Engage with exploratory approaches to drawing through an investigation of texture using frottage

An extensive amount of frottage pieces are made using a wide range of objects with various locations and innovative use of unconventional drawing materials at various scales. Continuous testing, analysis, and repetition demonstrates thorough exploration of the process.

A large number of frottage pieces are made using objects from various locations with a variety of drawing materials at various scales. Testing, analysis, and repetition demonstrates substantial exploration of the process.

The student creates frottage pieces from less than three objects or locations with a limited selection of drawing materials at similar scales. There is minimal evidence of testing, analysis, or repetition to explore the process.

The student creates frottage drawings from a single object or location with the same drawing material and at similar sizes. There is no evidence of testing, analysis, or repetition to explore the process.

The student does not demonstrate exploration of texture through the frottage process.

Experiment with composition to build a cohesive series of works

The relationship between different elements of a composition is deeply considered and additions or changes are made to resolve the final work. Experimentation with different formats and scale of works informs decision making. Works are carefully selected to build a series. 

The relationship between different elements of a composition is considered. Experimentation with different formats and scale of works informs decision making. Works are selected to build a series.

The relationship between different elements of a composition is unintentional. A predefined idea rather than experimentation guides decision-making around format and scale. A series of works is developed without a selection process.

The work presented is unresolved due to limited consideration of composition and a lack of experimentation with the relationship between different elements of the work.

The work presented is incomplete and does not consider composition.

Explore how alternative materialities of drawing can expand linework into an installation space

Novel materials are used in inventive ways to expand linework into three dimensional space. The materiality of the line is fundamental to the drawing process. An installation space is sought out for its specific affect and contribution to the work, and is integrated into its production. 

Introduced materials are used in inventive ways to expand drawing into three dimensional space. The materiality of the line informs parts of the drawing process. An installation space is chosen specifically for how it will affect and contribute to the work, and influences its production. 

Introduced materials and approaches are used to expand drawing into three dimensional space. The materiality of the line is not vital to the drawing process. An installation space is chosen without considering how it will affect and contribute to a drawing, and remains separate to the production of the work.

Introduced materials are used to begin exploring the potential of expanding drawing into three dimensional space. The materiality of the line is not considered. An installation space is used without understanding that it will affect and contribute to a drawing, and is not considered part of the work.

The potential to expand drawing into three dimensional space is not explored or engaged with. The work is not installed adequately. A relationship between drawing and space is not recognised.

Documentation of work in progress and participation

Documentation of work in progress includes images, notes and exhibition visits, demonstrating thorough independent exploratory practice that influences final works. The student contributes carefully constructed feedback to peers’ works. Feedback is acted on for project development.

Documentation of work in progress includes images, notes and exhibition visits, demonstrating thorough independent exploratory practice. The student contributes constructive feedback to peers’ works when prompted. Feedback is listened to and considered.

Documentation of work in progress includes images and notes, demonstrating a reliance on predetermined ideas rather than exploratory practice. The student attends but does not actively contribute to critique sessions. Feedback is listened to but not usually considered or tested.

Documentation of work in progress demonstrates minimal exploratory practice to develop final works. The student is often absent from critique sessions. Feedback is avoided or not considered. 

Exploratory practice to develop final works is not documented. The student does not attend critique sessions.

Identify and reflect on examples of experimental drawing practice within contemporary art

Examples of experimental drawing practice are independently identified from a range of sources.

Artworks are analysed and evaluated to inform a critical reflection contextualised by a broader framework of contemporary art.

Examples of experimental drawing practice are independently identified from a range of sources.

Artworks are analysed and reflected on with links drawn to other contemporary artworks.

Examples of experimental drawing practice are introduced to the student rather than independently identified. Artworks are described rather than analysed to form basic reflections. There is limited understanding of how examples are related to a contemporary art framework.

Examples of experimental drawing practice need to be introduced to the student. Artworks are described but not reflected on. An understanding of how examples are related to a contemporary art framework is not demonstrated.

The student does not identify or reflect on examples of experimental drawing practice.

