ACTIVE & TIMELY PARTICIPATION: 

Consistently participates on time in every discussion forum and in-class critique, responding to peers, and actively fostering deeper discussion and engagement.  

(LOs 2, 6) 

Consistently participates on time in every discussion forum and in-class critique, responding to peers, and actively fostering deeper discussion and engagement. 

Generally participates on time in discussion forums and in-class critiques, contributing to the conversation and demonstrating preparedness for class. 

Irregular participation in discussion forums or in-class critiques, showing a lack of punctuality, preparedness or engagement with the course material. 

SUBSTANTIVE ENGAGEMENT & ANALYSIS: 

Demonstrate ability to describe and analyse artworks created by a diverse array of artists encompassing a broad spectrum of identities and backgrounds.  Provide substantive contributions in the discussion forum, demonstrating critical reflection, proper use of terminology, and an understanding of concepts. During in-class critiques, actively participate in co-construction of knowledge through the analysis and interpretation of contemporary artworks applying accurate terminology and formal critique methods. 

(LOs 1, 3, 4, 6) 

Contributions in both the forum (150-250 words per week) and critiques are consistently substantive, incorporating original examples beyond those provided in the assigned resources, synthesising and extending on concepts presented in resources and in other posts, demonstrating a sophisticated use of terminology, and reflecting an advanced understanding of concepts and critique principles. 

Contributions in both the forum (150-250 words per week) and critiques reflect engagement with the resources provided and demonstrate comprehension of concepts. 

Demonstrates the ability to apply terminology and formal critique methods correctly. Contributions to in-class critiques and discussions show comprehension of the subject matter and some engagement with critical analysis.  

Contributions in the forum are minimal (less than 150 words per post or not responding to peers' posts), lack depth or relevancy to prompt, or rely largely on unsubstantiated personal feelings or opinions rather than drawing on facts and observations to make formal, analytical and critical comments. Posts may be limited to summarising the provided resources or may not include concrete examples or application of concepts.  

Participation in in-class critiques may be inconsistent or infrequent, disengaged with peer collaboration, redundant in echoing common viewpoints without adding new insights, or demonstrate a limited understanding of the critique process and terminology. 

CONTEXTUALISATION & CITATION:  

In the weekly Discussion Forums (Wattle), demonstrate sufficient research was conducted to develop and extend the discourse, and demonstrate accurate citation practice by posting your Zotero bibliographies at required intervals 

(LOs 3, 4, 6) 

Demonstrates consistent engagement with research for weekly discussions by citing more than 2 highly relevant and varied sources such as websites, books, journal articles, podcasts, and virtual museum tours, showing thorough independent investigation.

References selected significantly enhance the understanding and connection to weekly themes, concepts, and discussions, displaying depth and insight.

Consistently and accurately uses an appropriate citation style in all submissions.

Actively integrates and thoughtfully considers Indigenous and First Nations perspectives, contemporary debates, and issues, showing engagement with diverse and relevant sources.

Establishes and posts a link to their Zotero Library to the Wattle Discussion Forums in Week 4 (with 6 or more resource references) and Week 8 (with 11 or more resource references).

Consistently includes 1-2 relevant sources cited in the weekly Discussion Forum (Wattle), drawing mainly from lectures, class readings, and posted resources, demonstrating engagement with course materials.

References are clearly related to the weekly themes, concepts, and discussions of the course.

Mostly applies the designated citation style correctly in submissions.

Acknowledges Indigenous and First Nations perspectives and current debates in contemporary art, as shown by the sources cited in discussions. Establishes and posts a link to their Zotero Library to the Wattle Discussion Forums in Week 4 (with 3-5 resource references) and Week 8 (with 8-10 resource references).

Inconsistent inclusion of references in posts to weekly Discussion Forum (Wattle), absence of references, or references not directly relevant or contributing minimally to the course themes and discussions.

Displays limited understanding and connection with the course's weekly themes, concepts, and discussions.

Demonstrates inconsistent or inaccurate application of the required citation style in submissions. Citations may lack acknowledgment of Indigenous and First Nations perspectives or current debates in contemporary art.

Fails to establish and post a link to their Zotero Library to the Wattle Discussion Forums in Week 4 and Week 8, or has included less than 3 resource references/ 8 resource references in Weeks 4 and 8 respectively.

STUDIO ENGAGEMENT: 

Demonstrate consistent and active engagement in studio sessions, including punctuality, preparedness, participation in discussions, adherence to safety procedures, clean-ups and collaboration with peers.  

