Comparing Samples

The Arts: Visual Arts

Years 7 and 8

Satisfactory

Merged landscapes

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

  • 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 Annotation 1
Identifies materials and practices in the artworks 2 Annotation 2
Identifies methods and materials in the artmaking process

  • Annotations

  • 1
    Annotation 1
    Identifies materials and practices in the artworks
  • 2
    Annotation 2
    Identifies methods and materials in the artmaking process
1 Annotation 1
Describes how the artist responds to coral bleaching by using multiple perspectives in her artwork

  • 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 Annotation 1
Explores linear and aerial perspectives

  • Annotations

  • 1
    Annotation 1
    Explores linear and aerial perspectives
1 Annotation 1
Describes an environmental issue 2 Annotation 2
Explores aerial and linear perspectives in drawings

  • Annotations

  • 1
    Annotation 1
    Describes an environmental issue
  • 2
    Annotation 2
    Explores aerial and linear perspectives in drawings
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

  • 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 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

  • 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

Above satisfactory

Merged landscapes

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

  • 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 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

  • 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 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

  • 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 Annotation 1
Explores linear and aerial perspectives by manipulating photographs on a tablet

  • Annotations

  • 1
    Annotation 1
    Explores linear and aerial perspectives by manipulating photographs on a tablet
1 Annotation 1
Explores aerial and linear perspectives in drawings of three different settings 2 Annotation 2
Evaluates the environmental concerns of the artist

  • 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 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

  • 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 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

  • 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

Below satisfactory

Merged landscapes

1 Annotation 1
Identifies the artist’s name 2 Annotation 2
Identifies a method used by the artist

  • Annotations

  • 1
    Annotation 1
    Identifies the artist’s name
  • 2
    Annotation 2
    Identifies a method used by the artist
1 Annotation 1
Recognises a method of artmaking

  • Annotations

  • 1
    Annotation 1
    Recognises a method of artmaking
1 Annotation 1
Identifies an artefact that the artist responds to

  • 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 Annotation 1
Cuts and pastes from published photos

  • Annotations

  • 1
    Annotation 1
    Cuts and pastes from published photos
1 Annotation 1
States a personal environmental concern

  • Annotations

  • 1
    Annotation 1
    States a personal environmental concern
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

  • 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 Annotation 1
Describes some of the process involved in completing the artwork 2 Annotation 2
Compares their artwork to Judy Watson’s

  • Annotations

  • 1
    Annotation 1
    Describes some of the process involved in completing the artwork
  • 2
    Annotation 2
    Compares their artwork to Judy Watson’s

Satisfactory

Merged landscapes

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

  • 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 Annotation 1
Identifies materials and practices in the artworks 2 Annotation 2
Identifies methods and materials in the artmaking process

  • Annotations

  • 1
    Annotation 1
    Identifies materials and practices in the artworks
  • 2
    Annotation 2
    Identifies methods and materials in the artmaking process
1 Annotation 1
Describes how the artist responds to coral bleaching by using multiple perspectives in her artwork

  • 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 Annotation 1
Explores linear and aerial perspectives

  • Annotations

  • 1
    Annotation 1
    Explores linear and aerial perspectives
1 Annotation 1
Describes an environmental issue 2 Annotation 2
Explores aerial and linear perspectives in drawings

  • Annotations

  • 1
    Annotation 1
    Describes an environmental issue
  • 2
    Annotation 2
    Explores aerial and linear perspectives in drawings
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

  • 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 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

  • 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