This course introduces intermediate techniques and creative approaches for glassmaking. Surface textures, shapes and forms in glass will be crafted. Using a combination of digital and analog approaches, the possibility of scaling from intimate to architectural, and from functional to sculptural will be explored. Set projects are aimed at developing skilled making as well as integrating ideas into art, design and craft. Lectures and group discussions assist students to develop an awareness of artists and designers within the field as well as locate their developing works within the broader field of visual practices. The course is designed to accommodate learning for students with different levels of experience. Work health and safety (WHS) instruction is integrated throughout the syllabus. Students may complete this course up to four times for a maximum credit value of 24 units, provided they enrol in a different topic in each instance. Please note that the course content, assessment structure, and reading list will change depending on the topic and the expertise of the lecturer convening the course. Please refer to the class summary for the specific term in which you wish to enrol for a detailed description. Topics may include, but are not limited to, the following:

• Intermediate and Advanced Glassblowing A

This course will build on the fundamentals of glassblowing with a thematic focus on how material and metaphor can produce meaning. Students are asked to consider the relevance and pertinence of glass and use their growing knowledge of the material to develop ideas for sculptural practice. Assignments foster the acquisition of skills for glassblowing, including colour work and traditional vessel shaping methods. Relevant cold working methods are introduced.

• Intermediate and Advanced Glassblowing B
• Glass Casting

This course introduces principles and processes for kiln casting of glass. Techniques for mould making, casting and cold finishing are taught. Set projects are aimed at developing the student's ability to work the material, as well as integrate thematic ideas within a developing practice. Lectures and group discussions assist students to develop an informed understanding of artists and designers within the field, as well as locate their practice within the broader field of craft, design and visual arts. The course is designed to accommodate learning for students with different levels of experience. Work health and safety (WHS) instruction is integrated throughout the syllabus.

• Alternative Process in Kiln Forming

Our point of departure is the interface between analogue and digital making in glass. We will consider different ways we can take glass from the 2D image to the 3D form and vice versa. It will be a quick sprint through elements of screen printing, kiln-forming. water jet cutting, and glassblowing! We hope to discover what is possible in the crossovers.

Learning Outcomes

Upon successful completion, students will have the knowledge and skills to:

1. demonstrate competency with a range of advancing technical skills in relation to glass & contemporary art practice; 
2. independently explore the potential of material/s & methods relevant to glass and set projects; 
3. recognise and analyse precedents and influences on artistic practice; and 
4. evaluate chosen studio methodologies on the outcomes of studio projects. 

Research-Led Teaching

This course is taught with methods and processes that pertain to practice-led research. The course equips students to creatively integrate ideas and making through the exploration of materials and techniques and to identify historical precedents and contextual frameworks.

Field Trips

The class may involve visits to local institutions and glass workshops. Transport, parking and associated fees are the resposibility of the student.

Additional Course Costs

This course will have a Materials Fee of $400. At the ANU School of Art & Design, each workshop sources appropriate specialist materials, which are made available to students to facilitate their working effectively, efficiently and safely within our programs. The School of Art & Design is able to supply materials that don’t compromise ANU obligations under the Work Health and Safety Act 2011 (WHS), and that have been assessed as suitable for each course. The Materials Fee  is payable for the School of Art & Design to supply consumables and materials that become your physical property. You can choose to pay the Materials Fee and have these materials supplied to you through the School of Art & Design, allowing you to take advantage of the GST-free bulk purchasing power of the ANU. These materials are also WHS compliant. The exact cost of the Materials Fee will be updated in the Class Summary for each semester in which the course is offered. The full SOAD policy can be read here: https://soad.cass.anu.edu.au/required-resources-and-incidental-fees.

AFTERHOURS ACCESS

Students have the option to obtain additional access to workshop and studio spaces outside of class delivery. Afterhours Access is defined as access to workshop and studio spaces outside of business hours (8am – 6pm) between 6pm - 10pm Monday to Friday, and 9am - 4pm Saturday and Sunday. It is afforded to students by paying an Afterhours Access Fee each semester.