Research and reflect on relevant theoretical and philosophical framework

A range of relevant material including journal articles, essays, podcasts, interviews are referenced to build a comprehensive review of the topic.

Relevant material including journal articles, essays, podcasts, interviews to explore the general topic.

The student looks only to familiar sources for theoretical material. References are unrelated to the topic.

The student is not familiar with relevant theoretical material. References are unrelated to the topic.

There is no evidence of engagement with theoretical material.

Explain research and articulate a position on a topic

The student clearly articulates their research in detail. Responses to questions indicate well-formulated positions on the topic. 

The student clearly articulates broad research. Responses to questions indicate thought out positions on the topic.

The student can explain their research. Responses to questions indicate that a position on the topic is still developing.

The student can speak about their research but explanations are unclear. Responses to questions indicate an unformed position on the topic.

The presentation does not explain research.

Use academic referencing where required

Academic referencing is used correctly.

Academic referencing is used correctly.

Academic referencing requires further attention to the style guide.

Academic referencing is inconsistent.

Academic referencing is not used.

Develop an understanding of the drawn image in sequence

The student engages with moving image tasks introduced in class, and how they can be expanded. Various approaches to repetition and timing of drawn image sequences are experimented with to demonstrate a thorough understanding of the method and its potential uses.

The student engages with moving image tasks introduced in class. Various approaches to repetition and timing of drawn image sequences are experimented with to demonstrate an understanding of the method.

The student participates in moving image tasks introduced in class. Basic approaches to repetition and timing of drawn image sequences are implemented but not expanded on. An understanding of the method is still developing.

The student participates in some aspects of moving image tasks introduced in class. Approaches to repetition and timing of drawn image sequences are limited, indicating little understanding of the method.

The student does not engage with moving image tasks.

Develop an understanding of agency within collaborative drawing processes

Collaborative tasks are initiated and completed to explore varying roles and forms of agency in the drawing process. Reflection on tasks leads to an understanding of shared agency that informs original drawing methodologies.

Collaborative tasks are engaged with to explore varying roles and forms of agency in the drawing process. Reflection on tasks leads to an understanding of shared agency that informs further experiments.

Participation in collaborative tasks is inconsistent, resulting in limited explorations of the varying roles and forms of agency in drawing. An understanding of shared agency will benefit from further reflection on the process.

There is minimal participation in collaborative tasks. Explorations and/or understanding of the varying roles and forms of agency in drawing is not clearly demonstrated.

The student does not demonstrate an understanding of agency within collaborative drawing processes.

Plan and produce a body of work in response to a project brief that connects studio practice to a conceptual framework

The student works independently to identify and research an original approach to the project brief. The aims, process and intended outcomes of the work are planned in detail and carried through. The body of work closely interweaves a concept into studio practice.

The student works independently to identify a relevant approach to the project brief. The aims, process and intended outcomes of the work are well thought through. The body of work effectively translates a concept through studio practice.

The student relies on guidance to develop an appropriate approach to the project brief. The aims, process and intended outcomes of the work are not planned in advance. The body of work is developing a connection between a concept and studio practice.

The student responds to the project brief without planning the aims, process or intended outcomes of the work. The body of work presents a concept that is unconnected to studio practice.

The student does not plan or produce an independent project.

Documentation of work in progress and participation

Documentation of work in progress includes images, notes and exhibition visits, demonstrating thorough independent exploratory practice that influences final works. The student contributes carefully constructed feedback to peers’ works. Feedback is acted on for project development.

Documentation of work in progress includes images, notes and exhibition visits, demonstrating consistent independent exploratory practice. The student contributes constructive feedback to peers’ works when prompted. Feedback is listened to and considered.

Documentation of work in progress includes images and notes, demonstrating a reliance on predetermined ideas rather than exploratory practice. The student attends but does not actively contribute to critique sessions. Feedback is listened to but not usually considered or tested.

Documentation of work in progress demonstrates minimal exploratory practice to develop final works. The student is often absent from critique sessions. Feedback is avoided or not considered. 

Exploratory practice to develop final works is not documented. The student does not attend critique sessions.