Above satisfactory
Merged landscapes
1
2
3
4
-
Annotations
-
1
Annotation 1
Identifies the artist and her themes -
2
Annotation 2
Identifies and analyses the artist’s research methods -
3
Annotation 3
Identifies processes used by the artist -
4
Annotation 4
Identifies and analyses the artist’s intention
1
2
3
-
Annotations
-
1
Annotation 1
Identifies materials and practices in the artworks -
2
Annotation 2
Analyses the artmaking practices and process that the artist used -
3
Annotation 3
Identifies elements of the artmaking process, materials and viewpoints
1
2
-
Annotations
-
1
Annotation 1
Discusses the artist’s context and analyses her cultural and social viewpoints -
2
Annotation 2
Analyses the use of the visual conventions to communicate an environmental message
Copyright
Judy Watson 1959
Heron island suite #3 (2009/2010)
1-colour etching from zinc plate (24.5 x 195 cm) on Hahnemühle. Plate sanguine; screenprint black
Screenprint mass coral bleaching graph courtesy Professor Ove Hoegh-Guldberg
Edition 30
Printer: Basil Hall Editions
Courtesy: Judy Watson and grahame galleries + editions/numero uno publications
Judy Watson 1959
Heron island suite #16 (2009/2010)
2-colour etching from 2 zinc plates (24.5 x 19.5 cm) on Hahnemühle. Plate 1 warm yellow ochre; plate 2 black; screenprint 1 black; screenprint 2: white
Screenprint black bleaching relative decrease and net productivity graphs courtesy Professor Ove Hoegh-Guldberg; screenprint white meal size graph courtesy Dr Bradley Congdon
Edition 30
Printer: Basil Hall Editions
Courtesy: Judy Watson and grahame galleries + editions/numero uno publications
1
-
Annotations
-
1
Annotation 1
Explores linear and aerial perspectives by manipulating photographs on a tablet
1
2
-
Annotations
-
1
Annotation 1
Explores aerial and linear perspectives in drawings of three different settings -
2
Annotation 2
Evaluates the environmental concerns of the artist
1
2
3
4
5
6
7
-
Annotations
-
1
Annotation 1
Combines photographic images with watercolour to create depth and zero-point perspective -
2
Annotation 2
Arranges the fish and the diver to create a sense of movement -
3
Annotation 3
Enhances the viewer’s perspectives of being above and below the water -
4
Annotation 4
Uses layers of watercolour to create the illusion of deep water -
5
Annotation 5
Juxtaposes contemporary imagery with a historical reference -
6
Annotation 6
Juxtaposes aerial and linear perspectives of a landscape -
7
Annotation 7
Draws a historical map and uses digital manipulation to layer it on to the artwork
1
2
3
4
5
6
7
-
Annotations
-
1
Annotation 1
Identifies the influence of Judy Watson’s use of aerial perspective on their own artwork -
2
Annotation 2
Describes the use of linear perspective to create the illusion of depth -
3
Annotation 3
Describes the process involved in completing the artwork -
4
Annotation 4
Compares their artwork to Judy Watson’s -
5
Annotation 5
Describes the use of layering to communicate historical dimension -
6
Annotation 6
Analyses their artwork’s intention -
7
Annotation 7
Reflects on possible ways to enhance the meaning of the artwork
Satisfactory
Merged landscapes
1
2
3
4
-
Annotations
-
1
Annotation 1
Identifies the artist -
2
Annotation 2
Identifies and analyses research methods that the artist uses -
3
Annotation 3
Identifies processes used by the artist -
4
Annotation 4
Identifies the artist’s intention
1
2
-
Annotations
-
1
Annotation 1
Identifies materials and practices in the artworks -
2
Annotation 2
Identifies methods and materials in the artmaking process
1
-
Annotations
-
1
Annotation 1
Describes how the artist responds to coral bleaching by using multiple perspectives in her artwork
Copyright
Judy Watson 1959
Heron island suite #3 (2009/2010)
1-colour etching from zinc plate (24.5 x 195 cm) on Hahnemühle. Plate sanguine; screenprint black
Screenprint mass coral bleaching graph courtesy Professor Ove Hoegh-Guldberg
Edition 30
Printer: Basil Hall Editions
Courtesy: Judy Watson and grahame galleries + editions/numero uno publications
Judy Watson 1959
Heron island suite #16 (2009/2010)
2-colour etching from 2 zinc plates (24.5 x 19.5 cm) on Hahnemühle. Plate 1 warm yellow ochre; plate 2 black; screenprint 1 black; screenprint 2: white
Screenprint black bleaching relative decrease and net productivity graphs courtesy Professor Ove Hoegh-Guldberg; screenprint white meal size graph courtesy Dr Bradley Congdon
Edition 30
Printer: Basil Hall Editions
Courtesy: Judy Watson and grahame galleries + editions/numero uno publications
1
-
Annotations
-
1
Annotation 1
Explores linear and aerial perspectives
1
2
-
Annotations
-
1
Annotation 1
Describes an environmental issue -
2
Annotation 2
Explores aerial and linear perspectives in drawings
1
2
3
4
5
6
-
Annotations
-
1
Annotation 1
Applies watercolour to create tone -
2
Annotation 2
Implies movement through the placement of the birds and their wings -
3
Annotation 3
Represents a tree using a subtle arrangement of colours and shapes -
4
Annotation 4
Uses a combination of brushwork – from controlled and precise to soft and blended -
5
Annotation 5
Combines underground and above ground to create a merged perspective -
6
Annotation 6
Uses digital manipulation to overlay a symbol of carbon footprints to emphasise environmental damage
