Visual Arts 2022 HSC exam pack

Students should:

• provide titles that effectively communicate and construct clear context to the student’s intentions
• explore and develop concept(s) that move beyond an obvious interpretation or representation of subject matter
• show an understanding of their practice when selecting the appropriate expressive form they are interested in, and demonstrate a level of technical skill
• refer to syllabus documents, Additional Advice and Assessment and Reporting in Visual Arts Stage 6, for limitations on size, materials and duration of body of works.

In better responses, students were able to:

• innovatively convey meaning and demonstrate new ways of using material
• understand the significance of the entire submission and identify how each component in the body of work aligns to resonate concepts in a sophisticated manner
• present artmaking techniques demonstrating confidence.

Areas for students to improve include:

• developing knowledge and skills in the technical use of tools associated with the expressive form to ensure the production of form and the representation of subject matter is clear and consistent
• acknowledging the restrictions for submission outlined by NESA in terms of materials and conditions of the artworks
• understanding the role of the Visual Arts marker as the critical audience of the artwork, to ensure students are demonstrating their ability to harness the potential of the expressive form.

Students should:

• demonstrate carefully considered curatorial choices of submissions
• ensure the display photographs are clear
• select appropriate clay bodies well suited to sculptural intentions and firing temperatures.

Trends include:

• the use of metallic (particularly gold) low fired glaze
• ceramic forms such as vessels and flat ware used as a vehicle for conceptual concerns
• well-constructed forms and resolved surface finishes.

In better body of works, students were able to:

• extend the expressive potential of clay, producing complex sculptural forms
• use surface finishes and glazes in a manner that is highly intentional and informed
• carefully select and curate each part of the submission.

Areas for students to improve include:

• considering how each object in the submission informs or reiterates other components
• selecting appropriate clay bodies for larger sculptural forms
• considering how titles may extend conceptual intent.

Students should:

• demonstrate carefully considered curatorial choices and consistency across all forms
• demonstrate an understanding of art making practices, synthesising the use of materials and conceptual practice.
• ensure the Body of Work complies with the conditions and limitations set.

Trends include:

• issues and themes connected to self-identity, culture and family history, the built and natural environment
• awareness of artists’ practice from a range of different contexts – modernism/design and abstraction
• blending of traditional and contemporary approaches to practice which included photography, digital drawings, print making and digital time-based forms including video and soundscapes.

In better body of works, students were able to:

• demonstrate a sophisticated use of materials enhancing the conceptual intent of the body of work
• reference the artworld and contemporary practice in a knowing and appropriate manner
• demonstrate a sophisticated understanding of curatorial practices and considerations of presentation which resulted in cohesiveness across all elements of the submission.

Areas for students to improve include:

• understanding the value of curatorial practice and the importance of selection and refinement within a body of work
• focusing on reiteration rather than repetition of concepts and ideas within treatment of subject matter or use of materials
• selecting materials and reconciling their treatment and handling to convey meaning.

Students should:

• consider how art references are an integral conceptual feature in the design process and generate meaning to the submission
• refine the selection and use of materials to project ideas clearly within the artwork
• not include mannequins with submissions of wearables in Designed Objects.

Trends include:

• wearable objects that reference fantasy genres and cosplay
• product design and advertising campaigns highlighted within a range of components that consider the target market
• architectural models referencing a variety of historical and culturally specific stylistic traditions, as well as postmodern interpretations foregrounding abstraction
• use of technologically based tools such as laser cutting, tablet drawing, 3D drawing and CNC milling to realise works.

In better body of works, students were able to:

• carefully consider the formal qualities of design including composition, functionality and aesthetics in order to embed meaning
• extend concepts materially and conceptually through the addition of components from other expressive forms, such as photo media and time-based forms to suggest alternate views and additional readings
• consider the selection of components of the design object and the presentation as an integral component in design practice.

Areas for students to improve include:

• consideration of the functionality of the Designed Object, including the consideration of the audience to interact with the object
• ensuring the quality of photographs and conventions employed are considered as an integral part of the work when using photography to support Designed Objects
• understanding the diverse approaches available in practice of contemporary Design Objects and how they can be used to convey meaning.

