Art Production

Course Description

This course is designed for learners wishing to extend practical work together with analysis and criticism of art. The emphasis is on generating and developing ideas and methods of working that simulate professional artistic practice. Learners will be familiar with current trends in art and will see their own work in relation to the local, national and global cultural context. Art-making techniques will be developed to advanced levels (in whatever the preferred medium) in order to facilitate the expression of ideas. Learners will be expected to develop research skills in order to achieve the course requirements. A high degree of individual motivation and resourcefulness is necessary for the production of a body of work that demonstrates a cohesive development of ideas and techniques.

On successful completion of this course, learners will have attained the knowledge and skills to progress to tertiary study in art. It also serves as a formal pre-requisite for Art Studio Practice Level 3.

Rationale

The Visual Arts play a significant role in recording, shaping and reflecting the culture and context of any given society at a given time. Study of the Visual Arts promotes innovation and creative and critical thinking skills, vital for young people in the 21st Century. Tasmanians value and support creative and cultural industries which contribute significantly to the economy and Tasmanian cultural identity.

Art Production Level 3 has been developed for learners seeking a pathway to tertiary studies and who are looking to foster a career within the visual arts. It allows learners to develop understandings of art practice and the mechanisms of art.

The course encourages learners to develop problem-solving skills together with creative and analytical ways of thinking.

Art Production Level 3 belongs to a suite of courses in art and provides opportunities for learners to demonstrate a resolved body of work in a single studio area which demonstrates their aesthetic understanding and use of visual language.

Aims

Within contemporary society, there is increasing demand for visual literacy and creative and critical thinking skills. Art Production Level 3 aims to develop these skills in learners through both the creation and refinement of their own artwork and through critical analysis of the works of other artists.

Art Production Level 3 aims to broaden and deepen learners understanding of artistic perception and the application of such understanding in their own and others art making.

Learning Outcomes

On successful completion of this course, learners will be able to:

make informed aesthetic judgements
identify relationships of artistic principles in the creation of real and pictorial space
recognise and use a range of artistic conventions
select and use technologies and refine personal artistic techniques
apply elements and principles of design when solving problems
analyse and respond reflectively and creatively to cultural influences and art works
communicate ideas, emotions and information
analyse and evaluate art ideas and information
apply time management, planning and negotiation skills to Visual Arts activities
create and display a cohesive body of work from one artistic studio.

Access

Learners are required to engage with art works and artists. This engagement may be in either a physical (off-campus) or virtual manner.

Pathways

Learners who have completed Visual Art Level 2 will have been introduced to key knowledge, skills and understandings to support their further study in this course. However, Visual Art Level 2 is not a mandatory entry requirement to this course.

It is a requirement that learners have successfully completed Art Production Level 3 prior to studying Art Studio Practice Level 3.

Resource Requirements

In certain studios such as printmaking, photography and ceramics, specific resources such as printing presses, photo editing software (e.g. Photoshop), potters wheels and kilns may be required. Providers are advised to research the technical requirements for individual studios.

Course Size And Complexity

This course has a complexity level of 3.

At Level 3, the learner is expected to acquire a combination of theoretical and/or technical and factual knowledge and skills and use judgement when varying procedures to deal with unusual or unexpected aspects that may arise. Some skills in organising self and others are expected. Level 3 is a standard suitable to prepare learners for further study at tertiary level. VET competencies at this level are often those characteristic of an AQF Certificate III.

This course has a size value of 15.

Course Delivery

Units are delivered sequentially, however it is expected that there will be some overlap as theory content is introduced to coincide with relevant exhibitions etc.

The coursework consists of two fields of study. Fields of study include:

Practical work
Theoretical study.

The practical component of the course involves artmaking in one specialised artistic studio.

Suggestions for studio specialisation may include, but are not limited to:

Assemblage	Ceramics	Collage
Digital Art And Media	Documented Forms	Drawing
Environmental Art	Fabrication/ Fibre Art	Graphic Design
Installation	Life Drawing	Mixed Media
Painting	Photography	Printmaking
Sculpture	Time based forms and media

Course Requirements

Work submitted for assessment in Art Production Level 3 must:

be produced over the duration of one (1) academic year
be unique to this course
not be work submitted for assessment in any other course.

Learners must complete the Work Requirements noted in this course document.

Course Content

OVERVIEW

Art Production Level 3 is comprised of four (4) compulsory units of study:

Visual Thinking – Interpreting art
Investigating and interpreting through art making
Art in context
Realisation and resolution.

UNIT 1: VISUAL THINKING – INTERPRETING ART

This Unit requires learners to understand and apply visual thinking skills. Visual thinking skills include the ability to:

view works of art or design
- understanding the visual codes and conventions (principles and elements of design) in order to describe, explain, analyse, interpret — and ultimately to develop a personal visual aesthetic
visually record
- inspirations, influences, ideas, thoughts, messages, media, analysis of works of art or design — using technology, developing and refining ideas and skills, and working towards resolution of works of art or design.

Learners develop visual thinking skills in order to analyse and interpret the artwork of others and refine their own artmaking process.

Learners are exposed to artworks from pre and post 1990 (which may include Australian works and those of Aboriginal or Torres Strait Island culture) and respond verbally, practically and in written form as they clarify and expand their understanding of art as a means of communication.

Learners use their knowledge to deconstruct and appraise the use of:

materials, techniques and processes
- the ways in which artworks are produced, and the materials and techniques used
- how materials, techniques and processes help to determine the appearance and subsequent interpretation of artworks
ideas, concepts and approaches
- the meaning or intention behind an art work and the understanding that meaning is subjective and influenced by social, historical and cultural context
- how artists use artmaking as a voice to communicate ideas and concepts as well as manipulate the response of an intended audience.

Learners use the knowledge gained above to experiment with their own art making in response to teacher directed tasks, recording their exploration in visual diaries/journals for future development and refinement.