(LO 2) 

Always present and fully engaged throughout each studio session, showing initiative in discussions and activities. Consistently adheres to all safety protocols without reminder and actively contributes to a positive and productive studio environment. 

Regularly attends and participates in studio sessions, comes prepared, and follows safety protocols. Contributes to discussions and studio activities as expected and participates in clean-up. 

Sometimes late or unprepared for studio sessions, sporadic participation or disengaged. May need reminders to follow safety protocols and to contribute to discussions and clean-up efforts. Undependable or withdrawn in collaborations.  

TECHNICAL SKILLS & EXPLORATION:  

Demonstrate a comprehensive understanding of digital workflow and careful attention to file management, digital formats, and project conventions in the use of software. Explore the creation and use of various digital assets and physical materials to innovate with techniques and outcomes. 

 (LOs 1, 5) 

The project incorporates multiple or complex components using Unity and Vuforia. A series of physical image targets are novel or creatively adapted and are easily detected and tracked in AR. Files are always correctly formatted, sized, labelled and thoroughly organised. Extensive experimentation and testing with a large range of digital and physical materials informs the technical process, resulting in innovate outcomes that demonstrate advanced problem-solving. 

The project incorporates singular or standard components using Unity and Vuforia. A series of physical image targets are implemented and can be detected and tracked in AR. Files are adequately formatted, sized, labelled and organised. Experimentation and testing with several digital and physical materials informs the technical process, resulting in outcomes that demonstrate competence with the introduced workflow. 

The project does not function using Unity and Vuforia. Physical image targets are inappropriate for detection in AR. Files are incorrectly formatted or sized with little attention to file names and organisation. Limited evidence of experimentation and testing with different digital and physical materials results in minimal understanding of the technical process and outcomes that demonstrate inadequate use of the technique. 

CRITICAL ENGAGEMENT MEDIA & NARRATIVES OF TRANSFORMATION:  

(LOs 1, 5, 6) 

The series includes three image targets with complex alterations in AR that evoke a sophisticated narrative woven through various digital assets and physical material.  The choice of media is informed by research into its inherent material, contextual, and aesthetic associations and these are transformed and expanded on through original digital interventions. 

The series includes three image targets that convey a connected narrative across the various digital assets applied in AR. Media is chosen with consideration to its inherent material, contextual, and aesthetic associations and one or more of these are transformed through creative digital interventions. 

The series includes less than three image targets that do not link together a narrative in AR. There is minimal evidence of thought into the material, contextual, and aesthetic associations of the chosen materials. The use of AR does not work technically and/or conceptually as a mode of digital transformation. 

CONTEXTUALISATION & CITATION:  

Evidence and articulate understanding of project-related themes through diverse, relevant sources and adherence to a standard citation style. 

(LOs 4, 6) 

Locate and draws comparisons to works that are highly relevant, sourced from a diverse range of supplementary materials, demonstrating thorough independent research. Utilizes a variety of sources, including galleries, websites, books, journal articles, podcasts, and museums. 

Chosen references support connections between key themes, concepts, materials, and processes of both the course and the project with depth and insight. 

Accurately and consistently applies an appropriate style guide for citations. 

Explores and considers contemporary debates and issues in contemporary art using diverse and relevant sources. 

Includes 3-5 relevant works cited, sourced from lectures, class readings, and posted resources. 

Selected references are related to the key themes, concepts, materials, and processes of the course and the project. 

Attempts to apply an appropriate style guide for citations correctly. 

Identifies current debates in contemporary art, as evidenced by the sources used. 

Lists fewer than 3 works, with cited works not relevant to the project. 

Shows limited understanding of the key themes, concepts, materials, and processes of both the course and the project. 

Inaccurately or incompletely applies the designated style guide for citations. Resource citations are absent or do not acknowledge current debates in contemporary art.

STUDIO ENGAGEMENT: 

Demonstrate consistent and active engagement in studio sessions, including punctuality, preparedness, participation in discussions, adherence to safety procedures, clean-ups and collaboration with peers.  

(LO 2) 

Always present and fully engaged throughout each studio session, showing initiative in discussions and activities. Consistently adheres to all safety protocols without reminder and actively contributes to a positive and productive studio environment. 

Regularly attends and participates in studio sessions, comes prepared, and follows safety protocols. Contributes to discussions and studio activities as expected and participates in clean-up. 

Sometimes late or unprepared for studio sessions, sporadic participation or disengaged. May need reminders to follow safety protocols and to contribute to discussions and clean-up efforts. Undependable or withdrawn in collaborations. 