Students should:

• demonstrate carefully considered curatorial choices and consistency across all forms
• ensure the display photographs are clear
• reiterate rather than repeat subject matter and/or techniques to develop layers of meaning in their work.

Trends include:

• multi modes of documentation within submissions including photography and time-based forms, video and sound scapes to accompany sculptural forms
• use of laser technology, laser cutting (different surfaces), laser etching as drawing technique, laser printing 3D objects and 3D printed photographs
• documentation of environmental concerns, and stereotypes in society through a witty postmodern approach.

In better body of works, students were able to:

• use the process of documentation in the use of photography, videography and actual objects to extend the conceptual concerns of the submission
• acknowledge knowingly, contemporary practice and employed innovative techniques
• demonstrate a sophisticated understanding of the conditions of this expressive form to exist as recorded, mediated and documented.

Areas for students to improve include:

• acknowledging and researching artists in this expressive form to inform student practice
• ensuring that quality and media of documentation is appropriate and clearly reveals the quality of the submission
• developing an understanding curatorial practice within the submission, to inform how the Documented Form should be structured to convey meaning.

Students should:

• display discernment in their drawing through a range of materials and mark making practices
• show selectivity in their approaches to drawing conventions to support conceptual intent
• demonstrate an awareness of how audiences interpret meaning.

Trends include:

• a range of subject matter including portraiture, identity and animals
• approaches to traditional and contemporary drawing practices, including hyper-realistic, photo-realistic, illustration and digital media
• the use of biro and felt tip markers and a variety of mark making techniques, for example, geometric, cross hatching and stippling.

In better body of works, students were able to:

• reflect sustained engagement with and investigation of representations and mark making
• master the skills, techniques and approaches associated with drawing conventions, for example, hyper-realistic and expressive
• understand the role and impact of selective curation.

Area for students to improve include:

• demonstrating refinement in the development of drawing skills and techniques
• presenting a range of viewpoints when composing and cropping artworks
• elevating the intent of the submission through the synthesis of sophisticated material and conceptual practice.

Students should:

• demonstrate understanding of the appropriate Graphic Design conventions such illustration, typography and digital technologies
• consider appropriateness of graphic genre, treatment and/or technique to ensure effective material resolution of the submission
• acknowledge the rich and diverse genres of Graphic Design, ranging from traditional hand drawn illustrations to more contemporary manga and gaming designs.

Trends include:

• collage techniques using both digital and traditional methods (hand cut collages from sourced images)
• tablet drawn images utilising programs like Procreate and Blender
• fewer hand drawn designs with copic markers and gauche applications, with students opting for digital drawing and extending concepts with time-based additions.

In better body of works, students were able to:

• innovate within graphic genres and styles and reference the art world
• make selections about suitable paper stocks for printing to support conceptual intention
• develop sophisticated and restrained colour palettes in the design work.

Areas for students to improve include:

• extending their understanding of graphic programs to ensure appropriate resolution is used when working with raster and/or bitmap images
• editing and curatorial decision-making across multiple works within the body of work to extend conceptual intent
• selecting effective amalgamation of graphic elements such as image and text across the submission.

Students should:

• explore painting techniques and stylistic conventions to communicate and highlight intention
• investigate compositional devices to strengthen and underpin the aesthetic qualities including consideration of expressive mark making, glazes, scumbling, dry brush, drips, sgraffito on various surfaces
• make informed curatorial choices of the whole submission and its cohesion, providing clear instructions for display.

Trends include:

• small intimately scaled works, with inclusion of multiple panels inviting up-close investigation from the audience
• the embedding of historical practices and references to artists of influence in the artworks rather than mere appropriation
• representational approaches with a focus on intimate reflections of urban life, evoking a sense of place, portraiture, still life and cultural identity.

In better body of works, students were able to:

• explore colour to communicate mood and atmosphere that was sombre, nostalgic and sophisticated to enhance the concept
• move beyond a representation of subject matter to an investigation of multi-layered concepts through a sustained material practice
• use photographic images as a source material, acknowledging reportage in the selection of imagery.

