What to do
Note to teacher: This Internal Assessment Activity may be used unchanged, or can be adapted by the teacher, ensuring that all requirements of the Achievement Standard are still met. This textbox should be removed prior to sharing the activity with your students.
Note to teacher: This Internal Assessment Activity may be used unchanged, or can be adapted by the teacher, ensuring that all requirements of the Achievement Standard are still met. This textbox should be removed prior to sharing the activity with your students.
You are going to produce a resolved artist’s book that visually communicates your personal connection to a site that is significant to you or your local community.
A resolved artwork is a single significant artwork. It is the most effective communication of an idea or narrative with the appropriate technical finish.
Before starting this Assessment Activity, you will:
- visit a local site of your choosing
- generate a wide range of visual resources to work with when you create your artist’s book
- identify an artmaking discipline that you will use in your artist’s book and explore the relevant materials, processes and techniques of the discipline (such as printmaking, watercolour, mixed media)
- explore artist’s book processes, materials and techniques.
See Getting Started and Student Resources for guidance.
Assessment Activity: Resolved artist’s book
Artists’ book size — six pages A5-A4 (or a digital video of up to 120 seconds).
Use the most successful outcomes from your in-class experiments to develop and produce your final artist’s book.
Step 1: Plan your artist’s book
- Identify the key conventions of an artist’s book and select the processes, materials, and techniques to use in your book.
- Select a cultural concept to be a theme in your work.
- Select images generated from your work around your site that effectively communicate your connections with the site.
- Select text elements you gathered that effectively communicate your connection with the site.
- Select techniques and conventions that communicate your relationship with the site.
- Trial combining the various images you have selected/chosen with the different text elements you have chosen.
Step 2: Develop your ideas
- Create a mind-map to explore combinations of image and text to best reflect your connection to the site.
- Refine and produce a storyboard/slideshow with the combination of image and text from above. Choose up to 6 images. It should indicate what your final work will be like.
- Refine your use of the relevant artmaking processes, materials, or techniques you will be using on your final artist’s book.
Step 3: Produce your resolved artist’s book
- Produce a resolved artist’s book that shows skilled management of relevant artmaking process, materials, and techniques.
- Create or print your resolved pages, combine them in order, and construct your final book. Fold or bind it appropriately.
- Your final submission must include some evidence that shows your research and development (decision making). This evidence can be taken from the work you did to plan and develop your artist’s book.
You are going to produce a resolved artist’s book that visually communicates your personal connection to a site that is significant to you or your local community.
A resolved artwork is a single significant artwork. It is the most effective communication of an idea or narrative with the appropriate technical finish.
Before starting this Assessment Activity, you will:
- visit a local site of your choosing
- generate a wide range of visual resources to work with when you create your artist’s book
- identify an artmaking discipline that you will use in your artist’s book and explore the relevant materials, processes and techniques of the discipline (such as printmaking, watercolour, mixed media)
- explore artist’s book processes, materials and techniques.
See Getting Started and Student Resources for guidance.
Assessment Activity: Resolved artist’s book
Artists’ book size — six pages A5-A4 (or a digital video of up to 120 seconds).
Use the most successful outcomes from your in-class experiments to develop and produce your final artist’s book.
Step 1: Plan your artist’s book
- Identify the key conventions of an artist’s book and select the processes, materials, and techniques to use in your book.
- Select a cultural concept to be a theme in your work.
- Select images generated from your work around your site that effectively communicate your connections with the site.
- Select text elements you gathered that effectively communicate your connection with the site.
- Select techniques and conventions that communicate your relationship with the site.
- Trial combining the various images you have selected/chosen with the different text elements you have chosen.
Step 2: Develop your ideas
- Create a mind-map to explore combinations of image and text to best reflect your connection to the site.
- Refine and produce a storyboard/slideshow with the combination of image and text from above. Choose up to 6 images. It should indicate what your final work will be like.