Key Knowledge:

the principles and elements of design
the use of materials, techniques and processes specific to studio areas
ways in which artists work is influenced by socio/historical and cultural context
how meaning is made and communicated in artwork.

Key Skills:

using vocabulary to describe and analyse own work and the work of others
applying techniques, processes and technologies to own artmaking
employing the principles and elements of design to communicate artistic intent.

WORK REQUIREMENTS – UNIT 1

Two (2) completed artworks
Support material
One (1) minor Assignment, a short interpretation and analysis of selected artworks or artists (500 to 700 words).

UNIT 2: INVESTIGATING AND INTERPRETING THROUGH ART MAKING

In this Unit learners use the artmaking process to develop their own art responses; inspired by ideas, concepts and observations. Learners explore and consider approaches to artmaking in the broader classifications of Pre-Modernism, Modernism and Post-Modernism. Learners use their investigation and research to support and drive their own artmaking and development of a personal visual aesthetic.

A personal visual aesthetic is developed through:

exposure to diverse forms and ideas
encouraging self-analysis and exploration of personal beliefs/ideas/values
recording processes and ideas visually
annotating artworks to justify decision making
developing works of art to communicate specific ideas.

Learners will engage in artmaking in their preferred studio and utilise inspiration in various forms to enhance their work such as gallery visits, researching artists, engaging with art communities and sensory experiences.

Learners begin to apply processes to develop their personal artmaking practice:

Experimentation
- exploring related techniques and processes to further develop their practical work
- manipulating their medium to develop new skills and enhance their artistic practice
Refinement
- employing as refinement process: explore/experiment/reflect/analyse/evaluate/apply
- justifying choices and processes: verbally and through annotation.

Learners apply reflective processes to document the progress of their work. They are encouraged and supported to link theoretical understanding with practical application.

Key Knowledge:

influences and inspirations in own and others’ artwork
primary and secondary visual influences
broad exposure to art making/makers.

Key Skills:

processes for developing and refining artwork
applying techniques and approaches demonstrating expressive and technical competence
selecting, manipulating and refining media to create communicate artistic intent.

WORK REQUIREMENTS – UNIT 2

Two (2) completed artworks
Support material
One (1) minor assignment (non essay based), outlining inspirations and influences on the learners work (may take other forms such as virtual exhibition or PowerPoint presentation.)

UNIT 3: ART IN CONTEXT

In this Unit learners will consider context, viewpoints and commentaries in relation to artworks.

They explore the roles of:

the artist
the audience
the context in which an artwork is created
the context in which an artwork is subsequently viewed.

Information from visiting artists, galleries, lectures, online programs, journals, podcasts, catalogues, newspapers as well as texts from critics, historians and curators may be used to support the learners understanding of the way in which art can affect the way people think.

Diverse approaches to both the creation of art work and the ideas and approaches behind works of art are explored in relation to societal changes including post-modernism, post-colonialism, globalization and environmental issues.

Learners will expand upon personal points of view and opinion with evidence built from research and exposure to artists and artworks both contemporary and historical.

In their own artmaking, learners will apply their understanding of the significance of context, viewpoint and commentary to inform their own developing body of work through:

making and documenting
- developing a body of work that conveys a cohesive viewpoint or commentary
- identifying and explaining choices made throughout the artistic process
reflecting and refining
- reflecting on ideas and concepts to deepen and strengthen existing intention
- combining ideas, research and viewpoints to form a coherent argument or rationale.

Key Knowledge:

the effect of context on artmaking
how points of view influence the interpretation of artwork
how the display and presentation of artwork influences opinion
processes for reflecting and refining artwork to give coherence.

Key Skills:

applying processes for developing and refining artwork
using appropriate techniques and approaches to communicate artistic intent
thorough documentation of key ideas and concept that lead to the creation of resolved works
conveying point of view in own artwork.

WORK REQUIREMENTS – UNIT 3

Two (2) completed artworks
Support material
Two (2) minor assignments, one a response to the place of viewpoint/commentary in artwork and the second a response to an issue or context revealed through artwork(s) (600 to 800 words each).

UNIT 4: REALISATION AND RESOLUTION

In this Unit learners will use the art process to continue to develop a cohesive body of work inspired by ideas, concepts and observations. They engage in ongoing development and refinement. They document and analyse their thinking and working practices through appropriate visual language and art specific terminology in visual diaries and reflection critiques.

The culmination of this Unit requires learners to have produced a cohesive body of work suitable for exhibition with extensive support materials documenting their process.

Learners are required to complete a major research task related to their own practice utilizing their expanded awareness of visual art language and context.

Key Knowledge:

the characteristics of a cohesive body of work
ways in which art is presented to enhance visual aesthetic and communicate intent
broad exposure to art making/makers.

Key Skills:

processes for developing and refining artwork
refining techniques and approaches which demonstrate expressive and technical competence
presenting artwork for an audience.

WORK REQUIREMENTS – UNIT 4

One (1) completed body of work (It is expected that the learners body of work will be comprised of a minimum of the equivalent of eight (8) resolved individual pieces of work*)
Support material
One (1) major research assignment pertaining to learners own work (minimum 1500 words) may include/focus on artworks, artists, movements or techniques that have influenced the learners own work.

*The completed body of work may or may not include artwork created in previous Units.