Examination Material or equipment

For scheduled assessments, reviews and critiques, students will present their work to date, completed works, support material and tests, folios, relevant contextual research. All materials will be set up ahead of assessment sessions, and presented to staff over the course of scheduled assessment. All assessments requirements will be discussed during class, and teaching staff is available for any question related to the assessment process.

Recommended Resources

Reading lists and additional resources will be added to the Canvas page for this class.

Staff Feedback

Students will be given feedback in the following forms in this course:

• One--to--one consultation with staff during class contact time. You will also have the option of signing up for a tutorial every few weeks. Talk to Staff about this option.
• Class critique, class discussions and reviews: Verbal feedback will be given by staff and peers at student presentations, reviews and group meetings in class. Staff will give feedback for assessment tasks, including the final assessment.

Student Feedback

ANU is committed to the demonstration of educational excellence and regularly seeks feedback from students. Students are encouraged to offer feedback directly to their Course Convener or through their College and Course representatives (if applicable). Feedback can also be provided to Course Conveners and teachers via the Student Experience of Learning & Teaching (SELT) feedback program. SELT surveys are confidential and also provide the Colleges and ANU Executive with opportunities to recognise excellent teaching, and opportunities for improvement.

Other Information

This is a topic--based course that alternates over two years (odd and even years). In odd years the class will introduce silicone retrievable mould making approaches. In even years this class will focus on mould making through retrievable plaster moulds.

Class Schedule

Week/Session	Summary of Activities	Assessment
1	GLASS STUDIO INDUCTIONS: Workshop introductions WH&S. Hot and cold studio orientation, tools, and establish safe, collaborative working practices together.Overview: course outline, assessments 1, 2, 3 and weekly program.·     Example Format for assessment 2 (presentation): three found images of assemblages across object, sculpture, and installation contexts. Modelling the Week 3 assessment (5 minutes).Workshop / Demo / Practical: Parts·      Physical examples of objects from assembled projects. Cold examples of assembled works presented and discussed.·      Hot shop demo of making some of the small component parts.	Hotshop and Coldshop introduction with Catherine Newton, Technical Officer (TO) GlassStudents to agree and schedule independent blowing times according to Hot Shop Plan.Assessment 1 & 2 begin Friday 1pm all students to attend - Glass Workshop Cleanup
2	Workshop / Demo / Practical: Simple bubbles, cold assemblyIntroduction to bringing parts together: production-line bit activity.Students blow simple bubble forms.	Preparation for assessment 2 (presentation) Friday 1pm all students to attend - Glass Workshop Cleanup
3	9.00 am - 11.00 am ASSESSMENT 1 (Presentations)5-minute presentation of 3 images·      Images to be added to group assemblage mood board on studio wallWorkshop / Demo / Practical: Colour and hot sculptingDemonstration of colour application and hot-sculpting techniques for blowing a heart shape.	SUBMIT ASSESSMENT 1: Present in class/ upload to Canvas (Wed) Friday 1pm all students to attend - Glass Workshop Cleanup
4	Workshop / Demo / Practical:·      Split group ½ hot. Simple bubbles, hot assembly, bringing hot bits.·      Split group ½ cold working on own project directions	Friday 1pm all students to attend - Glass Workshop Cleanup
5	Workshop / Demo / Practical:·      Split group ½ hot. Hot pick-up and reassemblyIntroduction to picking up and rejoining glass at the oven. Discussion of reassembly as both a technical process and a conceptual act.·      Split group ½ cold working on own projects	Preparation for assessment 2 Friday 1pm all students to attend - Glass Workshop Cleanup
6	ASSESSMENT 2: Bits9.00 am - 10.00 am set up practical work for assessment (Crit space in Glass, TBC)·      5 minute per student & peer/lecturer critWorkshop / Demo / Practical: Colour and hot sculpting, Demo of Chambered Vessel, encalmo, will require assistance Demonstration of colour application and hot sculpting technique for chambered vessel. Discussion of Schwarzrock's plasma work as a case study: how each component, vessel, gas, electrode, and transformer contributes to and depends upon the whole.	SUBMIT ASSESSMENT 2: Set-up/ present in class/ upload to Canvas (Wed) Friday 1pm all students to attend - Glass Workshop Cleanup
7	Workshop / Demo / Practical:Students bring bubble forms together with heat.Technical focus on joining parts from the pick-up ovenStudents begin building larger, more complex forms from accumulated parts. ·      Split group ½ hot. Simple bubbles, hot assembly, bringing hot bits.·      Split group ½ cold working on own projects	Assessment 3 Begins Friday 1pm all students to attend - Glass Workshop Cleanup
8	Workshop / Demo / Practical: Bringing processes together·      Split group ½ hot. Simple bubbles, hot assembly, bringing hot bits.·      Split group ½ cold working on own projects	Friday 1pm all students to attend - Glass Workshop Cleanup
9	Workshop / Demo / Practical:·      Split group ½ hot. Tutor demonstration revisiting techniques from earlier weeks, or student-requested demonstration based on emerging needs and project directions.·      Split group ½ cold working on own project. Tutor demonstration revisiting techniques from earlier weeks, or student- requested demonstration based on emerging needs and project directions.	Friday 1pm all students to attend - Glass Workshop Cleanup
10	Harriet Away (Visiting Artist TBC)Workshop / Demo / Practical: Assisted Making·      Independent practice and resolution	Friday 1pm all students to attend - Glass Workshop Cleanup
11	Workshop / Demo / Practical:·      Split group ½ hot. Tutor demonstration revisiting techniques from earlier weeks, or student-requested demonstration based on emerging needs and project directions.·      Split group ½ cold working on own project. Tutor demonstration revisiting techniques from earlier weeks, or student- requested demonstration based on emerging needs and project directions.	Friday 1pm all students to attend - Glass Workshop Cleanup
12	Workshop / Demo / Practical:·      Split group ½ hot. Resolving individual forms ready for assessment·      Split group ½ cold working on own project. Resolving individual forms ready for assessment	Friday 1pm all students to attend - Glass Workshop Cleanup EVENT: Sat 7th and Sun 8th NovemberStudents are encouraged to attend Matthew Curtis and Harriet Schwarzrock Open Studio event independently as part of the Design Canberra Festival, Sat 7th and Sun 8th November 10-4 pmStudio is located at 114 Uriarra Rd, Queanbeyan. Students can observe a working studio context and view works by Harriet and Matthew Curtis, in which many pieces are made from multiple discrete components. Other studios also open as part of this festival.
13	Assessment Period Begins	ASSESSMENT 3: Wed 11th November (during exam period)Set-up and present all objects in an exhibiton format in crit space in Glass.Date TBC all students to attend - Final Glass Workshop Cleanup