- Refine your use of the relevant artmaking processes, materials, or techniques you will be using on your final artist’s book.
Step 3: Produce your resolved artist’s book
- Produce a resolved artist’s book that shows skilled management of relevant artmaking process, materials, and techniques.
- Create or print your resolved pages, combine them in order, and construct your final book. Fold or bind it appropriately.
- Your final submission must include some evidence that shows your research and development (decision making). This evidence can be taken from the work you did to plan and develop your artist’s book.
How to present your learning
The outcome will be an artist’s book of 6 x pages A5-A4 (or digital video of up to 120 seconds).
You must submit supporting evidence that shows the research and development (decision-making) involved in producing the artwork. The evidence is not directly assessed, however it is necessary to show intentionality and inform the resolved artwork.
You might include:
- imagery, notes, and drawings from the site
- text elements relating to the site
- investigation of established practice related to the relevant artmaking you have selected
- evidence of trialing and refining use of relevant artmaking processes, materials, and techniques
- trialing and combinations of imagery and text
- story board or slideshow plan of your artist’s book (paper or digital).
The outcome will be an artist’s book of 6 x pages A5-A4 (or digital video of up to 120 seconds).
You must submit supporting evidence that shows the research and development (decision-making) involved in producing the artwork. The evidence is not directly assessed, however it is necessary to show intentionality and inform the resolved artwork.
You might include:
- imagery, notes, and drawings from the site
- text elements relating to the site
- investigation of established practice related to the relevant artmaking you have selected
- evidence of trialing and refining use of relevant artmaking processes, materials, and techniques
- trialing and combinations of imagery and text
- story board or slideshow plan of your artist’s book (paper or digital).
Timeframe
Your teacher will provide details of:
- planning and preparation (approximately 30 hours of class time)
- final resolved artist’s book (approximately 10 hours of class time).
Your teacher will provide details of:
- planning and preparation (approximately 30 hours of class time)
- final resolved artist’s book (approximately 10 hours of class time).
Getting started
This Assessment Activity combines multiple skills and ideas in a resolved artwork.
Before you start the final artwork, you will need to:
- select a site that you or your community are personally connected to
- generate a range of imagery from the site
- investigate established art making conventions you will use in your artist’s book
- develop an idea or narrative that you will communicate through your artwork.
Below are suggested activities you could do to develop your skills and ideas before you begin the final Assessment Activity.
Suggested preparation:
Visit a site and generate resource imagery
Choose a site in consultation with your teacher. You should select a site that is easy for you to get to.
The site could be:
- urban, such as in a city or village (home or school)
- natural, such as one with bush, sea, or a farm
- a historic site such as a pā, cemetery, or town hall.
At the site you could:
- generate a wide range of visual resources so you have plenty of material to work with
- document the site using a range of drawing conventions and visual art processes.
Investigating context
After your site visit discuss and select a cultural concept that could be a theme for your artwork.
Examples of possible cultural concepts include:
- kaitiakitanga
- tangata whenua
- whakapapa
- mana motuhake
- mauri
- wāhi tapu
- haa
- wairua
- atua
- taonga tuku iho
- vaka
- alofa.
Investigating established practice
Look at examples of established practice that show how artworks were created in relation to specific sites, places, or concepts. Look at the strategies combining text and image.
On an A3 page attach examples of their work and make brief annotations about the conventions they have used and how you will apply these to your book.
You should outline:
- the ways you will link the site to the key concepts you will use in your book
- how and why these concepts relate to the selected site
- how and why your selected text elements relate to the selected site.
This Assessment Activity combines multiple skills and ideas in a resolved artwork.
Before you start the final artwork, you will need to:
- select a site that you or your community are personally connected to
- generate a range of imagery from the site
- investigate established art making conventions you will use in your artist’s book
- develop an idea or narrative that you will communicate through your artwork.
Below are suggested activities you could do to develop your skills and ideas before you begin the final Assessment Activity.