Work Requirements

Summary of Minimum Work Requirements

Unit 1:	2 Completed artworks Support Material 1 Minor Assignment, a short interpretation and analysis of selected artworks or artists (500 to 700 words).
Unit 2:	2 Completed artworks Support Material 1 Minor Assignment (non essay based), outlining inspirations and influences on the learners work (may take the form of virtual exhibition, PowerPoint, presentation etc.)
Unit 3:	2 Completed artworks Support Material 2 Minor Assignments, one a response to the place of viewpoint/commentary in artwork and the second a response to an issue or context revealed through artwork(s) (600 to 800 words each).
Unit 4:	1 Completed body of work* (It is expected that the learners body of work will be comprised of a minimum of the equivalent of 8 resolved individual pieces of work). Support Material 1 Major research assignment pertaining to learners own work (minimum 1500 words) may include/focus on artworks, artists, movements or techniques that have influenced the learners own work
Ongoing:	Support Material will be collected throughout the course of study and will include the following: the use of visual diaries/journals. This is a by-product of the learner’s involvement in visual art during the course. It is a personalised system of idea generation and development, experiments and references to the history/theory/research studies sketches, mock ups, drawings and/or proof sheets annotated works draft versions of Minor Assignments personal notes and responses to discussions evidence of all research activities such as on-line visits to gallery sites, library catalogue searches, downloads and image files an organised collection of gallery brochures, exhibition notes and flyers and individual investigation of particular artists a comprehensive glossary of art terms artist interviews completed works from previous Units class notes and all photocopied material such as notes on correct referencing procedures and plagiarism protocols.

*The completed body of work may or may not include artwork created in previous Units.

Assessment

Criterion-based assessment is a form of outcomes assessment that identifies the extent of learner achievement at an appropriate end-point of study. Although assessment – as part of the learning program – is continuous, much of it is formative, and is done to help learners identify what they need to do to attain the maximum benefit from their study of the course. Therefore, assessment for summative reporting to TASC will focus on what both teacher and learner understand to reflect end-point achievement.

The standard of achievement each learner attains on each criterion is recorded as a rating ‘A’, ‘B’, or ‘C’, according to the outcomes specified in the standards section of the course.

A ‘t’ notation must be used where a learner demonstrates any achievement against a criterion less than the standard specified for the ‘C’ rating.

A ‘z’ notation is to be used where a learner provides no evidence of achievement at all.

Providers offering this course must participate in quality assurance processes specified by TASC to ensure provider validity and comparability of standards across all awards. To learn more, see TASC's quality assurance processes and assessment information.

Internal assessment of all criteria will be made by the provider. Providers will report the learner’s rating for each criterion to TASC.

TASC will supervise the external assessment of designated criteria which will be indicated by an asterisk (*). The ratings obtained from the external assessments will be used in addition to internal ratings from the provider to determine the final award.

Quality Assurance Process

The following processes will be facilitated by TASC to ensure there is:

a match between the standards of achievement specified in the course and the skills and knowledge demonstrated by learners
community confidence in the integrity and meaning of the qualification.

Process – TASC gives course providers feedback about any systematic differences in the relationship of their internal and external assessments and, where appropriate, seeks further evidence through audit and requires corrective action in the future.

External Assessment Requirements

The external assessment for this course will comprise:

a display of work comprising major completed works and support material (including journal and preliminary drawings/works) assessing criteria: 1, 3, 4, 6 and 7.

For further information see the current external assessment specifications and guidelines for this course available in the Supporting Documents below.

Criteria

The assessment for Art Production Level 3 will be based on the degree to which the learner can:

1. use the elements and principles of design to solve problems*
2. recognise and use a variety of artistic conventions
3. select and use technologies and techniques*
4. communicate ideas, emotions and information*
5. apply time management, planning and negotiation skills to Visual Arts activities
6. create and display a cohesive body of art work*
7. observe, analyse and creatively respond to cultural influences and art works*
8. analyse and evaluate art ideas and information

* = denotes criteria that are both internally and externally assessed.

Standards

Criterion 1: use the elements and principles of design to solve problems

This criterion is both internally and externally assessed.

The learner:

Rating A	Rating B	Rating C
recognises, identifies and accurately describes a broad range of artistic principles	recognises, identifies and describes a range of artistic principles	identifies and describes a limited range of artistic principles
selects, deconstructs, translates and reconstructs a broad range of artistic principles to achieve desired outcomes	selects, rejects and modifies a range of artistic principles to achieve desired outcomes	selects and modifies a limited range of artistic principles to achieve desired outcomes
uses a broad range of artistic techniques to create real and/or pictorial space	uses a range of artistic techniques to create real and/or pictorial space	uses a limited range of artistic techniques to create real and/or pictorial space
select and applies a broad range of strategies to anticipate and solve artistic problems	selects and applies a range of strategies to anticipate and solve minor artistic problems	selects and applies a limited range of strategies to solve minor artistic problems
successfully uses appropriate problem solving strategies to reflect artistic intent.	uses problem solving strategies to refine an idea or concept.	uses problem solving strategies to achieve a desired effect.

Criterion 2: recognise and use a variety of artistic conventions

The learner:

Rating A	Rating B	Rating C
identifies and analyses use of a broad range of artistic conventions	identifies and accurately describes a range of artistic conventions	identifies and describes a limited range of artistic conventions
selects, deconstructs, translates and reconstructs a broad range of artistic conventions to achieve desired outcomes	selects, rejects and modifies a range of artistic conventions to achieve desired outcomes	selects and modifies a limited range of artistic conventions to achieve desired outcomes
uses creative artistic techniques to reveal the characteristics, effects and effectiveness of a broad range of artistic conventions	uses creative artistic techniques to reveal the characteristics and effects of a range of artistic conventions	uses creative artistic techniques to reveal the effects of a limited range of artistic conventions
experiments with the effects of variation from a broad range of artistic conventions	experiments with the effects of variation from a range of artistic conventions	experiments with the effects of variation from a limited range of artistic conventions
accurately describes and critically analyses the artistic outcomes that arise from experimentation.	describes and analyses the artistic outcomes that arise from experimentation.	observes and describes the artistic outcomes that arise from experimentation.

Criterion 3: select and use technologies and techniques

This criterion is both internally and externally assessed.