TECHNICAL SKILLS & EXPLORATION:  

Focus on demonstrating exploration and adaptability in drawing and printmaking processes, emphasising drypoint (intaglio), engagement with line and form, and innovative approaches to authorship and print arrangement.

 (LOs 1, 5) 

Demonstrates exceptional adaptability and bravery in drawing and printmaking. Engages confidently with drypoint (intaglio), creating dynamic and exploratory representations across Tetra Pak edges. 

Exhibits high-level exploration in the print process, and innovative thinking in the arrangement and rearrangement of prints. 

Shows competent engagement in drawing and printmaking. Adequately employs drypoint (intaglio) techniques and explores line and form across Tetra Pak boundaries. 

Demonstrates a solid level of exploration in the print process and thoughtful approaches to the arrangement of prints. 

Displays limited adaptability in drawing and printmaking. Struggles with the concept of drypoint (intaglio) and shows hesitancy in crossing Tetra Pak edges. 

Limited exploration in the print process and conventional approaches to print arrangement. 

CRITICAL ENGAGEMENT MEDIA AND NARRATIVES OF TRANSFORMATION:  

Create a critical narrative reflecting on the dual transformation of materials and meanings through the process, from waste to art and from volume to plane to line and back. 

(LOs 1, 5, 6) 

Articulates a sophisticated and insightful narrative, reflecting deeply on the transformation journey of the Tetra Pak. Demonstrates a nuanced understanding of the dual transformation concept. 

Written work shows a high level of critical analysis, well-supported by relevant references, and reflects an advanced understanding of the entire process. 

Provides a clear narrative that effectively reflects on the transformation of the Tetra Pak. Demonstrates understanding of the concept of dual transformation. 

Written work evidences solid critical thinking and analysis, with appropriate references supporting the observations and reflections. 

Narrative is unclear or superficial, showing limited reflection on the Tetra Pak 's transformation journey. 

Written work lacks critical depth, with minimal or irrelevant references, and reflects a basic or subjective understanding of the process. 

CONTEXTUALISATION & CITATION:  

Evidence and articulate understanding of project-related themes through diverse, relevant sources and adherence to a standard citation style. 

(LOs 4, 6) 

Locate and draws comparisons to works that are highly relevant, sourced from a diverse range of supplementary materials, demonstrating thorough independent research. Utilizes a variety of sources, including galleries, websites, books, journal articles, podcasts, and museums. 

Chosen references support connections between key themes, concepts, materials, and processes of both the course and the project with depth and insight. 

Accurately and consistently applies an appropriate style guide for citations. 

Explores and considers debates and issues, in contemporary art using diverse and relevant sources. 

Includes 3-5 relevant works cited, sourced from lectures, class readings, and posted resources. 

Selected references are related to the key themes, concepts, materials, and processes of the course and the project. 

Attempts to apply an appropriate style guide for citations correctly. 

Identifies current debates in contemporary art, as evidenced by the sources used. 

Lists fewer than 3 works, with cited works not relevant to the project. 

Shows limited understanding of the key themes, concepts, materials, and processes of both the course and the project. 

Inaccurately or incompletely applies the designated style guide for citations. Resource citations are absent or do not acknowledge the current debates in contemporary art. 

STUDIO ENGAGEMENT: 

Demonstrate consistent and active engagement in studio sessions, including punctuality, preparedness, participation in discussions, adherence to safety procedures, clean-ups and collaboration with peers.  

(LO 2) 

Always present and fully engaged throughout each studio session, showing initiative in discussions and activities. Consistently adheres to all safety protocols without reminder and actively contributes to a positive and productive studio environment. 

Regularly attends and participates in studio sessions, comes prepared, and follows safety protocols. Contributes to discussions and studio activities as expected and participates in clean-up. 

Sometimes late or unprepared for studio sessions, sporadic participation or disengaged. May need reminders to follow safety protocols and to contribute to discussions and clean-up efforts. Undependable or withdrawn in collaborations.  

TECHNICAL SKILLS & EXPLORATION:  

Exhibit careful and deliberate workmanship in whittling, casting and waxwork, with a focus on detail and precision in material manipulation. Incorporate an element of exploration and experimentation in each stage to develop innovative techniques and outcomes. 

 (LOs 1, 5) 

Whittles and casts show a high level of detail and consideration, with deliberate and precise execution. Moulds are made carefully. Multiple refined casts are produced, manipulated and finished. Exhibits a notable level of exploration and experimentation within the technical processes, resulting in innovative or complex outcomes. 