Suggested preparation:
Visit a site and generate resource imagery
Choose a site in consultation with your teacher. You should select a site that is easy for you to get to.
The site could be:
- urban, such as in a city or village (home or school)
- natural, such as one with bush, sea, or a farm
- a historic site such as a pā, cemetery, or town hall.
At the site you could:
- generate a wide range of visual resources so you have plenty of material to work with
- document the site using a range of drawing conventions and visual art processes.
Investigating context
After your site visit discuss and select a cultural concept that could be a theme for your artwork.
Examples of possible cultural concepts include:
- kaitiakitanga
- tangata whenua
- whakapapa
- mana motuhake
- mauri
- wāhi tapu
- haa
- wairua
- atua
- taonga tuku iho
- vaka
- alofa.
Investigating established practice
Look at examples of established practice that show how artworks were created in relation to specific sites, places, or concepts. Look at the strategies combining text and image.
On an A3 page attach examples of their work and make brief annotations about the conventions they have used and how you will apply these to your book.
You should outline:
- the ways you will link the site to the key concepts you will use in your book
- how and why these concepts relate to the selected site
- how and why your selected text elements relate to the selected site.
Student resources
An artist’s book is visual and combines a range of art making practices into one format. It can be folded, bound, or digital. It uses visual material to communicate a message and show the tangible qualities of the art making practices. An artist’s book uses visual information instead of the written or formatting qualities of a zine.
Note: You may use images gathered from Achievement Standard 91912 and use class resources provided by the teacher along with images generated from your site visit.
Examples of information to gather on your site visits:
- information about the environment such as:
- textures (leaves, grass, tree branches, sand)
- natural patterns (waves, grass, wood)
- surrounding landscape (hills, horizon, sea)
- atmospheric mood (light, clouds)
- recordings of text elements such as:
- alphanumeric letters, symbols, characters, and numbers
- found poetry, letters, articles, data, or other sources.
- whakataukī/whakatauākī, karakia, texts, documents, diagrams, data.
- annotations on why you have chosen this site.
Visual Art conventions used to record the environment could include:
- photographs, sketches, washes, pen and ink, rubbings (frottage), cyanotype observational notes or any other appropriate methods.
Questions you could ask when analysing examples of established practice:
- What artist’s book conventions have they used? How have they used these conventions (for example, colour, texture, subject matter symbols, narrative)?
- What processes, materials, and techniques did they use to produce the work?
- What is the meaning and interpretation of the work?
- How were the works created in relation to specific sites, places, or concepts and how is this evident in the use of text and image such as hierarchy of images, layering, transitions etc?
- What ideas might I use in my work? What images have I already made that I can use?
Combining concepts and imagery
- Explore the idea of intention and how this can be represented in an artist’s book through choices in image placement, order, and relationship. For example:
- temporally (time of day, seasonal)
- spatially (placement within the space)
- thematically (image, colour, tonal progression)
- linked through prose (supporting whakataukī, poetry).
- Consider how the use of colour, tone, and mark making can unify and support the intention.
Create a mind-map to explore combinations of image and text that communicate your connection to the site.
Your mind-map should outline:
- the relevant formal art conventions and digital conventions of your art making practice
- how these conventions and techniques might inform your own significant work.
Paper-based and digital conventions include:
- processes (printing, frottage, wash, ink, video, animation, cyanotype)
- technical (camera, viewpoint, lighting, digital effects, soundtrack)
- elements (line, colour, pattern, text)
- layering (opacity of media, wash, collage, digital).
An artist’s book is visual and combines a range of art making practices into one format. It can be folded, bound, or digital. It uses visual material to communicate a message and show the tangible qualities of the art making practices. An artist’s book uses visual information instead of the written or formatting qualities of a zine.
Note: You may use images gathered from Achievement Standard 91912 and use class resources provided by the teacher along with images generated from your site visit.
