Topics may include, but are not limited to, the following:

• Glaze and Colour

This course introduces students to glaze chemistry and develops the key skills of mixing and altering glaze recipes for variation in firing temp., atmosphere, colour, and texture development. Students undertake a research project to examine raw materials of certain glazes, mapping out some of the geological, cultural and political intricacies. There are weekly lectures which incorporate examples of artists who work with conventional and alternative materials as glazes. The aim of this course is not only to gain experience in making glazes, but to think creatively about what constitutes a glaze, to experiment with raw materials and to explore the politics and poetics of material origins and transformations that are inherent in ceramic practices.

• Expanded Ceramics

In Expanded Ceramics, students are offered an opportunity to explore clay both inside and outside the studio. Students test and learn from local materials, such as clay from the SoAD garden, and experiment with blending alternative materials into and clay for sculptural works. Lectures cover a range of concepts and artists that relate to the entanglement of materials and place. Ceramics-based projects are undertaken in relation to 3 sites around the ANU campus and incorporate other complimentary art mediums such as sound, video and creative writing. Students are taught an introduction to sound and video editing as part of this course.

• Ceramic Mouldmaking and Casting

Mouldmaking and casting is centred around the practices of embossing, embedding and creating multiples using clay. Students learn how to make one and multi-part plaster moulds, build experimental one-off moulds, and cast with slip. There are weekly lectures which incorporate examples of artists who use mouldmaking and casting in their artistic practice. Students will be encouraged to use divergent thinking when considering what it means to take impressions, record and duplicate objects, and to experiment with both the construction of moulds and the material used in the casting process.

• Ceramic Surface

This course investigates the dynamic relationship between surface, form, and process in contemporary ceramic practice. Students will explore how texture, mark, and process contribute to the expressive and structural qualities of form. Students will experiment with a range of material and textural approaches, including carving, impressing, printing onto, layering, and additive techniques, to develop an understanding of surface as both skin and structure: an active site of making, thinking, and expression that both responds to and redefines the underlying form. Weekly lectures will introduce artists who challenge conventional boundaries of surface, while demonstrations will explore techniques and processes that engage with these ideas.

·      Wheel Formed Ceramics

In this course, students will significantly develop and refine their technical skills on the pottery wheel to create bodies of work that explore sculpture and an expanded approach to tableware. Students will experiment with different clay bodies and methods of surface treatment. Experimentation is encouraged, and the practical work will be underscored by a set of readings and tasks that position their work within a contemporary art context.

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 studio area & contemporary art practice; 
2. independently explore the potential of material/s & methods relevant to the studio area 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

Content and projects in this course build on research undertaken through the Climate Aware Creative Practices (a national, multi-university research group), and offer significant contribution towards the ANU Graduate Attributes including: Insight into Aboriginal and Torres Strait Islander peoples’ knowledges and Indigenous peoples’ perspectives, Expertise for Critical Thinking and Capability to Employ Discipline-based Knowledge in Transdisciplinary Problem-Solving.

Additional Course Costs

Student contribution amounts under the Higher Education Support Act 2003 (HESA) and tuition fees support the course described in the Class Summary and include tuition, teaching materials, and student access to the workshops for the stated course hours.

There will be a materials fee for this course. This is payable to the School of Art & Design to supply consumables and materials that become your physical property.

The Additional Materials Fee is payable for Materials you use in addition to those supplied as part of the course. You can purchase additional material from the Workshop and take advantage of the GST-free status. These materials are also WHS and workshop process compliant.

 Students have the option to obtain After hours Access to workshop and studio spaces outside of class delivery. After hours Access is defined as access to workshop and studio spaces outside of business hours between 6.00pm and 10:00pm Monday to Friday and 9am – 4pm Saturday - Sunday. It is afforded to students by paying an After hours Access Fee each semester.

 For further information and to Pay Materials and Access Fees go to: https://soad.cass.anu.edu.au/required-resources-and-incidental-fees  

Examination Material or equipment

Students will need to provide their presentation materials such as paper table coverings, stationary and signage to support the presentation or documentation of their work.

Required Resources

You will be required to have (minimally)a P2/P3 half face respirator for this course. A limited number are available for purchase through the workshop, or you may furnish your own to the correct standard.

Reading lists and additional resources will be added to the Wattle page for this course. Note book for recording and compiling glaze recipes.