The learner:

Rating A	Rating B	Rating C
selects and uses a broad range of technologies and techniques to develop and express own ideas and designs	selects and uses a range of technologies and techniques to develop and express own ideas and designs	selects and uses a limited range of technologies and techniques to develop and express own ideas and designs
refines artistic techniques through the use of selected technologies and techniques	extends artistic techniques through the use of selected technologies and techniques	demonstrates basic artistic techniques through the use of selected technologies and techniques
creatively applies a broad range of technologies and techniques to own studio practice	applies a range of technologies and techniques to own studio practice	applies a limited range of technologies and techniques to own studio practice
identifies and resolves complex technical problems	identifies and resolves technical problems	finds and determines technical problems
uses and maintains technologies in accordance with established safety procedures.	uses and maintains technologies in accordance with established safety procedures.	uses and maintains technologies in accordance with established safety procedures.

Criterion 4: communicate ideas, emotions and information

This criterion is both internally and externally assessed.

The learner:

Rating A	Rating B	Rating C
selects and uses a broad range of communication methods and styles to clearly express ideas, emotions and information	selects and uses a range of communication methods and styles to express ideas, emotions and information	selects and uses a limited range of communication methods and styles to express ideas, emotions and information
adjusts communication methods and styles to creatively and appropriately respond to changed conditions	adjusts communication methods and styles to creatively respond to changed conditions	adjusts communication methods and styles to creatively respond to minor changes
accurately describes artistic styles, genres and processes using a broad and appropriate visual arts vocabulary	describes artistic styles, genres and processes using an appropriate visual arts vocabulary	describes artistic styles, genres and processes using a limited visual arts vocabulary
uses artistic principles to express a broad range of artistic intentions	uses artistic principles to express a range of artistic intentions	uses artistic principles to express a limited range of artistic intentions
produces artwork that successfully conveys a broad range of conceptual and expressive intentions.	produces artworks that successfully convey a range of conceptual and expressive intentions.	produces artworks that convey a limited range of conceptual and expressive intentions.

Criterion 5: apply time management, planning and negotiation skills to Visual Arts activities

The learner:

Rating A	Rating B	Rating C
proposes and negotiates measurable, achievable and realistic complex goals and appropriate timelines	proposes and negotiates measurable, achievable and realistic goals and timelines	proposes and negotiates achievable and realistic goals and timelines
responsibly manages a broad range of work tasks/activities within identified timelines	responsibly manages a range of work tasks/activities within identified timelines	manages a limited range of work tasks/activities within identified timelines
sets and meets specified and/or negotiated artistic goals by applying a broad range of task management strategies	sets and meets specified and/or negotiated artistic goals by applying a range of task management strategies	sets and meets specified and/or negotiated artistic goals by applying a limited range of task management strategies*
implements and consistently maintains positive and constructive task-focussed strategies during the conception and development of artworks.	implements and maintains positive task-focussed strategies during the conception and development of artworks.	uses task-focused strategies** during the conception and development of artworks.

* Such as use of timelines, protocols, goal setting, planning documents, prioritising, progress tracking and scheduling.

** Those related to the improvement, management, safety and efficient execution of tasks and resources.

Criterion 6: create and display a cohesive body of art work

This criterion is both internally and externally assessed.

The learner:

Rating A	Rating B	Rating C
uses practice and experimentation to develop a broad range of artistic ideas and technical skills	uses practice and experimentation to develop a range of artistic ideas and technical skills	uses practice and experimentation to develop a limited range of artistic ideas and technical skills
evaluates and critically analyses artistic intent and developmental processes	identifies and evaluates articulates artistic intent and developmental processes	identifies and articulates artistic intent and developmental processes
produces support material that reflects a wide range of aspects of the developmental processes that led to the creation of finished artworks	produces support material that reflects some aspects of the developmental processes that led to the creation of finished artworks	produces support material that reflects limited aspects of the developmental processes that led to the creation of finished artworks
resolves, as finished pieces, a body of work which reflects a high level of cohesion and all aspects of stated artistic intent.	resolves, as finished pieces, a body of work which reflects cohesion and most aspects of stated artistic intent.	resolves, as finished pieces, a body of work which reflects a limited degree of cohesion and some aspects of stated artistic intent.

Criterion 7: observe, analyse and creatively respond to cultural influences and art works

This criterion is both internally and externally assessed.

The learner:

Rating A	Rating B	Rating C
evaluates the art work of self and others with reference to appropriate contexts	examines and describes art work of self and others with reference to appropriate contexts	examines and describes art works of self and others
compares, contrasts and critically analyses the relative significance of a broad range of artworks	compares and contrasts the relative significance of a range of artworks	compares and contrasts the relative significance of a limited range of artworks
recognises, critically analyses and discusses the relationships between socio-historical factors and artists and their works	recognises and discusses the relationships between socio-historical factors and artists and their works	recognises and discusses the historical and cultural contexts in which a limited range of artworks were produced
observes and critically analyses the relationships between art and culture through a range of reflective responses	observes and analyses the relationships between art and culture through a range of reflective responses	observes and analyses the relationships between art and culture through a limited range of reflective responses
produces artworks that reveal a detailed and accurate understanding of art within a broad range of cultural contexts.	produces artworks that reveal an understanding of art within a range of cultural contexts.	produces artworks that reveal an understanding of art within a limited range of cultural contexts.