Examples of information to gather on your site visits:
- information about the environment such as:
- textures (leaves, grass, tree branches, sand)
- natural patterns (waves, grass, wood)
- surrounding landscape (hills, horizon, sea)
- atmospheric mood (light, clouds)
- recordings of text elements such as:
- alphanumeric letters, symbols, characters, and numbers
- found poetry, letters, articles, data, or other sources.
- whakataukī/whakatauākī, karakia, texts, documents, diagrams, data.
- annotations on why you have chosen this site.
Visual Art conventions used to record the environment could include:
- photographs, sketches, washes, pen and ink, rubbings (frottage), cyanotype observational notes or any other appropriate methods.
Questions you could ask when analysing examples of established practice:
- What artist’s book conventions have they used? How have they used these conventions (for example, colour, texture, subject matter symbols, narrative)?
- What processes, materials, and techniques did they use to produce the work?
- What is the meaning and interpretation of the work?
- How were the works created in relation to specific sites, places, or concepts and how is this evident in the use of text and image such as hierarchy of images, layering, transitions etc?
- What ideas might I use in my work? What images have I already made that I can use?
Combining concepts and imagery
- Explore the idea of intention and how this can be represented in an artist’s book through choices in image placement, order, and relationship. For example:
- temporally (time of day, seasonal)
- spatially (placement within the space)
- thematically (image, colour, tonal progression)
- linked through prose (supporting whakataukī, poetry).
- Consider how the use of colour, tone, and mark making can unify and support the intention.
Create a mind-map to explore combinations of image and text that communicate your connection to the site.
Your mind-map should outline:
- the relevant formal art conventions and digital conventions of your art making practice
- how these conventions and techniques might inform your own significant work.
Paper-based and digital conventions include:
- processes (printing, frottage, wash, ink, video, animation, cyanotype)
- technical (camera, viewpoint, lighting, digital effects, soundtrack)
- elements (line, colour, pattern, text)
- layering (opacity of media, wash, collage, digital).
What to do
Note to teacher: This Internal Assessment Activity may be used unchanged, or can be adapted by the teacher, ensuring that all requirements of the Achievement Standard are still met. This textbox should be removed prior to sharing the activity with your students.
Note to teacher: This Internal Assessment Activity may be used unchanged, or can be adapted by the teacher, ensuring that all requirements of the Achievement Standard are still met. This textbox should be removed prior to sharing the activity with your students.
You are going to produce a resolved artist’s book that visually communicates your personal connection to a site that is significant to you or your local community.
A resolved artwork is a single significant artwork. It is the most effective communication of an idea or narrative with the appropriate technical finish.
Before starting this Assessment Activity, you will:
- visit a local site of your choosing
- generate a wide range of visual resources to work with when you create your artist’s book
- identify an artmaking discipline that you will use in your artist’s book and explore the relevant materials, processes and techniques of the discipline (such as printmaking, watercolour, mixed media)
- explore artist’s book processes, materials and techniques.
See Getting Started and Student Resources for guidance.
Assessment Activity: Resolved artist’s book
Artists’ book size — six pages A5-A4 (or a digital video of up to 120 seconds).
Use the most successful outcomes from your in-class experiments to develop and produce your final artist’s book.
Step 1: Plan your artist’s book
- Identify the key conventions of an artist’s book and select the processes, materials, and techniques to use in your book.
- Select a cultural concept to be a theme in your work.
- Select images generated from your work around your site that effectively communicate your connections with the site.
- Select text elements you gathered that effectively communicate your connection with the site.
- Select techniques and conventions that communicate your relationship with the site.
- Trial combining the various images you have selected/chosen with the different text elements you have chosen.
Step 2: Develop your ideas
- Create a mind-map to explore combinations of image and text to best reflect your connection to the site.
- Refine and produce a storyboard/slideshow with the combination of image and text from above. Choose up to 6 images. It should indicate what your final work will be like.