Areas for students to improve include:

• understanding the importance of selection and refinement within submission to enhance meaning and intention to the painting(s)
• being aware of reiteration rather than repetition both visually and conceptually through selection of imagery, investigation of techniques and concepts is important
• supporting the intention of the artwork with titles.

Students should:

• show an understanding of technical proficiency within camera craft and post-production techniques to refine image quality
• demonstrate understanding of rich conventions and techniques of traditional and contemporary photographic practices
• apply an understanding and utilisation of photographic genres.

Trends include:

• street photography and reportage exploring the city and suburban areas and architectural structures
• an increase of black and white photography and an understanding of high dynamic range photography to enhance the tonal range of the images
• innovative extensions of submissions through photobooks, alternative process such as cyanotypes and time-based elements.

In better body of works, students were able to:

• demonstrate understanding of contemporary photographic practice
• apply effective camera craft, studio practice and natural lighting upon subject matter
• discern between paper stock creating a synergy between the material and conceptual intent of the work.

Areas for students to improve include:

• carefully considering camera craft including shutter speed, aperture and explicit knowledge of effective lighting, particularly in low light
• curating the submission and extending with a range of viewpoints
• applying effective post-production techniques to refine image quality for printing.

Students should:

• show knowledge of printmaking processes and conventions, demonstrating awareness and understanding of traditional and contemporary practice
• apply understanding of structural devices when constructing compositions or narratives to enhance the conceptual intent of the work
• edit a submission ensuring it clearly informs an intent and reveals an awareness of curatorial practice and clearly conveys the subject matter.

Trends include:

• the submission of blocks/plates, often to reveal manual or digital processes, or without the inclusion of a physical print in any capacity
• printing smaller scale works, often unmounted, on digitally constructed or printed grounds, or engaging multiple plates and multiple processes within a single work, requiring multiple passes through the printing press
• investigating personal themes, including explorations of place, the experience of disconnection or isolation in suburbia, the city, or the regional landscape, and environmental concerns regarding floods and fires.

In better body of works, students were able to:

• manage processes and printmaking conventions, mixing sensitive colour palettes and exploring free wipe processes to reveal plate tone
• apply and manipulate visual devices to reinforce an intent, showing control and restraint in all aspects of the printmaking process
• show innovation and invention in the layering of diverse processes, synthesising the traditional and the contemporary, the manual and the digital, intaglio and relief methods within a single work.

Areas for students to improve include:

• editing to reveal best practice and recognise innovative approaches as strengths
• considering the relationship of scale to the key plate when printing on digital grounds
• developing knowledge of appropriate paper stock, especially when hand burnishing.

Students should:

• make informed curatorial choices when selecting artworks
• reiterate rather than repeat a technique to develop layers of meaning in their work
• explore artwork practices through an informed investigation of sculptural processes and techniques

Trends include:

• approaches including freestanding, frontal, relief, assemblages, cabinets for display and plinths or bases
• investigations of space through reductive and additive processes using collage, carving, casting, gluing and welding
• issues and themes connected to animals, family & cultural heritage, identity and the built and natural environment.

In better body of works, students were able to:

• make clear references to the artworld agencies in an informed manner
• present an informed investigation of spatial relationships, sculptural processes and techniques
• create innovative and idiosyncratic works that engaged the audience.

Areas for students to improve include:

• showing refinement and restraint in the application of surface treatments and decorative collaged elements
• making curatorial judgements about the inclusion of some pieces and the correlation of multiple pieces in a submission
• investigating a range of sculptural processes and techniques to develop an informed knowledge of sculptural practice
• considering how titles may extend conceptual intent of the submission.

Students should:

• consider how threads and fibres elaborate conceptual concerns
• choose textile materials sympathetically in their weight and thickness making selections of a brush or pencil in painting and drawing
• extend compositions beyond the limits of the source image to purposefully complement choices in presentation and framing.

Trends include:

• transforming simple and available materials such as wool fibres and paper into elaborate sculptural forms and wearable objects
• the return to handcrafting including knitted and crochet objects, macramé, wet and dry felting, eco arts such as weaving of natural and recycled materials and eco dyeing
• themes related to influences of social media and its impact on audiences, environmental concerns, family relationships and histories, the home and personal spaces
• representations of animals ranging in scale from small and intricate interpretations to life size.