Tutorial Registration

ANU utilises MyTimetable to enable students to view the timetable for their enrolled courses, browse, then self-allocate to small teaching activities / tutorials so they can better plan their time. Find out more on the Timetable webpage.

Assessment Summary

Assessment task	Value	Due Date	Learning Outcomes
Assemblage in Context	20 %	12/08/2026	3,4
Bits	40 %	02/09/2026	1,2
Blobjects	40 %	11/11/2026	1, 2, 3, 4

* If the Due Date and Return of Assessment date are blank, see the Assessment Tab for specific Assessment Task details

Policies

ANU has educational policies, procedures and guidelines , which are designed to ensure that staff and students are aware of the University’s academic standards, and implement them. Students are expected to have read the Academic Integrity Rule before the commencement of their course. Other key policies and guidelines include:

• Academic Integrity Policy and Procedure
• Student Assessment (Coursework) Policy and Procedure
• Extenuating Circumstances Application
• Student Surveys and Evaluations
• Deferred Examinations
• Student Complaint Resolution Policy and Procedure
• Code of practice for teaching and learning

Assessment Requirements

The ANU is using Turnitin to enhance student citation and referencing techniques, and to assess assignment submissions as a component of the University's approach to managing Academic Integrity. For additional information regarding Turnitin please visit the Academic Skills website. In rare cases where online submission using Turnitin software is not technically possible; or where not using Turnitin software has been justified by the Course Convener and approved by the Associate Dean (Education) on the basis of the teaching model being employed; students shall submit assessment online via ‘Canvas’ outside of Turnitin, or failing that in hard copy, or through a combination of submission methods as approved by the Associate Dean (Education). The submission method is detailed below.

