The Visual Arts Department also offers Folio. Preparation tuition for Tertiary Studies. Unit 1 Artworks, experience and meaning. Art Making and Exhibiting (Studio Arts) Subject Code: AME (Studio Arts). In VCE Art Making and Exhibiting, art making and the investigation of artworks is. Overview of the Victorian Certificate of Education (VCE) and its School Assessed Tasks are set in subjects such as Studio Arts. BETTER PLACE TO BE BORN SPANISH

In your discussion address the art elements and art principles, symbols, context, and use of materials, techniques and processes. Materials Discuss the look and behaviour of the material. How does the material change over time? How can the material be manipulated? Discuss the conventional and unconventional approaches to using the material. How do the environmental conditions change the properties of the material? What are the safety requirements for using this material and how should it be disposed of in an environmentally friendly manner?

Includes the characteristics and properties of materials and how an artist uses the materials. Conservation methods include health and safety requirements. Techniques Describe the effect of manipulating the material. What tools are required to manipulate the material? Discuss the traditional and contemporary approaches to using the material. Techniques are the varying properties of the matter that are manipulated through the use of tools and other devices. Processes What are the key stages within the process of using the materials to create the artwork?

What materials and techniques are used within specific art forms? A process could be one part of using a material or technique or it could encompass all components of the art making process. Influences Identify and describe an artist or artwork that influences your thinking about art making. Influences could be considered as artists and artworks.

Influences continue to occur and can be used across art making. Inspiration Identify and discuss the inspiration and how it can be translated in art making. Inspirations can be viewed as broader and could include objects, memories and contexts. Care and conservation What planning needs to occur to conserve the artwork? What materials have been used and will they deteriorate over time?

What is the potential damage of the artwork in different environments and conditions? How can temperature and humidity affect the artwork? Identify and describe the proper handling methods used for this artwork. Care involves protecting artworks while they are on display. Consider art handling, transport and storage methods for artworks.

Consider any condition reporting practices and the stability of different art forms. Consider lighting levels while artworks are on display and in storage and the condition of artworks on display and in storage. Contexts Where and when was the artwork created? How does the location and time where the artist made the artwork influence its interpretation? How can the artwork be interpreted differently according to where it was made, presented or viewed?

What are the economic, philosophical, social or cultural influences on the practices of the artist and where are these evident in the artwork? How are the artist's intentions, expression of ideas, values and beliefs seen in the artwork? How might the values, beliefs and interests of the audience provide context for experiencing the artwork? The interpretation of the meaning of an artwork can evolve from the context in which it is created.

The context is the frame of reference that allows the ideas and meaning of artwork to evolve. Historical and cultural contexts include the location and time where an artwork is made, presented or viewed. It provides opportunities for the student to reflect upon and communicate to others their art making through a reciprocal conversation or discussion. The critique can be delivered using different methods at different stages of the art making process when students are actively engaged in exploring, experimenting, developing, refining, resolving or presenting artworks.

The critique allows students to reflect upon and evaluate the evolution of their artworks, and to collect and respond to feedback from both the teacher and other students. Critiques are part of the communal process of art making and students should collaborate in critiques to improve their own practice.

Students gain ideas and benefit from the critiques of other class members. Often the art making is paused for a critique, so that students and teachers can reflect on their art making. Students focus on both their own work and the work of others in their group. This allows students to observe the ways in which others in their class approach their art practice and to consider possibilities outside their usual habits. Critiques form part of the communal process of art making since, by comparing their work with others, each student can gain ideas and set a standard on which to build their practice.

Pausing during the art making allows students and teachers to reflect, observe and consider possibilities outside usual habits. The critique also provides opportunities to consider historical and cultural contexts, and to consider alternative interpretations for their artworks. Discussion and feedback from the teacher and peers assists in moving forward and building on the learning that has taken place to this point. The critique also helps students to understand the world of art if their artwork is explained in relation to other artworks from different periods of time and cultures, as well as the artworks of their peers.

The critique can model for a student the process of thinking about a work rather than a single interpretation of it. Students think about the meanings and messages communicated by artworks and think about what is successful, what can be improved, and how feedback can be put into practice. The discussion that takes place during the critique aims to guide and support the students to move forward and aims to help them to think about new possibilities.

It guides students in building on the learning that has taken place to this point. There are four ingredients to a critique: engage, explore, express, present and evaluate Aims of the critique A key aim of the critique is to make explicit and evaluate the decisions that went into making an artwork or are being made during the process.

The critique allows both the student and teacher to understand the processes involved in making artworks, identify and discuss the effects of decisions, and evaluate the choice of materials and their application of techniques and processes. Critiques help students to connect their working processes to the final product by making explicit and analysing decisions that go into making a final artwork — how the artwork was made, why it was made that way and what it could look like if it was made differently.

When reflecting on the decisions made behind the work, students: observe, interpret, explain and evaluate artworks understand how different parts of a work tangible and intangible contribute to the effect of the work understand how an artwork can communicate meaning and messages learn how to verbalise what they see in an artwork learn how to how to evaluate the effectiveness of artworks describe what an artwork reminds them of or the feelings it evokes describe what an artwork would look like if a part of it was changed.

For example: What part of the work is the most extraneous? What could be taken away while the central idea of the work remains the same? Teachers should take advantage of the critique to teach key concepts of the assessment criteria so that students become familiar with them.

While doing so, students should be made aware of how these assessment criteria relate to the key knowledge and key skills of the study design. The critique guides future work in an implicit or explicit way. From a critique students can identify the characteristics of their work and build upon their strengths.

Teachers can also learn about the way students work by listening to what they have to say. In the discussion, the student should reflect on how the artwork could have been made differently or the outcome of the artwork if it had been made using different materials, techniques and processes. Before the critique Consider the personal involvement the student has in the work.

Is there a narrative intent? Is the work representational? On the plus side, folios typically reflect effort. Put in heaps of effort? I stumbled upon my VisCom folios the other day, and I was genuinely proud of what I had produced. Of course, to get to that point, I literally sacrificed blood darn paper cuts , sweat and tears. Many tears. Here are some things you might like to consider when constructing your folios.

Then you realise how much more there is to do. You cry. And trust me: the sheer satisfaction of submitting your folio after consistent effort throughout the year is pretty incredible. Use this as motivation to keep working throughout the year. Of course some of your work will be of a higher standard.

The result of that is that of course some of your work will be of a lesser standard. Make a sketch that looks terrible? Here, further to the final product, you need to show how you go there. And that includes stuff you might not be so pleased with initially.

And having that variation allows you the choice of how to best progress.

Art principles Discuss the application of one art element through the use of one art principle.

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Online horse betting malaysia	Discuss how the artist manipulated the subject matter to represent ideas and communicate meaning. How can you contextualise the work folio the feedback? This is the sort of stuff that will move you from a mid-range student to a top-end student. His films are characterised by a disturbing atmosphere that springs from a particular use of everyday and common objects in unexpected ways. Despite her traumas and hardships during her childhood and early adult life, her recounts never display a tone of complaint or victimhood, nor come across as self-aggrandising when describing her achievements. The title of her novel is indicative of her conduct vcaa, not only an artist, but a woman in a militant, oppressive, Yugoslavic society, as she employed an outrageous level of discipline to make the impossible, possible.

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