Technical execution showcases advanced problem-solving and adaptability in technique. 

Demonstrates adequate technical skills in whittling and casting, with attention to detail and craftsmanship. Produces several viable wax casts with a reasonable level of quality and finishing. Shows evidence of experimentation within the technical process, leading to effective and purposeful outcomes. 

Adequate problem-solving skills are evident, with the ability to adjust techniques as needed. 

Whittles lack evidence of attention to grain direction or development of detail. Wax casts are limited in viable copies produced and/or underworked in craftsmanship and finishing. Limited evidence of experimentation within the technical processes. Outcomes appear conventional or show minimal deviation from standard techniques. Struggles with technical aspects and problem-solving. 

CRITICAL ENGAGEMENT MEDIA AND NARRATIVES OF TRANSFORMATION:  

Create a narrative of the physical and/or conceptual transformation of your artefacts of practice in a photo essay and demonstrate critical thinking in sequence and installation choices.  

(LOs 1, 5, 6) 

Photo essay presents a sophisticated and coherent narrative of transformation, showing thoughtful interpretation and innovative recontextualisation . Installation and sequencing choices are strategic and demonstrate insightful critical thinking. 

Photo essay conveys a clear narrative of transformation, with appropriate interpretation and basic recontextualisation. Installation and sequencing choices are suitable and show an understanding of the narrative structure. 

Photo essay narrative is ambiguous or disjointed indicating limited interpretation and recontextualisation. A story of transformation is unclear or absent. Installation and sequencing choices do not effectively support the intended narrative or demonstrate critical thinking. 

CONTEXTUALISATION & CITATION:  

Evidence and articulate understanding of project-related themes through diverse, relevant sources and adherence to a standard citation style. 

(LOs 4, 6) 

Locate and draws comparisons to works that are highly relevant, sourced from a diverse range of supplementary materials, demonstrating thorough independent research. Utilizes a variety of sources, including galleries, websites, books, journal articles, podcasts, and museums. 

Chosen references support connections between key themes, concepts, materials, and processes of both the course and the project with depth and insight. 

Accurately and consistently applies an appropriate style guide for citations. 

Explores and considers debates and issues, in contemporary art using diverse and relevant sources. 

Includes 3-5 relevant works cited, sourced from lectures, class readings, and posted resources. 

Selected references are related to the key themes, concepts, materials, and processes of the course and the project. 

Attempts to apply an appropriate style guide for citations correctly. 

Identifies current debates in contemporary art, as evidenced by the sources used. 

Lists fewer than 3 works, with cited works not relevant to the project. 

Shows limited understanding of the key themes, concepts, materials, and processes of both the course and the project. 

Inaccurately or incompletely applies the designated style guide for citations. Resource citations are absent or do not acknowledge the current debates in contemporary art. 

GROUP COLLABORATION: 

Exhibit effective teamwork with clear communication, distinct role distribution within the group, and inclusive group dynamics. 

(LO 2) 

The group demonstrates exceptional organization, with each member fulfilling their role. The group establishes reliable communications early and maintains communications throughout the project, coordinates efforts, and is quick and effective in problem solving and negotiating compromises. Group members actively participate, showing punctuality and thorough preparation for all sessions. Clear evidence of mutual support among members. All group members submit their “Self and Peer Evaluation Form”. 

The group is organised with members allocated designated roles. Communication is established and fairly consistent. Members participate reliably, are punctual, and come prepared for sessions. Support among members is evident. All group members submit their “Self and Peer Evaluation Form”. 

The group organization is inconsistent, with some roles not fully realized. Communication and coordination are inconsistent, affecting problem solving and negotiation. Participation from members is uneven, with partial attendance or lack of preparedness for class activities. Support among members is uneven. Some group members do not submit their “Self and Peer Evaluation Form”. 

CONCEPT DEVELOPMENT:  

Develop a design fiction, integrating insights from diverse cultural narratives and existing creative works. Draw from a range of disciplinary perspectives to brainstorm. innovative approaches. Conceptualize installations that question assumptions of utopia, relationships to colonialism, inclusivity/exclusivity, and contextual relevance to contemporary societal challenges. 

 (LOs 1, 3, 4) 

Concept is clearly articulated and sophisticated, presenting a specific design fiction. Concept draws on a broad range of appropriate texts, creative works and cultural perspectives to envision utopia. A number of the references are from outside the class references from independent research. The concept addresses challenges and complexities of utopian visions in imagining societal transformation. The concept opens up future possibilities rather than foreclosing on resolved or didactic solutions,  

Concept is identified presenting a design fiction that engages several relevant texts, creative works, and cultural narratives. The concept acknowledges and considers the challenges of utopian visions. It proposes an alternate future that presents innovative aspects. 