Moderation of Assessment

Marks that are allocated during Semester are to be considered provisional until formalised by the College examiners meeting at the end of each Semester. If appropriate, some moderation of marks might be applied prior to final results being released.

Participation

Attendance at weekly sessions is necessary to absorb skills and direct your projects.

Assessment Task 1

Assemblage in Context

Assemblage is a sculptural strategy that constructs meaning through the relationships between individual components rather than through a single unified form. This assessment develops students' understanding of contemporary and historical assemblage practices by examining how artists across a range of creative disciplines combine materials, objects, and forms to generate sculptural ideas. Select three examples of assemblage from any creative field, including but not limited to glass, sculpture, ceramics, jewellery, installation, architecture, product design, fashion, or mixed media practice. Through a short visual presentation, analyse how each practitioner employs composition, repetition, materiality, joining methods, scale, and spatial relationships to create meaning within their work.

Students should consider how the selected artists construct relationships between individual elements and identify strategies that may inform the development of their own studio practice. The presentation is intended to broaden contextual understanding while providing visual and conceptual references that support the development of assemblage projects.

Task 2 assessment includes:

1. Visual Presentation

• Three examples of assemblage practice from any creative discipline
• Approximately 5 minutes in duration

2. Analysis

Discussion of:

• Materials and making processes
• Methods of assembly and joining
• Composition and spatial relationships
• Visual and conceptual approaches
• Relevance to personal studio practice

SUBMISSION REQUIREMENTS

In-class presentation supported by visual slides on Week 3. Presentation slides should be uploaded to Canvas following the presentation by 5.00 pm on the scheduled assessment date.

NOTE:

Accessibility & Alternative Formats - This assessment is designed as a live visual presentation. However, if you have a registered disability, learning difference, or health condition that affects public speaking or timed delivery, alternative formats are available. These may include:

•      Recorded presentation

•      One-to-one discussion

•      Extended time

•      Written/ visual analysis

The learning outcomes remain the same (equivalent weighting). The format is adjusted. Please contact the course convener, prior to the assessment to arrange support.

 

Rubric

Assessment Criteria	HD	D	CR	P	F
Contextual analysis of assemblage practice (LO3)   Recognises and critically analyses historical and contemporary precedents in assemblage practice through discussion of materials, methods, composition, and conceptual approaches.	Sophisticated critical analysis of selected assemblage precedents, providing insightful discussion of materials, making processes, methods of assembly, composition, spatial relationships, and conceptual approaches. Connections between these elements are articulated with depth, clarity, and sound understanding.	Highly developed analysis of selected assemblage precedents through thoughtful discussion of materials, making processes, methods of assembly, composition, spatial relationships, and conceptual approaches. Analysis is well supported and demonstrates clear understanding.	Competent analysis of selected assemblage precedents, identifying key materials, processes, compositional strategies, and conceptual approaches. Discussion shows sound contextual understanding with some critical interpretation.	Satisfactory recognition and discussion of selected assemblage precedents. Materials, processes, composition, and conceptual approaches are described with some analysis, although discussion remains largely descriptive or lacks depth	Limited recognition or analysis of assemblage precedents. Discussion is predominantly descriptive, incomplete, or inaccurate, with little evidence of contextual understanding or critical analysis.
Critical evaluation of studio methodologies (LO4)   Evaluates the relevance of selected assemblage methodologies to the development of personal studio practice, identifying strategies that may inform future material and conceptual investigations.	Critically evaluates selected assemblage methodologies, making insightful connections to personal studio practice and clearly identifying strategies to inform future material and conceptual development.	Evaluates selected assemblage methodologies, making clear connections to personal studio practice and identifying relevant strategies for future material and conceptual development.	Explains the relevance of selected assemblage methodologies to personal studio practice and identifies appropriate strategies to support future development.	Describes the relevance of selected assemblage methodologies to personal studio practice with limited evaluation. Some strategies for future development are identified.	Demonstrates limited evaluation of selected assemblage methodologies, with unclear or minimal connections to personal studio practice or future development.

