AS 91440 Annotated exemplars

This annotated exemplar is intended for teacher use only. Annotated exemplars are extracts of student evidence, with commentary, that explain key parts of a standard. These help teachers make assessment judgements at the grade boundaries.

Download all exemplars and commentary [PDF, 11 MB]

TKI Visual Arts assessment resources (external link)

For Excellence, the student needs to critically analyse methods and ideas from established design practice.

This involves:

• explaining the significance of how and why art works are made, viewed, and valued
• explaining complex relationships between selected approaches
• placing these relationships within a wider social, political, geographic, or historical context
• providing evidence of independent research from a wide range of sources where personal insight, evaluation, and conclusions are presented with supporting arguments.

This student has explained stylistic features and contextual influences of two designers, and provided a critical analysis of specific works (page 1). The student then compares similarities and differences between the approaches (page 2).

The analysis of the Olma poster includes explanations of the visual and symbolic elements of the design (1). Personal insight is demonstrated in the link to ‘clean green New Zealand’ (2) and other potential inferences.

The student also includes specific reference to wider contexts. For example, the Muller-Brockmann page connects the historical aesthetic ideals or Bramante (3) with the contemporary design values Van Der Rhoe (4). The student then discusses how Swiss typography relates to the socio/political landscape of the time (5).

For a more secure Excellence, the student could include a third designer. Although multiple works by each artist are investigated, Explanatory Note 2 states the three artists are recommended.

The student could provide more detailed discussion of relationships rather than simply identifying similarities (6) and differences (7). For example, the different production technologies could contribute to stylistic differences between the artists.

For Merit, the student needs to analyse, in depth, methods and ideas from established design practice.

This involves:

• purposefully identifying key information related to methods and ideas
• gathering information from a range of sources
• using specific examples to support the student’s discussion of particular methods and ideas.

This student has explained how the work of Saul Bass differs from typical film poster designs of the time (1). This understanding of a wider context, rather than just the work itself, shows a more in-depth analysis.

The inclusion of specific quotes by Saul Bass (2) and David Carson (4) indicate that the information is gained from a range of sources. In both cases the student then explains the meaning of the quote in relation to the designers’ work.

The relationship between how visual methods are used to communicate ideas is explained in the discussion of Carson’s Hanging at Carmine Street (5).

To reach Excellence, the student could provide more comprehensive analysis of specific artworks by each designer. For example, the key aspects of limited colour, grid structure, and head positions could be explained in the poster for The Man With Golden Arm (3).

The shift between mechanical and digital production processes could also be discussed in terms of how these affect the design possibilities for each artist. 

The student could also make more explicit reference to how each artist was influenced by wider social or artistic contexts. For example, the student could explain how grunge music affected the stylistic features of Carson’s deconstructivism.

For Merit, the student needs to analyse, in depth, methods and ideas from established design practice.

This involves:

• purposefully identifying key information related to methods and ideas
• gathering information from a range of sources
• using specific examples to support the student’s discussion of particular methods and ideas.

This student has made connections between influences, methods and ideas. For example, in the discussion of Peony Yip, the artist’s Hong Kong upbringing is linked to Helmo’s Fashion Animals, youth culture energy and Asian astrological identity (1).

Depth of analysis is demonstrated through clear connection between stylistic features and the communicative intention of the work (2). This is further supported by making links between the Wisniewski’s work and methods and ideas of a wider artistic context (4) (6).

Appropriate research sources are revealed in the use of specific quotes (5).

For a more secure Merit, the student could provide a more sustained discussion of the methods and ideas of specific art works. This may include the detailed explanation of composition, space, technical procedures and visual metaphor. For example, in the landscape/man image (3), Matt Wisniewshi may be implying an environmental message.

The student could also more fully explore the theme of metamorphosis in terms of technical and communicative purposes. Consideration of the different approaches between the identified designers, and how these relate to artists outside the field of design, may provide more in-depth understanding.

For Achieved, the student needs to analyse methods and ideas from established design practice.

This involves:

• identifying, describing, and examining features of art works
• identifying information related to methods and ideas
• explaining how and why art works are made, viewed, and valued
• distinguishing similarities and differences between approaches to making art
• research into the established practice of at least three artists from at least two sources.

This student has made explicit connections between the visual elements used and the specific message (1). The value of Nitsche’s contribution to design is identified in how the designer’s stylistic innovations are viewed and valued (2). A wider social context is also explained in how Nitsche’s designs promoted nuclear power (3).

The casual relationship between visual methods and a specific message is illustrated in the discussion of Newlyn’s Humane Society logo (5). The student then points out a potential stylistic influence (6), which indicates consideration of a wider artistic context.

To reach Merit, the student could provide more complete discussions of specific designs. For example, they could explain the reasoning of sans serif for The Humane Society logo and the use of bold for Humane (4). The student could also provide a more detailed explanation of how Matisse’s simplicity and positive/negative relationships (6) have influenced Newlyn’s designs.

A comparative discussion could enable the student to show the in-depth analysis required for Merit. For example, the student could explain how the different political message of each design is reflected on the stylistic features.

For Achieved, the student needs to analyse methods and ideas from established design practice.

This involves:

• identifying, describing, and examining features of art works
• identifying information related to methods and ideas
• explaining how and why art works are made, viewed, and valued
• distinguishing similarities and differences between approaches to making art
• research into the established practice of at least three artists from at least two sources.

This student has described how particular design features are used to communicate specific messages, for example how the use of particular colour, font selection and graphic image create a sense of traditional values in the Traditions Home logo (2).

The student includes information about the design philosophy and procedural methods of Fernandez Design (3). This excerpt shows research from an appropriate source and makes reference to how the artworks are made, viewed and valued.

For a more secure Achieved, the student could expand upon the discussion of particular designs. For example, the Marlen logo analysis (1) could include references to the implied patriotism of the colour selection and hygiene inference of the open white spaces. 

The student could also explore the wider context of historical logo design or how the identified logos are modified for different uses. This would provide an opportunity for the comparative discussions that provide insight into how art works are made and viewed.

For Achieved, the student needs to analyse methods and ideas from established painting practice.

This involves:

• identifying, describing, and examining features of art works
• identifying information related to methods and ideas
• explaining how and why art works are made, viewed, and valued
• distinguishing similarities and differences between approaches to making art
• research into the established practice of at least three artists from at least two sources.

This student has made some appropriate comment about the relationship between visual features and the communicative purpose of art works, for example the layering of colour to create a ‘grungy’ effect appropriate to a surfing culture market (4).

The student makes a stylistic connection between the paper cut-outs of Matisse, Saul Bass and the contemporary Catch Me If You Can poster (2). This shows some understanding of how art works influence each other.  

The biographical information presented at the beginning of each page (1) (3) indicates that appropriate research sources have been identified.

To reach Achieved, the student could more fully identify the stylistic features of each art work. This may include a discussion of colour, layout, typography, and production processes. The student could also explain how the outcome relates to the design context, specific brief and target audience.

The styles of Saul Bass and David Carson are very different. The student could explain how and why these artists differ in relation to production processes and social, historical and artistic contexts. This could provide the analysis required for Achieved at Level 3.