1
2
3
4
5
-
Annotations
-
1
Annotation 1
Identifies Judy Watson’s use of layering and its effect on their own artwork -
2
Annotation 2
Describes the process involved in completing the artwork -
3
Annotation 3
Compares their artwork to Judy Watson’s -
4
Annotation 4
Identifies that the artwork has a sustainability message -
5
Annotation 5
Reflects on a possible method to enhance the meaning of the artwork
Below satisfactory
Merged landscapes
1
2
-
Annotations
-
1
Annotation 1
Identifies the artist’s name -
2
Annotation 2
Identifies a method used by the artist
1
-
Annotations
-
1
Annotation 1
Recognises a method of artmaking
1
-
Annotations
-
1
Annotation 1
Identifies an artefact that the artist responds to
Copyright
Judy Watson 1959
Heron island suite #3 (2009/2010)
1-colour etching from zinc plate (24.5 x 195 cm) on Hahnemühle. Plate sanguine; screenprint black
Screenprint mass coral bleaching graph courtesy Professor Ove Hoegh-Guldberg
Edition 30
Printer: Basil Hall Editions
Courtesy: Judy Watson and grahame galleries + editions/numero uno publications
Judy Watson 1959
Heron island suite #16 (2009/2010)
2-colour etching from 2 zinc plates (24.5 x 19.5 cm) on Hahnemühle. Plate 1 warm yellow ochre; plate 2 black; screenprint 1 black; screenprint 2: white
Screenprint black bleaching relative decrease and net productivity graphs courtesy Professor Ove Hoegh-Guldberg; screenprint white meal size graph courtesy Dr Bradley Congdon
Edition 30
Printer: Basil Hall Editions
Courtesy: Judy Watson and grahame galleries + editions/numero uno publications
1
-
Annotations
-
1
Annotation 1
Cuts and pastes from published photos
1
-
Annotations
-
1
Annotation 1
States a personal environmental concern
1
2
3
4
-
Annotations
-
1
Annotation 1
Uses combination of watercolour and digital manipulation -
2
Annotation 2
Applies layers of colour to indicate the contrast between land and ocean -
3
Annotation 3
Draws palm trees digitally -
4
Annotation 4
Cuts and pastes textured shape
1
2
-
Annotations
-
1
Annotation 1
Describes some of the process involved in completing the artwork -
2
Annotation 2
Compares their artwork to Judy Watson’s
Above satisfactory
Merged landscapes
1
2
3
4
-
Annotations
-
1
Annotation 1
Identifies the artist and her themes -
2
Annotation 2
Identifies and analyses the artist’s research methods -
3
Annotation 3
Identifies processes used by the artist -
4
Annotation 4
Identifies and analyses the artist’s intention
1
2
3
-
Annotations
-
1
Annotation 1
Identifies materials and practices in the artworks -
2
Annotation 2
Analyses the artmaking practices and process that the artist used -
3
Annotation 3
Identifies elements of the artmaking process, materials and viewpoints
1
2
-
Annotations
-
1
Annotation 1
Discusses the artist’s context and analyses her cultural and social viewpoints -
2
Annotation 2
Analyses the use of the visual conventions to communicate an environmental message
Copyright
Judy Watson 1959
Heron island suite #3 (2009/2010)
1-colour etching from zinc plate (24.5 x 195 cm) on Hahnemühle. Plate sanguine; screenprint black
Screenprint mass coral bleaching graph courtesy Professor Ove Hoegh-Guldberg
Edition 30
Printer: Basil Hall Editions
Courtesy: Judy Watson and grahame galleries + editions/numero uno publications
Judy Watson 1959
Heron island suite #16 (2009/2010)
2-colour etching from 2 zinc plates (24.5 x 19.5 cm) on Hahnemühle. Plate 1 warm yellow ochre; plate 2 black; screenprint 1 black; screenprint 2: white
Screenprint black bleaching relative decrease and net productivity graphs courtesy Professor Ove Hoegh-Guldberg; screenprint white meal size graph courtesy Dr Bradley Congdon
Edition 30
Printer: Basil Hall Editions
Courtesy: Judy Watson and grahame galleries + editions/numero uno publications
1
-
Annotations
-
1
Annotation 1
Explores linear and aerial perspectives by manipulating photographs on a tablet
1
2
-
Annotations
-
1
Annotation 1
Explores aerial and linear perspectives in drawings of three different settings -
2
Annotation 2
Evaluates the environmental concerns of the artist
1
2
3
4
5
6
7
-
Annotations
-
1
Annotation 1
Combines photographic images with watercolour to create depth and zero-point perspective -
2
Annotation 2
Arranges the fish and the diver to create a sense of movement -
3
Annotation 3
Enhances the viewer’s perspectives of being above and below the water -
4
Annotation 4
Uses layers of watercolour to create the illusion of deep water -
5
Annotation 5
Juxtaposes contemporary imagery with a historical reference -
6
Annotation 6
Juxtaposes aerial and linear perspectives of a landscape -
7
Annotation 7
Draws a historical map and uses digital manipulation to layer it on to the artwork
1
2
3
4
5
6
7
-
Annotations
-
1
Annotation 1
Identifies the influence of Judy Watson’s use of aerial perspective on their own artwork -
2
Annotation 2
Describes the use of linear perspective to create the illusion of depth -
3
Annotation 3
Describes the process involved in completing the artwork -
4
Annotation 4
Compares their artwork to Judy Watson’s -
5
Annotation 5
Describes the use of layering to communicate historical dimension -
6
Annotation 6
Analyses their artwork’s intention -
7
Annotation 7
Reflects on possible ways to enhance the meaning of the artwork