Assessment Task 2

Bits

'Bit’s introduces students to glass assemblage through the making of individual glass components that form the foundation of sculptural practice. Rather than focusing on producing finished artworks, this assessment encourages students to build a personal vocabulary of forms by experimenting with a wide range of blown and sculpted glass "bits." Through repetition, variation, and technical exploration, students will investigate how individual components can be manipulated, combined, and accumulated to generate increasingly complex sculptural possibilities.

 

Building on foundational hot glass techniques introduced throughout the course, students will develop skills in sculpting, blowing, hot bit application, and introductory hot joining. Studio workshops will encourage students to explore variation in scale, proportion, colour, texture, and gesture, recognising that small changes in process can produce diverse formal outcomes. Emphasis is placed on learning through making, with experimentation, iteration, and technical refinement forming the basis of the project. Rather than presenting individual components as finished objects, students will select and cold assemble their glass elements into a series of three exploratory sculptural studies. These studies should investigate different compositional relationships between forms, considering balance, rhythm, repetition, contrast, hierarchy, and spatial arrangement. The assembled studies are intended as experiments rather than resolved artworks, providing opportunities to test how individual components interact within an assemblage.

Students will use studio practice time and their visual journal to document technical experiments, sketches, compositional studies, and process planning. To do well, students will demonstrate increasing technical confidence, curiosity through experimentation, and an emerging understanding of how individual forms can function as a sculptural vocabulary for future work.

Note: WHS compliance and Competency Training underpin all Hot Glass activities, and compliance is integrated throughout all Studio Work assessments.

 

Task 1 assessment includes:

1. Experimental Glass Components

• Demonstrating a range of introductory hot sculpting and blowing techniques
• Exploring variation through repetition, scale, texture, colour, and form
• Evidence of experimentation and technical development

2. Three Exploratory Assemblages

• Constructed through cold assembly using self-made glass components
• Demonstrating different compositional approaches
• Exploring relationships between individual forms

3. Journal & Process Documentation

• Visual diary including sketches, diagrams, technical notes, and process photographs
• Evidence of experimentation, reflection, and compositional development

 

SUBMISSION REQUIREMENTS:

Three exploratory assembled sculptures should be presented for in-class review as scheduled in Week 6.  A single digital file containing visual journal documentation, process photographs, technical investigations, and reflective notes should be uploaded to Canvas by 10.00 am on the scheduled assessment date.

Rubric

Criteria	HD	D	CR	P	F
Application and development of hot/ cold glass technical skills (LO1) Demonstrates technical competency, material understanding, and craftsmanship through experimental hot/ cold glass processes.	Demonstrates exceptional technical competency and confidence across a broad range of hot/ cold glass processes. Material properties are skilfully understood and manipulated with a high level of control, craftsmanship, and consistency. Technical experimentation extends beyond workshop demonstrations to produce sophisticated and refined outcomes.	Demonstrates highly competent application of hot/ cold glass techniques with confident material control and consistent craftsmanship. Technical skills are well developed through experimentation and refinement, with evidence of initiative in extending workshop processes.	Demonstrates competent application of hot/ cold glass techniques with generally sound technical control and material understanding. Technical processes are applied successfully, with evidence of experimentation and developing confidence.	Demonstrates satisfactory application of introductory hot/ cold glass techniques. Basic technical competency and material understanding are evident, although control, consistency, or craftsmanship may be variable. Limited experimentation or technical development is demonstrated.	Demonstrates limited or no technical competency with inconsistent application of hot/ cold glass processes. Material understanding, craftsmanship, and technical control are insufficient, lacking evidence of experimentation or skill development.
Material experimentation and compositional exploration (LO2) Explores the creative potential of glass through experimentation, iterative development, and exploratory assemblage.	Work and journal documentation demonstrate an exceptional capacity for independent experimentation through extensive iteration, purposeful variation, and inventive compositional exploration. Experimental components and assemblages reveal a sophisticated understanding of formal relationships and establish a distinctive emerging sculptural vocabulary, supported by insightful documentation and reflection.	Work and journal documentation demonstrate confident experimentation through iterative making and thoughtful compositional exploration. Assemblages effectively investigate formal relationships and reveal a clear developing sculptural vocabulary supported by reflective documentation.	Work and journal documentation demonstrate competent experimentation with materials and methods through variation and iterative development. Assemblages explore compositional relationships with evidence of an emerging understanding of formal organisation and reflective process.	Work and journal documentation demonstrate satisfactory experimentation with materials and methods. Some variation and compositional investigation are evident, although exploration remains limited or relies heavily on workshop examples. Documentation shows basic process development.	Work and journal documentation do not demonstrate experimentation or compositional investigation. Assemblages show little evidence of iterative development or exploration of formal relationships, and documentation provides minimal support for the development of ideas.