- Refine your use of the relevant artmaking processes, materials, or techniques you will be using on your final artist’s book.
Step 3: Produce your resolved artist’s book
- Produce a resolved artist’s book that shows skilled management of relevant artmaking process, materials, and techniques.
- Create or print your resolved pages, combine them in order, and construct your final book. Fold or bind it appropriately.
- Your final submission must include some evidence that shows your research and development (decision making). This evidence can be taken from the work you did to plan and develop your artist’s book.
You are going to produce a resolved artist’s book that visually communicates your personal connection to a site that is significant to you or your local community.
A resolved artwork is a single significant artwork. It is the most effective communication of an idea or narrative with the appropriate technical finish.
Before starting this Assessment Activity, you will:
- visit a local site of your choosing
- generate a wide range of visual resources to work with when you create your artist’s book
- identify an artmaking discipline that you will use in your artist’s book and explore the relevant materials, processes and techniques of the discipline (such as printmaking, watercolour, mixed media)
- explore artist’s book processes, materials and techniques.
See Getting Started and Student Resources for guidance.
Assessment Activity: Resolved artist’s book
Artists’ book size — six pages A5-A4 (or a digital video of up to 120 seconds).
Use the most successful outcomes from your in-class experiments to develop and produce your final artist’s book.
Step 1: Plan your artist’s book
- Identify the key conventions of an artist’s book and select the processes, materials, and techniques to use in your book.
- Select a cultural concept to be a theme in your work.
- Select images generated from your work around your site that effectively communicate your connections with the site.
- Select text elements you gathered that effectively communicate your connection with the site.
- Select techniques and conventions that communicate your relationship with the site.
- Trial combining the various images you have selected/chosen with the different text elements you have chosen.
Step 2: Develop your ideas
- Create a mind-map to explore combinations of image and text to best reflect your connection to the site.
- Refine and produce a storyboard/slideshow with the combination of image and text from above. Choose up to 6 images. It should indicate what your final work will be like.
- Refine your use of the relevant artmaking processes, materials, or techniques you will be using on your final artist’s book.
Step 3: Produce your resolved artist’s book
- Produce a resolved artist’s book that shows skilled management of relevant artmaking process, materials, and techniques.
- Create or print your resolved pages, combine them in order, and construct your final book. Fold or bind it appropriately.
- Your final submission must include some evidence that shows your research and development (decision making). This evidence can be taken from the work you did to plan and develop your artist’s book.
How to present your learning
The outcome will be an artist’s book of 6 x pages A5-A4 (or digital video of up to 120 seconds).
You must submit supporting evidence that shows the research and development (decision-making) involved in producing the artwork. The evidence is not directly assessed, however it is necessary to show intentionality and inform the resolved artwork.
You might include:
- imagery, notes, and drawings from the site
- text elements relating to the site
- investigation of established practice related to the relevant artmaking you have selected
- evidence of trialing and refining use of relevant artmaking processes, materials, and techniques
- trialing and combinations of imagery and text
- story board or slideshow plan of your artist’s book (paper or digital).
The outcome will be an artist’s book of 6 x pages A5-A4 (or digital video of up to 120 seconds).
You must submit supporting evidence that shows the research and development (decision-making) involved in producing the artwork. The evidence is not directly assessed, however it is necessary to show intentionality and inform the resolved artwork.
You might include:
- imagery, notes, and drawings from the site
- text elements relating to the site
- investigation of established practice related to the relevant artmaking you have selected
- evidence of trialing and refining use of relevant artmaking processes, materials, and techniques
- trialing and combinations of imagery and text
- story board or slideshow plan of your artist’s book (paper or digital).
Timeframe
Your teacher will provide details of:
- planning and preparation (approximately 30 hours of class time)
- final resolved artist’s book (approximately 10 hours of class time).
Your teacher will provide details of:
- planning and preparation (approximately 30 hours of class time)
- final resolved artist’s book (approximately 10 hours of class time).