Criterion 8: analyse and evaluate art ideas and information

The learner:

Rating A	Rating B	Rating C
critically analyses and evaluates a broad range of art ideas and issues	analyses and evaluates a range of art ideas and issues	analyses and evaluates a limited range of art ideas and issues
identifies, critically analyses and discusses a variety of agreeing and opposing viewpoints that arise from art ideas and issues	identifies and discusses a variety of agreeing and opposing viewpoints that arise from art ideas and issues	identifies a variety of differing viewpoints that arise from art ideas and issues
accurately classifies and organises art information from a broad range of sources into logical patterns or points of view	classifies and organises art information from a range of sources into logical patterns or points of view	classifies and organises art information from a limited range of sources into logical patterns or points of view
cites, clarifies and interprets information as opposing or affirming evidence in discussing an art issue	cites and clarifies information as opposing or affirming evidence in discussing an art issue	cites information as opposing or affirming evidence in discussing an art issue
accurately uses appropriate grammatical conventions, spelling and punctuation in written responses	accurately uses grammatical conventions, spelling and punctuation in written responses	uses appropriate grammatical conventions, spelling and punctuation in written responses
clearly differentiates the information, images, ideas and words of others from the learner’s own	clearly differentiates the information, images, ideas and words of others from the learner’s own	differentiates the information, images, ideas and words of others from the learner’s own
follows referencing conventions and methodologies with a high degree of accuracy	follows referencing conventions and methodologies correctly	generally follows referencing conventions and methodologies correctly
creates appropriate, well structured reference lists/bibliographies.	creates appropriate, structured reference lists/bibliographies.	creates appropriate, reference lists/bibliographies.

Qualifications Available

Art Production Level 3 (with the award of):

EXCEPTIONAL ACHIEVEMENT

HIGH ACHIEVEMENT

COMMENDABLE ACHIEVEMENT

SATISFACTORY ACHIEVEMENT

PRELIMINARY ACHIEVEMENT

Award Requirements

The final award will be determined by the Office of Tasmanian Assessment, Standards and Certification from 13 ratings (8 from the internal assessment, 5 from external assessment).

The minimum requirements for an award in Art Production Level 3 are as follows:

EXCEPTIONAL ACHIEVEMENT (EA)
11 ‘A’ ratings, 2 ‘B’ ratings (4 ‘A’ ratings, 1 ‘B’ rating from external assessment)

HIGH ACHIEVEMENT (HA)
5 ‘A’ ratings, 5 ‘B’ ratings, 3 ‘C’ ratings (2 ‘A’ ratings, 2 ‘B’ ratings, 1 ‘C’ rating from external assessment)

COMMENDABLE ACHIEVEMENT (CA)
7 ‘B’ ratings, 5 ‘C’ ratings (2 ‘B’ ratings, 2 ‘C’ ratings from external assessment)

SATISFACTORY ACHIEVEMENT (SA)
11 ‘C’ ratings (3 ‘C’ ratings from external assessment)

PRELIMINARY ACHIEVEMENT (PA)
6 ‘C’ ratings

A learner who otherwise achieves the rating for a CA (Commendable Achievement) or SA (satisfactory Achievement) award but who fails to show any evidence of achievement in one or more criteria (‘Z’ notation) will be issued with a PA (Preliminary Achievement) award.

Course Evaluation

The Department of Education’s Curriculum Services will develop and regularly revise the curriculum. This evaluation will be informed by the experience of the course’s implementation, delivery and assessment.

In addition, stakeholders may request Curriculum Services to review a particular aspect of an accredited course.

Requests for amendments to an accredited course will be forwarded by Curriculum Services to the Office of TASC for formal consideration.

Such requests for amendment will be considered in terms of the likely improvements to the outcomes for learners, possible consequences for delivery and assessment of the course, and alignment with Australian Curriculum materials.

A course is formally analysed prior to the expiry of its accreditation as part of the process to develop specifications to guide the development of any replacement course.

Course Developer

The Department of Education acknowledges the significant leadership of Rebecca Miller, Wayne Brookes, Ben Miller, Peta Collins and Jane Diprose in the development of this course.

Expectations Defined By National Standards

There are no statements of national standards relevant to this course.

Accreditation

The accreditation period for this course has been renewed from 1 January 2022 until 31 December 2022.

During the accreditation period required amendments can be considered via established processes.

Should outcomes of the Years 9-12 Review process find this course unsuitable for inclusion in the Tasmanian senior secondary curriculum, its accreditation may be cancelled. Any such cancellation would not occur during an academic year.

Version History

Version 1 – Accredited on 19 September 2016 for use from 1 January 2017. This course replaces Art Production (ART315112) that expired on 31 December 2016.

Version 1.1 – Renewal of accreditation on 13 August 2017 for use in 2018.

Accreditation renewed on 22 November 2018 for the period 1 January 2019 until 31 December 2021.

Version 1.2 - Renewal of Accreditation on 14 July 2021 for the period 31 December 2021 until 31 December 2022, without amendments.

Appendix 1

GLOSSARY

Term	Explanation
Abstraction	Artworks without recognisable subjects, although objects or people can be used as a reference point to create an abstract image
Aesthetic	Refers to those principles governing the nature and appreciation of beauty, especially in visual art. Academically speaking, aesthetics refers to the branch of philosophy which deals with issues of beauty and artistic taste
Analyse	Identify components and the relationship between them; draw out and relate implications
Appraise	Assess the value or quality of
Appreciate	Make a judgement about the value of
Appropriation	The artistic practice or technique of re-working images from well-known artists
Art Form	Specific shape or quality an artistic expression takes, such as dance, drama, media arts, music and visual artworks
Art Skills	Abilities required to conceive, design, and produce works of art through the manipulation and control of tools, materials, and media
Art Studios	The classification of the area of art in which an artist is working; for example, ceramics, painting, sculpture, photography
Assemblage	An object made of pieces fitted together; a form of sculpture comprised of "found" objects
Asymmetry	A way of organising the parts of a design so that one side differs from the other without destroying the overall balance and harmony; also called informal balance
Audience	Individuals or groups of people who experience the arts in a range of settings and contexts (formal, informal, virtual or interactive) through intellectual, emotional and social engagement. The artist is audience to their own artwork

Term	Explanation
Balance	A principle of art that refers to the way the art elements are arranged to create a feeling of stability in the work, i.e. symmetrical, formal, asymmetrical, informal, or radial
Baroque	The conflict between the Protestant Reformation and the Catholic Counter- Reformation set the stage in the Baroque period (1580-1700 CE) for competing types of art. In general, the countries of northern Europe rejected religious imagery as a result of the Protestant Reformation. (Protestants believed that religious paintings violated the 2nd Commandment against graven images.) Thus, much Baroque art from those countries includes landscapes, portraits, and still-life paintings. In other parts of Catholic Europe, artists of the Baroque period painted dramatic images, including religious themes, characterised by energy, tension, and sharp contrasts of light and dark intensity
Body Adornment	Items put on to decorate and/or embellish oneself
Body of work	A body of work represents a purposeful selection of an artist’s works; the body of work is usually linked by a common subject matter, style, concept, technique etc.