Assessment Task 3

Blobjects

‘Blobjects’ builds upon the experimental investigations developed throughout the semester, asking students to transform an accumulation of individual glass components into a resolved sculptural assemblage. Drawing upon the technical skills, contextual research, and formal vocabulary established through Bits, students will compose, refine, and resolve a coherent body of sculptural relationships that demonstrates both technical development and conceptual intent.

Students may employ hot joins, cold assembly, or a combination of both methods, selecting fabrication and joining techniques that best support the development of their ideas. Emphasis is placed on the thoughtful integration of individually fabricated components into a unified sculptural work that considers composition, rhythm, repetition, balance, tension, hierarchy, scale, and spatial relationships. Rather than simply combining components, students are encouraged to edit, refine, and compose their accumulated vocabulary of forms into an assemblage that demonstrates increasing confidence in material decision-making and sculptural thinking. Technical resolution, craftsmanship, and considered use of hot and cold processes should support the overall coherence of the final work.

Students will continue to document the development of their project through sketches, prototypes, process photography, and reflective writing, demonstrating how experimentation informed the evolution of the final assemblage. To do well, students will demonstrate developed technical skills, thoughtful compositional decision-making, and the ability to synthesise experimentation into a resolved sculptural outcome.

Note: WHS compliance and Competency Training underpin all Hot Glass activities, and compliance is integrated throughout all Studio Work assessments.

Task 3 assessment includes:

1. Resolved Glass Assemblage (Blobject)

• Demonstrating developed hot glass sculpting and fabrication skills
• Incorporating hot joins, cold assembly, or a combination of both
• Presenting a considered sculptural composition
• Demonstrating refinement and technical resolution

2. Journal & Process Documentation

• Visual diary including sketches, technical planning, prototypes, and process photographs
• Evidence of experimentation, refinement, and technical development 

3. Artist Statement (approximately 500 words)

• Positioning the resolved work within the course's exploration of assemblage
• Discussing the conceptual intentions, material choices, and compositional strategies that informed the final work
• Articulating how the relationships between individual components contribute to the overall sculptural outcome

4. Reflective Statement (approximately 500 words)

• Critically evaluating the development of the project from experimentation to resolution
• Reflecting on technical challenges, material decision-making, and problem-solving throughout the semester
• Identifying key insights gained through the iterative making process and considering directions for future development

 

SUBMISSION REQUIREMENTS

The resolved assemblage and artist statement should be installed in the designated critique space for review as scheduled in Assessment Week (Wed 11th Nov 2026). A single digital file containing visual journal documentation, process development, technical investigations, and the written reflective statement should be uploaded to Canvas by 10.00 am on the scheduled assessment date. Please add an image of your final presented work following assessment. 