In better body of works, students were able to:

• craft materials in sympathetic ways to extend layers of meaning
• draw on artworld references to inform practice in sophisticated ways
• employ image-making and object-making techniques within the form with an intention of stimulating an aesthetic dialogue
• demonstrate knowledge and skill in dressmaking and tailoring but reinterpreted though an artistic lens.

Areas for students to improve:

• finding ways to capture the audience’s attention by the teasing out concepts to reveal layers that register on several levels
• providing clear instructions and/or photographs for set up of complex works with multiple components
• refining the integration of found objects or layered elements into textile and fibre surfaces.

Students should:

• show knowledge of filmmaking conventions and cinematic techniques synthesising the use of material practice and conceptual intent in context to genre
• apply post-production techniques to maintain continuity of image and soundscape
• demonstrate understanding of technical proficiency in camera craft, sound and editing.

Trends include:

• digitally constructed animations across a range of themes including fantasy, sustainability, family and adolescent state of mind
• parallel and cross cutting montage for conceptual filmmaking
• integration of contemporary technologies such as drone footage, VR/Oculus film experiences and post-production filters.

In better body of works, students were able to:

• developing pre-production plans and scripts to optimise conceptual and technical approach of the submission
• apply post-production techniques in narratives, animations and montage of images and the construction of a layered soundscape
• demonstrate synchronicity of sound, images and continuity editing.

Areas for students to improve include:

• ensuring purposeful lighting, focus, camera aperture, angles and stabilisation are applied when using DSLR cameras
• exploring a range of filmmakers and videographers and identifying their approaches and techniques to inform material and conceptual practice.
• consideration of pre and post-production applications to refine storylines and editing.

Students should:

• read the question carefully to ensure important components of the question are not missed
• have a clear understanding of key words and recognise the intent of the question and its requirements
• engage with any stimulus material provided and refer to it in the response
• develop a plan for an extended response to assist with the logical sequencing of information
• use relevant concepts and terms, where appropriate, to support the response
• develop a cohesive and sustained argument in response to the question, reflecting extensive knowledge of artists, artworks, critics and historians’ views, and the syllabus
• present a logical and cohesive response, addressing the question
• integrate diverse examples across time and place to demonstrate depth and breadth of understanding
• review the response to ensure it addresses the question requirements.

Question 1

In better responses, students were able to:

• articulate understanding of Thea Proctor's artmaking practice through a description of ideas, actions and qualities of the plate
• demonstrate understanding of the artist’s material and conceptual practice by addressing subject matter, compositional devices and visual elements of the artwork
• describe the artwork with links to the printmaking process, for example, precision of carving, hand colouring and the symbolism of colour
• describe the artwork by interpreting the significance of subject matter and relating it to leisure activities and the time.

Areas for students to improve include:

• demonstrating a comprehensive understanding of artmaking practice through an informed use of a visual arts vocabulary
• avoiding reiterating the citation/source material
• moving beyond a simple description of subject matter by linking the response to features of practice.

Question 2

In better responses, students were able to:

• address the idea of architecture as a form of art as well as a functional space
• provide insightful analysis of the interrelationships of artist, artwork, world and audience through a comprehensive application of all source material
• articulate how the deliberate intentions of the artist’s selection of materials, subject matter and scale connect with the site
• analyse each plate to create a layered and interconnected response, considering how the artwork exists on the river and relates to the broader context of the town.

Areas for students to improve include:

• using the source material evenly to analyse how the artwork interacts with its environment, and connects with the audience in the space
• understanding of the agencies of the artworld through an in-depth analysis of all plates
• demonstrating understanding of how Murinsel (Mur Island) creates relationships between the natural and constructed world.  

Question 3

In better responses, students were able to:

• articulate the deliberate intentions of the artists’ selection of artforms, materials, techniques, site, style, symbolism and scale to communicate meaning
• explain the significance of materials and techniques, using all source material, to make layered and cohesive connections between artmaking and cultural traditions and beliefs
• explain the contextual significance of storytelling and documentation of culture which may reference community, spiritualism, westernisation, colonisation and policies of assimilation.