Term	Explanation
Ceramics	The process of creating functional and nonfunctional art forms out of clay
Chiaroscuro	Chiaroscuro is an Italian term which translates as light-dark, and refers to the balance and pattern of light and shade in a painting or drawing
Classicism	Imitating, referencing, or having the general characteristics of the art and culture of ancient Rome or Greece. Classical characteristics include idealised beauty, restraint, harmony, and balance
Cohesion	Unity of concept or intention, usually a logical or natural connection is apparent
Collaborative	To work with another person or group in order to achieve or do something
Collage	Artwork made by attaching pieces of paper or other materials to a flat surface
Colour	An element of art with properties of hue (the colour name, i.e., red, blue, etc.), intensity (the purity and strength of the colour, i.e., bright red, dull red, etc.), and value (the lightness or darkness of a colour)
Compare	Show how things are similar or different
Complementary (Colour)	Complementary colours are pairs of colours that contrast with each other more than any other colour, and when placed side-by-side make each other look brighter
Composition	The placement or arrangement of elements or parts in artworks
Conceptual Art	Conceptual art is art for which the idea (or concept) behind the work is more important than the finished art object. It emerged as an art movement in the 1960s and the term usually refers to art made from the mid-1960s to the mid-1970s
Contemporary Art	Contemporary art is defined as art that is current, offering a fresh perspective and point of view, and often employing new techniques and new media. Current art means works by both emerging and also established artists
Contrast	The arrangement of opposite elements (e.g. light vs. dark colours, rough vs. smooth textures, large vs. small shapes) in an artwork so as to create visual interest
Conventions	Traditional or culturally accepted ways of doing things based on audience expectations. Each art form has hundreds of conventions built up over time and widely accepted by audiences. The term ‘artistic conventions’ can be applied to styles commensurate with the production of: portraiture landscape composition sculpture perspectives technical ‘rules’
Craft	An intellectual and physical activity where artists explore the materials and processes to produce unique objects for the purposes of: experimentation with form or function; exhibition; production; and personal or community need. Indigenous cultures draw no distinction between art and craft and, similarly, contemporary culture values the interplay between the art/craft, design/craft, the art/designer or the design/maker. The crafted and handmade sit alongside the manufactured design object as part of historical, national and cultural identities
Critically	Add a degree or level of accuracy, depth, knowledge and understanding, logic, questioning, reflection and quality to analysis/evaluation

Term	Explanation
Demonstrate	Show by example
Describe	Provide characteristics and features
Design	Plan or blueprint for a visual work of art as well as the outcome or product of applying; may also refer to Design in terms of technology and functional art
Digital Art	Computer generated art forms including digital imaging, painting and drawing with a graphics tablet, animation, 3D printing, pixel art, factual art and algorithm and net art
Digital media	Technology driven by computer access with emphasis on web based and print output design
Dimensional	Measurement in one direction. A two-dimensional (2-D) work of art has the two dimensions of length and width; a three-dimensional (3-D) work of art has the three dimensions of length, width, and depth
Discuss	Identify issues and provide points for and/or against
Dissonance	A tension or clash resulting from the combination of two disharmonious or unsuitable elements
Document	To create a record of (something) through writing or record keeping
Documented forms	Art form where the process and end product need to be recorded and described in order to share out of time and place; for example, performance art
Drawing	A picture or diagram made with a pencil, pen, or crayon rather than paint

Term	Explanation
Elements and principles of design	Components that comprise a work of art, such as line, colour, shape, texture, form and space
Emphasis	A principle of art that refers to a way of combining elements to stress the differences between those elements and to create one or more centers of interest in an artwork
Environmental Art	Environmental art, or eco-art, is an umbrella term for Romanticism, eco-realism, and Gaia Art: three movements which seek to promote humanity's interconnectedness to the natural world and criticise the destruction of our environment
Ephemeral Art forms	Is subject to the effects of time, is transitory and generally has a beginning and end. Often involves artistic interventions with the natural environment and the physical effects of time on the artwork.
Evaluate	Make a judgement based on criteria; determine the value of
Expressionism	Expressionism refers to art in which the image of reality is distorted in order to make it expressive of the artist’s inner feelings or ideas

Term	Explanation
Fabrication	The action or process of manufacturing or inventing something
Fibre Art	A type of art using fibres, yarn, and fabric as the medium to create tactile forms and images through surface design, weaving, and construction techniques
Form	The visible shape or configuration of something
Found Objects	Common or unusual objects that may be used to create a work of art; specifically refers to scrap, discarded materials that have been “found” and used in artworks
Functional Art	Functional objects such as dishes and clothes that are of a high artistic quality and/or craftsmanship; art with a utilitarian purpose

Term	Explanation
Genre	Category of art marked by a distinctive style, form or content i.e., still life, portrait
Gestural	Gestural is a term used to describe the application of paint in free sweeping gestures with a brush
Graphic Design	The art of visual communication that combines images, words, and ideas to convey information to an audience, especially to produce a specific effect
Harmony	In art, harmony is the combination or adaptation of parts, elements or related things, so as to form a consistent and orderly whole
Hybrid art form	The combination of more than one art form within an artwork
Hybridity	The combination of different things resulting in the development of a hybrid