Rubric

Criteria	HD	D	CR	P	F
Application and refinement of hot/cold glass technical skills (LO 1)   Demonstrates technical competency, craftsmanship, material understanding, and technical resolution through the production of a resolved glass assemblage.	Demonstrates a highly accomplished application of hot/ cold glass technical skills, with exceptional craftsmanship, material understanding, and technical resolution. Fabrication and joining processes are executed with confidence and precision, supporting a cohesive and resolved sculptural outcome.	Demonstrates highly competent application of hot/ cold glass technical skills, with consistent craftsmanship, material understanding, and technical resolution. Fabrication and joining processes are well controlled and effectively support the resolved sculptural outcome.	Demonstrates competent application of hot/ cold glass technical skills, with sound craftsmanship, material understanding, and technical resolution. Fabrication and joining processes are generally well executed and support the resolved work.	Demonstrates satisfactory application of hot/ cold glass technical skills. Basic craftsmanship, material understanding, and technical resolution are evident, although technical control or execution may be inconsistent.	Demonstrates limited application of hot/ cold glass technical skills. Craftsmanship, material understanding, and technical resolution are insufficient or inconsistent, limiting the successful realisation of the resolved assemblage.
Development of sculptural practice (LO 2)   Demonstrates independent exploration, refinement, and synthesis of materials, methods, and compositional strategies through the development of a resolved assemblage.	Artwork and journal demonstrate exceptional independent exploration and synthesis of materials, methods, and compositional strategies. Material and technical decisions are purposeful and refined, resulting in a cohesive, resolved assemblage with a distinctive sculptural outcome.	Artwork and journal demonstrate highly developed exploration and refinement of materials, methods, and compositional strategies. Material and technical decisions are well considered, resulting in a coherent and resolved sculptural outcome.	Artwork and journal demonstrate competent exploration and refinement of materials, methods, and compositional strategies. Decisions are generally considered and support the development of a resolved assemblage.	Artwork and journal demonstrate satisfactory exploration of materials, methods, and compositional strategies. Some refinement is evident, although decisions may lack consistency or the resolved assemblage may not be fully developed.	Artwork and journal demonstrate limited exploration or refinement of materials, methods, and compositional strategies. Decisions are underdeveloped or unsupported, resulting in an unresolved assemblage.
Contextualisation of studio practice (LO 3)   Demonstrates understanding of relevant precedents and influences through the artist statement and the positioning of the resolved work within assemblage practice.	Demonstrates insightful understanding of relevant precedents and influences, clearly positioning the resolved work within contemporary assemblage practice. The artist statement shows strong critical awareness and meaningful contextual connections.	Demonstrates clear understanding of relevant precedents and influences, positioning the resolved work within assemblage practice. The artist statement shows well-developed contextual awareness and relevant connections.	Demonstrates sound understanding of relevant precedents and influences, with some positioning of the resolved work within assemblage practice. The artist statement shows basic contextual connections.	Demonstrates limited understanding of precedents and influences. The artist statement makes minimal or general reference to assemblage practice, with weak contextual positioning.	Demonstrates little, unclear or no understanding of precedents and influences. The artist statement does not effectively position the work within assemblage practice or shows minimal contextual awareness.
Critical reflection on studio practice (LO 4)   Evaluates the effectiveness of material, technical, and conceptual decisions through reflective analysis of the project's development and outcomes.	Demonstrates insightful and critical reflection on the development of the project. Clearly evaluates material, technical, and conceptual decisions, showing strong awareness of how these shaped outcomes and future directions.	Demonstrates clear critical reflection on the project. Effectively evaluates material, technical, and conceptual decisions and their impact on the final outcome.	Demonstrates relevant reflection on the project development. Evaluates material, technical, and conceptual decisions with some understanding of their impact on outcomes.	Demonstrates basic reflection on the project. Describes material, technical, and conceptual decisions with limited evaluation of outcomes.	Demonstrates limited, unclear or no reflection on the project. Material, technical, and conceptual decisions are minimally addressed, with little evaluation of outcomes.

Academic Integrity

Academic integrity is a core part of the ANU culture as a community of scholars. The University’s students are an integral part of that community. The academic integrity principle commits all students to engage in academic work in ways that are consistent with, and actively support, academic integrity, and to uphold this commitment by behaving honestly, responsibly and ethically, and with respect and fairness, in scholarly practice.

The University expects all staff and students to be familiar with the academic integrity principle, the Academic Integrity Rule 2021, the Policy: Student Academic Integrity and Procedure: Student Academic Integrity, and to uphold high standards of academic integrity to ensure the quality and value of our qualifications.

The Academic Integrity Rule 2021 is a legal document that the University uses to promote academic integrity, and manage breaches of the academic integrity principle. The Policy and Procedure support the Rule by outlining overarching principles, responsibilities and processes. The Academic Integrity Rule 2021 commences on 1 December 2021 and applies to courses commencing on or after that date, as well as to research conduct occurring on or after that date. Prior to this, the Academic Misconduct Rule 2015 applies.

