalk or
soft pencil.
• Place your image onto the woodblock, chalk side facing the block
• Draw over the outlines firmly to transfer them to the wood or lino

24. For textured prints
Prepare a sheet of A3 paper for a textured print; see below
• Make a collection of textures to use as your printing
surfaces. This may include fabric, different types of
paper, leaves, etc. If your textures are coloured, the
colours must relate to the colours used in your artist
model studies.
• Alternatively you could collage a sheet of A3 paper
with ripped newspaper and/or coloured paper.

29. • Linocut, Clairmont, 1976
Black areas have not
been cut, white areas
are the areas that
have been cut

32. Task 4: Analysing and Clarifying Ideas
Transfer drawing to woodcut board
• Print 1 quality print using only black printing ink
– 1 x print on quality white paper (black on white)
– 3 x colour prints paper (You will need to print at least 2
x copies of each colour (see Michel Tuffrey’s work)
leave one aside, and print the second one after making
new cuts in the woodblock. Repeat the process for
each colour used
• Final prints are to be presented for assessment
on an A1 Board

33. Assessment Schedule: AS90478 Visual Art: 2.2 version 2 : “Identity in Print”
Evidence Achievement Achievement with Merit Achievement with
Excellence
Task 1: The student is able to: The student is able to: The student is able to:
1 x A3 page personal Generate and develop ideas in a Generate, develop and Generate, develop,
research related series of Identity studies clarify ideas in a critically analyse and
2 x A4 Artist research drawings and prints based on related series of clarify ideas in a
1 x A3 Artist comparison selected artist model(s) Identity studies related series of
Task 2: Uses drawing and printmaking drawings and prints Identity studies
6 x A6 developmental materials, processes and based on selected drawings and prints
‘Identity’ studies and 4 x techniques appropriate to artist model(s) based on selected
A5 drawings for prints purpose Use drawing and artist model(s)
Task 3: printmaking Use drawing and
1 x A5 working print materials, processes printmaking materials,
(monoprint) and techniques with processes and
Task 4: understanding techniques with
1 x A4 print (black on white) understanding and
At least 3 single colour prints clarity of purpose
A4 and
1 x A4 multi-colour print

34. Student exemplar – High Excellence

57. The analysis of printmaking models (pages 1 to 4) exceeds the
requirements of this drawing standard. This level of sustained academic
research is more suited to the assessment context of achievement standard
90472 (2.1 for other fields). A brief summary of key methods and ideas of
the field is usually sufficient. The technical and pictorial conventions of
established practice may even be implicitly evident in the practical
investigation itself rather than explicitly stated with written notes.
From page 5 the sample proceeds to undertake a comprehensive
development of both compositional and technical aspects of the portrait
theme.
Monoprint, relief, and intaglio processes are convincingly mastered before
the student then integrates all three processes in a successful series of
increasingly complex outcomes.
The depth of pictorial development is sustained by the gathering of a range
of portrait resources rather than relying on one or two drawings. This is then
extended by the appropriate inclusion of hands and text elements which
enhance the autobiographic quality of the images.
The consistent technical control of both drawing and printing processes is
supported by intelligent and critical risk taking. This has resulted in a
sophisticated body of work that represents an exemplary response to the
standard.