Term	Explanation
Impressionism	19th-century art movement that rejected the historical themes and nostalgic images favoured by the academic and romantic painters of the day. The Impressionists looked to the life around them as the inspiration for their paintings of sunlit landscapes, middle-class people at leisure, and mothers with children. The many inventions of the Industrial Revolution included portable oil paints and easels that allowed the artist to break free of the studio and paint en plein air (out of doors), or from sketches done directly on the spot. This approach encouraged the use of spontaneous, unblended brushstrokes of vibrant colour by these artists
Intention	The meaning an artist wishes to convey
Interpret	Draw meaning from
Irony	To convey a meaning that is opposite of its literal meaning
Justify	Support an argument or conclusion
Juxtaposition	To place side by side, especially for comparison or contrast
Kiln	A furnace in which clay is fired
Landscape	The subject matter category in which the main theme of the work is natural scenery such as mountains, valleys, trees, rivers, and lakes. Traditionally, the space depicted in a landscape is divided into three parts. The foreground is the part closest to you, the viewer. Objects in the foreground are usually larger and more detailed than other objects; they overlap other objects. Objects in the middle ground appear to be behind objects in the foreground. The background is the part of the painting farthest from the viewer. Objects in the background are usually smaller and less distinct than other objects in the work
Life Drawing	The act of drawing the human figure from a living model

Term	Explanation
Magnification	An enlarged representation, image or model
Materials (1)	The substances used in the creation of a work of art
Materials (2)	Physical resources, equipment including technologies, and information used to make artworks. For example, paint, digital camera, pencil, drum and/or clarinet
Medium	The material used in making an artwork
Metamorphosis	A transformation in physical form or character
Metaphor	A thing regarded as representative or symbolic of something else; the substitution of one idea or object with another
Minimisation	A reduction in scale or proportion relative to other design elements
Mixed Media	Any art work that uses more than one medium
Modernism	Refers to the overall art movement from the late 1800s to the early 1970s in which artists were primarily interested in how they presented their artistic ideas and issues rather than reproducing the world as it appears visually. This focus on the cultivation of individual style and artistic process led many modern artists toward an abstracted use of the elements of art. The new creative possibilities encouraged a great diversity of activity, and artists experimented with new visual formats and ideas. Reflecting this artistic diversity, Modernism can be considered as a larger heading under which a number of different art movements such as Impressionism, Fauvism, Expressionism, Cubism, Dada, Surrealism, and Abstract Expressionism all flourished in succession
Motif	A decorative design or pattern; a distinctive feature or dominant idea in an artwork
Movements	A tendency or style in art with a specific common philosophy or goal, followed by a group of artists during a restricted period of time, (usually a few months, years or decades) or, at least, with the heyday of the movement defined within a number of years
Multimodality	A text may be defined as multimodal when it combines two or more semiotic systems: linguistic, visual, audio, gestural or spatial
Mural	Surface treatment or decoration that is applied directly to a wall. A painted fresco is one form of a mural
Neoclassicism	“New” classicism movement of the late 18th and early 19th centuries. Neoclassicism was inspired by the classical style of ancient Greece and Rome, and the classical ideals of harmony, idealised realism, clarity, and reason are all generally found in examples of neoclassical architecture, painting, and sculpture

Term	Explanation
Painting	Paintings are made of organic and inorganic materials which are put together by an artist to create a specific image. They form a simple construction consisting of one or more paint layers and a support for those layers
Parody	A humorous or satirical imitation of a serious work
Personal Voice	The personal flavour imparted by the writer when he/she is engaged with a topic. The authors attitude comes through in the writing
Perspective	System of representing three-dimensional objects on a two-dimensional surface, giving the illusion of depth in space. Linear perspective deals with drawing, and atmospheric perspective attempts to use color and value changes to get the effect of distance
Photography	The art or practice of taking and processing photographs
Pictorial space	The illusionary space in a painting or other two-dimensional art that appears to recede backward into depth from the picture plane
Pop Art	Pop Art was a style of modern art in the 1960's that used the imagery of mass- media, mass-production and mass-culture
Portrait	Subject matter category in which the main purpose of the art work is to communicate a likeness of an individual or group of individuals
Post-Modern	A term used to describe the period of art which followed the modern period, i.e., from the 1950's until recently. The term implies a shift away from the formal rigors of the modernists, toward the less formally and emotionally stringent Pop artists, and other art movements which followed.
Precursor	A person or thing that comes before another of the same kind; a forerunner
Primary Source	Primary sources provide first-hand testimony or direct evidence concerning a topic under investigation. They are created by witnesses or recorders who experienced the events or conditions being documented. Often these sources are created at the time when the events or conditions are occurring, but primary sources can also include autobiographies, memoirs, and oral histories recorded later
Printmaking	The category of fine art printing processes, including etching, lithography, woodcut, and silkscreen, in which multiple images are made from the same metal plate, heavy stone, wood or linoleum block, or silkscreen, with black-and-white or color printing inks
Proportion	The relationship in size of one component of a work of art to another

Term	Explanation
Realism	19th-century art movement in which artists focused attention on ordinary people, such as peasants and laborers, who had not been pictured in art up to that time. Realists depicted real scenes from contemporary life, from city street scenes to country funerals. They tried to show the beauty in the commonplace, refusing to idealise or gloss over reality as Neoclassical and Romantic artists had
Realistic	Art work that attempts a photographic likeness of the subject matter; sometimes refers to the choice of subject that is commonplace as opposed to courtly and idealised
Reformation	The reform of the Christian Church initiated by Martin Luther in Germany from about 1520 and resulting in the split of the church into Catholic and Protestant sects. In Britain the Reformation was brought about by Henry VIII. Protestantism was vehemently against all religious imagery and church decoration, and under Henry, and particularly his son Edward VI, the Reformation was followed by a comprehensive destruction, known as iconoclasm, of the rich medieval art and architecture of Britain. From then until the middle of the eighteenth century, art in Britain consisted almost exclusively of the purely secular form of portraiture. There were some exceptions – such as post-reformation art
Renaissance	Literally means “rebirth.” The Renaissance period in Europe lasted from the 14th century through the 16th century and was distinguished by a renewed interest in classical art, architecture, literature, and philosophy
Resolved	Completed with a level of refinement and clarity of purpose/vision
Romanticism	Late 18th- and early 19th-century movement that emphasised the values of passionate emotion and artistic freedom. Romanticism was a philosophical attitude that emphasised emotion, imagination, mystery, and the pursuit of one’s unique destiny. The Romantics had a deep fascination with historical literature and artistic styles that stood in contrast to a world that was becoming increasingly industrialised and developed