Getting started
This Assessment Activity combines multiple skills and ideas in a resolved artwork.
Before you start the final artwork, you will need to:
- select a site that you or your community are personally connected to
- generate a range of imagery from the site
- investigate established art making conventions you will use in your artist’s book
- develop an idea or narrative that you will communicate through your artwork.
Below are suggested activities you could do to develop your skills and ideas before you begin the final Assessment Activity.
Suggested preparation:
Visit a site and generate resource imagery
Choose a site in consultation with your teacher. You should select a site that is easy for you to get to.
The site could be:
- urban, such as in a city or village (home or school)
- natural, such as one with bush, sea, or a farm
- a historic site such as a pā, cemetery, or town hall.
At the site you could:
- generate a wide range of visual resources so you have plenty of material to work with
- document the site using a range of drawing conventions and visual art processes.
Investigating context
After your site visit discuss and select a cultural concept that could be a theme for your artwork.
Examples of possible cultural concepts include:
- kaitiakitanga
- tangata whenua
- whakapapa
- mana motuhake
- mauri
- wāhi tapu
- haa
- wairua
- atua
- taonga tuku iho
- vaka
- alofa.
Investigating established practice
Look at examples of established practice that show how artworks were created in relation to specific sites, places, or concepts. Look at the strategies combining text and image.
On an A3 page attach examples of their work and make brief annotations about the conventions they have used and how you will apply these to your book.
You should outline:
- the ways you will link the site to the key concepts you will use in your book
- how and why these concepts relate to the selected site
- how and why your selected text elements relate to the selected site.
This Assessment Activity combines multiple skills and ideas in a resolved artwork.
Before you start the final artwork, you will need to:
- select a site that you or your community are personally connected to
- generate a range of imagery from the site
- investigate established art making conventions you will use in your artist’s book
- develop an idea or narrative that you will communicate through your artwork.
Below are suggested activities you could do to develop your skills and ideas before you begin the final Assessment Activity.
Suggested preparation:
Visit a site and generate resource imagery
Choose a site in consultation with your teacher. You should select a site that is easy for you to get to.
The site could be:
- urban, such as in a city or village (home or school)
- natural, such as one with bush, sea, or a farm
- a historic site such as a pā, cemetery, or town hall.
At the site you could:
- generate a wide range of visual resources so you have plenty of material to work with
- document the site using a range of drawing conventions and visual art processes.
Investigating context
After your site visit discuss and select a cultural concept that could be a theme for your artwork.
Examples of possible cultural concepts include:
- kaitiakitanga
- tangata whenua
- whakapapa
- mana motuhake
- mauri
- wāhi tapu
- haa
- wairua
- atua
- taonga tuku iho
- vaka
- alofa.
Investigating established practice
Look at examples of established practice that show how artworks were created in relation to specific sites, places, or concepts. Look at the strategies combining text and image.
On an A3 page attach examples of their work and make brief annotations about the conventions they have used and how you will apply these to your book.
You should outline:
- the ways you will link the site to the key concepts you will use in your book
- how and why these concepts relate to the selected site
- how and why your selected text elements relate to the selected site.
Student resources
An artist’s book is visual and combines a range of art making practices into one format. It can be folded, bound, or digital. It uses visual material to communicate a message and show the tangible qualities of the art making practices. An artist’s book uses visual information instead of the written or formatting qualities of a zine.
Note: You may use images gathered from Achievement Standard 91912 and use class resources provided by the teacher along with images generated from your site visit.
Examples of information to gather on your site visits:
- information about the environment such as:
- textures (leaves, grass, tree branches, sand)
- natural patterns (waves, grass, wood)
- surrounding landscape (hills, horizon, sea)
- atmospheric mood (light, clouds)
- recordings of text elements such as:
- alphanumeric letters, symbols, characters, and numbers
- found poetry, letters, articles, data, or other sources.