Concept lacks clear articulation or presents a vague design fiction. Draws minimally on texts, creative works, or cultural perspectives, offering a limited view of utopia. Does not acknowledge the complexities of utopian visions and verges on science fiction/fantasy rather than engaging with the complexities of societal transformation. The concept tends towards simplistic solutions, lacking innovation or depth. 

Superficial or minimal exploration of utopian challenges may be didactic.  

MATERIALS, TECHNIQUES & COMPOSITION 

Explore and innovate with cardboard as a material. Experiment with joinery and material manipulation, and employ innovative construction techniques with cardboard to create structures with diverse shapes and textures. Apply elements and principles of design to realize visually cohesive compositions, considering spatial dynamics and the relationship between individual components and the overall installation. 

(LOs 1, 5, 6) 

The group engages in a thorough investigation of cardboard manipulation, pushing the material to develop innovative modes of joinery, forms and textures. Cardboard is worked with care, precision and deliberation. The composition strategically employs elements and principles (e.g. line, pattern, negative space), focal points, etc) to achieve a visually coherent work, to guide the eye, and to incorporate the spatial dynamics within the gallery setting so the installation is in a responsive dialogue with the site.  

The group explores techniques for making joinery, forms, and textures from cardboard. Cardboard is worked with fair accuracy and neatness. The composition indicates some intentional use of elements and principles of design (such as line, pattern, and negative space) to unify the work and attempt visual paths. The architectural space is considered in the design of the installation to make it site-specific.  

The group shows limited exploration of cardboard capabilities, with basic or repetitive joinery, forms, and textures. Cardboard workmanship is sloppy or haphazard, lacking planning and deliberation. Components of the composition are basic, arbitrary, or do not effectively utilize design elements, resulting in a visually disjointed work. There is little consideration of the architectural space so the installation appears out of place and random. 

NARRATIVE EXPRESSION & AFFECT 

Communicate narratives of societal transformations and design fictions without reliance on explanation. Strategically  incorporate intentionally designed forms and imagery (representational, symbolic, abstract, figurative, geometric, organic, stylized, narrative, iconographic, surreal, minimalist, kinetic, textural) to support conceptual intentions. 

(LOs 1, 4, 6) 

The group's installation compellingly conveys a narrative of societal transformation, utilizing forms and imagery (representational, symbolic, abstract, etc.) in a sophisticated, purposeful manner. The narrative is clear, nuanced, and engaging, effectively communicated visually, prompting deep reflection without need for verbal or written explanation. 

The installation conveys a narrative of societal transformation. The group employs various forms and imagery to support the narrative, suggesting the basic storyline through visual elements. The narrative is coherent and is generally communicated visually, beginning to explore deeper layers of meaning. 

The installation struggles to convey a clear narrative. The use of forms and imagery is simplistic or ineffective in articulating the narrative, making it not easily comprehensible visually. The narrative lacks depth and cohesiveness, often requiring additional explanations to be understood. 

CONTEXTUALISATION AND CITATION:  

Demonstrate sufficient research was conducted to develop and extend the project concepts, and provide accurate citation through a  Zotero bibliography. 

(LOs 3, 4, 6) 

Locates and incorporates works that are highly relevant, sourced from a diverse range of supplementary materials, demonstrating thorough independent research. Utilizes a variety of sources, including galleries, websites, books, journal articles, podcasts, and museums. 

Chosen references support connections between key themes, concepts, materials, and processes of both the course and the project with depth and insight. 

Accurately and consistently applies an appropriate style guide for citations. 

Explores and considers Indigenous and First Nations perspectives, contemporary debates, and issues, using diverse and relevant sources. 

Includes 7-10 relevant works cited, sourced from lectures, class readings, and posted resources. 

Selected references are related to the key themes, concepts, materials, and processes of the course and the project. 

Attempts to apply an appropriate style guide for citations correctly. 

Identifies Indigenous and First Nations perspectives and current debates in contemporary art, as evidenced by the sources used. 

Lists fewer than 7 works, with cited works not directly or clearly relevant to the project. 

Shows limited understanding of the key themes, concepts, materials, and processes of both the course and the project. 

Inaccurately or incompletely applies the designated style guide for citations. Resource citations are absent or do not acknowledge Indigenous and First Nations perspectives or the current debates in contemporary art.