Term	Explanation
Sculpture	Object carved or modelled in wood, stone, etc. or cast in metal for an aesthetic, nonfunctional purpose; or the process of producing it; hence sculptor. "Sculptural" is used to describe art (including painting and drawing) that has pronounced three- dimensional qualities
Secondary Source	Secondary sources are less easily defined than primary sources. Generally, they are accounts written after the fact with the benefit of hindsight. They are interpretations and evaluations of primary sources. Secondary sources are not evidence, but rather commentary on and discussion of evidence
Still Life	The subject matter category in which the main purpose of the art work is to show inanimate objects
Street Art	Artwork that is created in a public space, typically without official permission. The term gained popularity during the graffiti art boom of the early 1980s and continues to be applied to subsequent incarnations. Stencil graffiti, wheat pasted poster art or sticker art, and street installation or sculpture are common forms of modern street art. Video projection, yarn bombing and Lock On sculpture became popularised at the turn of the 21st century.
Style	Refers to the visual appearance of a work of art that relates it to other works by the same artist or one from the same period, training, location, "school", art movement or archaeological culture
Stylisation	The act of stylising; using artistic forms and conventions to create a desired effect
Sublime	Theory developed by Edmund Burke in the mid eighteenth century, where he defined sublime art as art that refers to a greatness beyond all possibility of calculation, measurement or imitation
Summarise	Express, concisely, the relevant details
Support Material	Collection of materials that show the development of, and further inform the context of the work in question
Symbol	A thing that represents or stands for something else; a mark or character used as a conventional representation of an object, function or process
Symmetry	A way of organising the parts of a design so that one side duplicates or mirrors the other
Synergy	The interaction of two or more agents or forces so that their combined effect is greater than the sum of their individual effects
Synthesise	To combine so as to form a new, complex product

Term	Explanation
Technique	The method, procedure or way something is done
Technologies/ Technology	The term ‘technologies’ should be understood (in its widest sense) to encompass the application of devices, tools, machines and techniques/processes to the production of artistic works. The following may be considered technologies in the context of this course: brushes, spatulas, cutting tools and pottery wheels computer systems (and their selection/use may be appropriate in specific studios or tasks) the care and maintenance of art tools and equipment
Texture	Element of art that refers to the perceived surface quality or “feel” of an object—its roughness, smoothness, softness, etc. Artworks can deal with the actual physical texture of a surface or the illusion of texture, depending on the aim of the artist
Theme	A subject or topic of discourse or of artistic representation
Time-based Media	Time-based art can span a wide range of material, from video and sound artworks, film or slide based projections and includes software based art and technology based installations and projections. Time-based media or the ‘moving image’ is also referred to as the 4th Dimension
Tone	The lightness or darkness of a colour (value)
Transformation	To change the nature, function, or condition of; to alter or be altered radically in form, function
Transposition	The act of exchanging or substituting

Term	Explanation
Unity	Refers to the visual quality of wholeness or oneness that is achieved through effective use of the elements of art and principles of design
Visual Language	The elements and principles of art, design or architectural works
Visual Narrative	The context and purpose of art, design or architectural works
Visual Synthesis	Structural devices used in art, design or architectural works; the synergy created by fusing two or more ideas/images or manipulating one idea/image into another form or state
Wearable Art	The making of individually designed pieces of hand-made clothing/accessories as artistic expressions

Appendix 2

LINE OF SIGHT- Art Production Level 3

Learning Outcomes	Criteria	Criteria and Elements	Content
make informed aesthetic judgements	C1, C2, C4, C6	C1 E1+3, C2 E2+3, C4 E4+5, C6 E2+4	Unit 1, 2, 3, 4
identify relationships of artistic principles in the creation of real and pictorial space	C1 *Use the elements and principles of design to solve problems	C1 E1-3	Unit 1, 2, 3, 4
recognise and use a range of artistic conventions	C2 Recognise and use a variety of artistic conventions	C2 E1-5	Unit 1, 2, 3, 4
select and use technologies and refine personal artistic techniques	C3 *Select and use technologies and techniques	C3 E 1-5, C1 E3	Unit 1, 2, 3, 4
apply elements and principles of design when solving problems	C1 *Use the elements and principles of design to solve problems	C1 E1-2, C1 E4-5	Unit 1, 2, 3, 4
analyse and respond reflectively and creatively to cultural influences and art works	C7 *Observe, analyse and creatively respond to cultural influences and art works	C7 E1-5	Unit 1, 2, 3, 4
communicate ideas, emotions and information	C4 *Communicate ideas, emotions and information	C4 E1-5, C8 E6-7	Unit 1, 2, 3, 4
analyse and evaluate art ideas and information	C8 Analyse and evaluate art ideas and information	C8 E1-7	Unit 1, 2, 3, 4
apply time management, planning and negotiation skills to Visual Arts activities	C5 Apply time management, planning and negotiation skills to Visual Arts activities	C5 E1-4	Unit 1, 2, 3, 4
create and display a cohesive body of work from one artistic studio	C6 *Create and display a cohesive body of art work	C6 E1-4	Unit 4