- whakataukī/whakatauākī, karakia, texts, documents, diagrams, data.
- annotations on why you have chosen this site.
Visual Art conventions used to record the environment could include:
- photographs, sketches, washes, pen and ink, rubbings (frottage), cyanotype observational notes or any other appropriate methods.
Questions you could ask when analysing examples of established practice:
- What artist’s book conventions have they used? How have they used these conventions (for example, colour, texture, subject matter symbols, narrative)?
- What processes, materials, and techniques did they use to produce the work?
- What is the meaning and interpretation of the work?
- How were the works created in relation to specific sites, places, or concepts and how is this evident in the use of text and image such as hierarchy of images, layering, transitions etc?
- What ideas might I use in my work? What images have I already made that I can use?
Combining concepts and imagery
- Explore the idea of intention and how this can be represented in an artist’s book through choices in image placement, order, and relationship. For example:
- temporally (time of day, seasonal)
- spatially (placement within the space)
- thematically (image, colour, tonal progression)
- linked through prose (supporting whakataukī, poetry).
- Consider how the use of colour, tone, and mark making can unify and support the intention.
Create a mind-map to explore combinations of image and text that communicate your connection to the site.
Your mind-map should outline:
- the relevant formal art conventions and digital conventions of your art making practice
- how these conventions and techniques might inform your own significant work.
Paper-based and digital conventions include:
- processes (printing, frottage, wash, ink, video, animation, cyanotype)
- technical (camera, viewpoint, lighting, digital effects, soundtrack)
- elements (line, colour, pattern, text)
- layering (opacity of media, wash, collage, digital).
An artist’s book is visual and combines a range of art making practices into one format. It can be folded, bound, or digital. It uses visual material to communicate a message and show the tangible qualities of the art making practices. An artist’s book uses visual information instead of the written or formatting qualities of a zine.
Note: You may use images gathered from Achievement Standard 91912 and use class resources provided by the teacher along with images generated from your site visit.
Examples of information to gather on your site visits:
- information about the environment such as:
- textures (leaves, grass, tree branches, sand)
- natural patterns (waves, grass, wood)
- surrounding landscape (hills, horizon, sea)
- atmospheric mood (light, clouds)
- recordings of text elements such as:
- alphanumeric letters, symbols, characters, and numbers
- found poetry, letters, articles, data, or other sources.
- whakataukī/whakatauākī, karakia, texts, documents, diagrams, data.
- annotations on why you have chosen this site.
Visual Art conventions used to record the environment could include:
- photographs, sketches, washes, pen and ink, rubbings (frottage), cyanotype observational notes or any other appropriate methods.
Questions you could ask when analysing examples of established practice:
- What artist’s book conventions have they used? How have they used these conventions (for example, colour, texture, subject matter symbols, narrative)?
- What processes, materials, and techniques did they use to produce the work?
- What is the meaning and interpretation of the work?
- How were the works created in relation to specific sites, places, or concepts and how is this evident in the use of text and image such as hierarchy of images, layering, transitions etc?
- What ideas might I use in my work? What images have I already made that I can use?
Combining concepts and imagery
- Explore the idea of intention and how this can be represented in an artist’s book through choices in image placement, order, and relationship. For example:
- temporally (time of day, seasonal)
- spatially (placement within the space)
- thematically (image, colour, tonal progression)
- linked through prose (supporting whakataukī, poetry).
- Consider how the use of colour, tone, and mark making can unify and support the intention.
Create a mind-map to explore combinations of image and text that communicate your connection to the site.
Your mind-map should outline:
- the relevant formal art conventions and digital conventions of your art making practice
- how these conventions and techniques might inform your own significant work.
Paper-based and digital conventions include:
- processes (printing, frottage, wash, ink, video, animation, cyanotype)
- technical (camera, viewpoint, lighting, digital effects, soundtrack)
- elements (line, colour, pattern, text)
- layering (opacity of media, wash, collage, digital).