 

The University commits to assisting all students to understand how to engage in academic work in ways that are consistent with, and actively support academic integrity. All coursework students must complete the online Academic Integrity Module (Epigeum), and Higher Degree Research (HDR) students are required to complete research integrity training. The Academic Integrity website provides information about services available to assist students with their assignments, examinations and other learning activities, as well as understanding and upholding academic integrity.

Online Submission

You will be required to electronically sign a declaration as part of the submission of your assignment. Please keep a copy of the assignment for your records. Unless an exemption has been approved by the Associate Dean (Education) submission must be through Turnitin.

Hardcopy Submission

For some forms of assessment (hand written assignments, art works, laboratory notes, etc.) hard copy submission is appropriate when approved by the Associate Dean (Education). Hard copy submissions must utilise the Assignment Cover Sheet. Please keep a copy of tasks completed for your records.

Late Submission

Individual assessment tasks may or may not allow for late submission. Policy regarding late submission is detailed below:

• Late submission not permitted. If submission of assessment tasks without an extension after the due date is not permitted, a mark of 0 will be awarded.
• Late submission permitted. Late submission of assessment tasks without an extension are penalised at the rate of 5% of the possible marks available per working day or part thereof. Late submission of assessment tasks is not accepted after 10 working days after the due date, or on or after the date specified in the course outline for the return of the assessment item. Late submission is not accepted for take-home examinations.

Referencing Requirements

The Academic Skills website has information to assist you with your writing and assessments. The website includes information about Academic Integrity including referencing requirements for different disciplines. There is also information on Plagiarism and different ways to use source material. Any use of artificial intelligence must be properly referenced. Failure to properly cite use of Generative AI will be considered a breach of academic integrity.

Returning Assignments

Studio based work will not be held by staff after assessment. Staff will keep a photographic record of work presented for review and final assessment. Folios / journals will be returned one week after due date.

Extensions and Penalties

Extensions and late submission of assessment pieces are covered by the Student Assessment (Coursework) Policy and Procedure. Extensions may be granted for assessment pieces that are not examinations or take-home examinations. If you need an extension, you must request an extension in writing on or before the due date. If you have documented and appropriate medical evidence that demonstrates you were not able to request an extension on or before the due date, you may be able to request it after the due date.

Resubmission of Assignments

Resubmission of works is not common in a studio--based course, as students can seek feedback on projects throughout the semester. Requests for resubmission will be handled on a case--by--case basis.

Privacy Notice

The ANU has made a number of third party, online, databases available for students to use. Use of each online database is conditional on student end users first agreeing to the database licensor’s terms of service and/or privacy policy. Students should read these carefully. In some cases student end users will be required to register an account with the database licensor and submit personal information, including their: first name; last name; ANU email address; and other information.
In cases where student end users are asked to submit ‘content’ to a database, such as an assignment or short answers, the database licensor may only use the student’s ‘content’ in accordance with the terms of service – including any (copyright) licence the student grants to the database licensor. Any personal information or content a student submits may be stored by the licensor, potentially offshore, and will be used to process the database service in accordance with the licensors terms of service and/or privacy policy.
If any student chooses not to agree to the database licensor’s terms of service or privacy policy, the student will not be able to access and use the database. In these circumstances students should contact their lecturer to enquire about alternative arrangements that are available.

Distribution of grades policy

Academic Quality Assurance Committee monitors the performance of students, including attrition, further study and employment rates and grade distribution, and College reports on quality assurance processes for assessment activities, including alignment with national and international disciplinary and interdisciplinary standards, as well as qualification type learning outcomes.

Since first semester 1994, ANU uses a grading scale for all courses. This grading scale is used by all academic areas of the University.

Support for students

The University offers students support through several different services. You may contact the services listed below directly or seek advice from your Course Convener, Student Administrators, or your College and Course representatives (if applicable).

• ANU Health, safety & wellbeing for medical services, counselling, mental health and spiritual support
• ANU Accessibility for students with a disability or ongoing or chronic illness
• ANU Dean of Students for confidential, impartial advice and help to resolve problems between students and the academic or administrative areas of the University
• ANU Academic Skills supports you make your own decisions about how you learn and manage your workload.
• ANU Counselling promotes, supports and enhances mental health and wellbeing within the University student community.
• ANUSA supports and represents all ANU students