Areas for students to improve include:

• using the key word ‘explain’ to structure the response, making the relationship between materials, techniques and meaning evident, and providing an even and sustained explanation of the source material
• providing an interpretation of meaning based on knowledge of cultural beliefs, customs, traditions, and/or the documentation of these throughout history
• demonstrating confidence in writing about specific expressive forms, both 2D and 3D.

Question 4

In better responses, students were able to:

• present a well-constructed explanation of how artists collaborate with others in the production of their artworks
• explain clearly, through analysis of specific and appropriate artworks, a comprehensive understanding of artists’ conceptual and material practice
• provide insightful and interpretive explanations of the various collaborative roles associated with the production of artworks, considering the inclusion of other artist influences such as technicians, artisans, commissioned works and audience interaction.

Areas for students to improve include:

• establishing a direct relationship between artists’ use of collaboration and their practice
• selecting appropriate examples and using differentiated art vocabulary to support an explanation of each artist’s conceptual and material practice
• presenting clear points of view with explicit links between artists’ practice and the role of collaboration in the production of artworks.

Question 5

In better responses, students were able to:

• demonstrate understanding of artists’ practice through critical discussion and analysis of selected artworks
• analyse the significance of traditional materials in contemporary artworks considering the implications and influences these have on artistic tradition, society and audience response
• demonstrate how knowledge of the artworld and artists’ use of traditional materials inform contemporary artmaking processes and techniques.

Areas for students to improve include:

• developing understanding of artist’s material and conceptual practices and articulating the ways contemporary artists use traditional materials
• establishing understanding that contemporary can refer to the time and place of the selected artist within the historical narrative
• sustaining an argument throughout the response, avoiding generalisations about contemporary art practice.

Question 6

In better responses, students were able to:

• support an explanation of how the size of an artwork determines an audience’s interactions and response to it
• articulate multiple ways in which audiences interact and respond to artworks of varying sizes and scale, ranging from small and intimate, to large and immersive
• integrate a discussion of examples through the lens of a cohesive theme or concept, such as shock value, site specificity, installation, audience participation, or the agency of the artwork.

Areas for students to improve include:

• discussing chosen examples about how audience interactions and responses are affected by the size of the artwork
• using specific visual arts terminology to explain the relationship between an artwork and the audience
• providing a sustained argument, linking explanations of the audience’s interactions to the impact of size.

Question 7

In better responses, students were able to:

• demonstrate understanding of the interrelationships between artworks and the world
• demonstrate understanding of how artists portray aspects of the world which may include the impact of personal adversity, political challenges, social issues, gender roles, cultural dispossession and environmental concerns
• elaborate on how simple imagery can be powerful.

Areas for students to improve include:

• addressing all aspects of the question to provide context on how both simple yet powerful imagery impacts the portrayal of the world
• selecting relevant case study examples articulating and integrating views of the world to the audience
• providing a sustained argument by defining simple imagery and creating clear links to aspects of the world.

Question 8

In better responses, students were able to:

• present a well-constructed discussion analysing how text and imagery can be combined to create meaning in artworks
• demonstrate complex and logical points of view explored through the structural frame
• make deliberate choices in selecting examples of artworks that synthesise text, imagery and meaning.

Areas for students to improve include:

• selecting appropriate examples integrating both text and imagery
• addressing the question by examining text and imagery in all artworks and explaining how they create meaning
• presenting clear points of view addressing the structural frame, including how signs and symbols can create meaning.

Question 9

In better responses, students were able to:

• present a well-constructed explanation synthesising the relationships between global concerns and the personal ways artists express them
• explain the significance of examples in reference to the artists’ personal points of view and link these to global issues in layered and complex ways
• develop explanations considering how artists explore global concerns in personal ways, for example, feminism, racism, colonialism, globalisation, global warming, consumerism and other areas of social conscience.

Areas for students to improve include:

• addressing key aspects of the question by establishing a direct causal relationship between an artist’s global concerns and personal modes of expression
• selecting appropriate examples of artists and artworks to explain global concerns and artists’ personal approaches
• demonstrating an understanding of how artworks that have been made from a personal perspective can be used to inform audiences and change viewpoints.