Recommended Resources

Whether you are on campus or studying online, there are a variety of online platforms you will use to participate in your study program. These could include videos for lectures and other instruction, two-way video conferencing for interactive learning, email and other messaging tools for communication, interactive web apps for formative and collaborative activities, print and/or photo/scan for handwritten work and drawings, and home-based assessment.

ANU outlines recommended student system requirements to ensure you are able to participate fully in your learning. Other information is also available about the various Learning Platforms you may use.

Staff Feedback

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

• written comments
• verbal comments
• feedback to whole class, groups, individuals, focus group etc

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.

Class Schedule

Week/Session	Summary of Activities	Assessment
1	Tour of studios, Canvas, WHS inductions with technician. Introduction to Assignment 1: Critical Reflection Essay, and Assignment 2: portfolio of practical works.  Choose partner for Assignment 2, task 1A + write into live document – link provided in Canvas.  Lecture 1 Demo: Refresh of key throwing principles and techniques. Centering, pulling up, collaring in. Cylinders – straight, tapering out, tapering in, altering forms, joining leather hard pieces, throwing test tiles, recycling clay. Student activities: Practice centreing and pulling up etc. begin making pieces for collaborative sculpture from reclaim clay. Finish test tiles for future glaze tests.	Throw and trim cylinders, begin joining the forms for collaborative sculpture.  Readings.
2	Lecture 2  Discussion: Clear up any assignment questions.  Quick visit to library to be shown where books with glaze recipes are. (20 mins max.) Re-iterate need to choose 3 x cone 6 glazes to mix and test with partner for Assessment task 2. Demo: Throwing three different types of lids, throwing and trimming in matching galleries, throwing round forms. Student activities: Continue and finish throwing cylinders for collaborative project. Practice throwing/trimming lids and galleries.	Finish collaborative sculpture, continue practicing lids and galleries. Test tiles are out of bisque. Readings.
3	Discussion:  Informal crit on collaborative sculpture process and outcomes. Glaze choices, test outcomes discussion. Mini SDS group discussions. Demo:  Further demonstrations of lids and galleries, throwing large cylinders, throwing large round forms, finding, weighing, mixing a glaze. Student activities: Continue on Assessment 2 tasks, consultations with lecturer.	Continue on 3 cone 6 glaze recipes from books at library, mix and test with your partner (if not already done). Test tiles (thrown in week 1) should be out of bisque. Find 3 cone 6 glaze recipes from books at library, mix and test with your partner. Store and label well. Check workflow.
4	Lecture 3Demo:  Applying glaze to test tiles, various slip painterly techniques – Layering, washes, sgraffito, applying with sponge, etc.   Student activities: Continue on Assessment 2 tasks, consultations with lecturer.	Assessment task 1 reflective essay due.  Check workflow.
5	Discussion: Analysing and discussing glaze test results. Demo: Repeat demos where needed.  Student activities: Continue on Assessment 2 tasks, mixing larger batch of glaze from chosen tests, glazing lidded vessels, consultations with lecturer.	Check workflow.Reduction firing on Weds. Students pack on Tuesday afternoons.
6	Lecture 4Demo: Repeat demos where needed. Student activities: Glazing large forms, photographing works.	Check workflow.Readings.
7	Set up assessment work 9am.  Collect assessment work at 5pm.	Assessment task 2 portfolio of works due.
8	Excursion to NGA.  Students select work to respond to. 2 hours in the gallery, 1 hour group discussion afterwards. Student activities: Develop proposal for major body of work in response to artwork at NGA.	Finish proposal.  Assessment task 3 proposal due Friday 5pm, this week.   Write your presentation topic into the live doc. provided on Canvas.
9	Presentations due.  Demo: Slicing sections off thrown forms to make sculptures.One-on-one consultations between lecturer and students about proposal – finalise and agree on steps/materials etc. Student activities: begin major body of work.	Continue on major body of work. Activity: Research a recent exhibition in Australia (2025 or 2026) that incorporates contemporary ceramic works. Have a look at the list of galleries etc. On Canvas to help you find venues. Come ready to talk about the exhibition and works informally class.
10	Student presentations, second half of class.  LectureDiscussion: The contemporary field of ceramics in Australian context.  Demo: Coil and throw Student activities: Continue working on major body of work. Complete calendar timeline to completion.	Students working on major body of work. Reduction firing on Weds. Students pack on Tuesday afternoons. Plan for in-class activity next week: ‘mini-install activity’.
11	Lecture 6Discussion: How will you install your work for assessment and why? What does the artwork need for it to be at its strongest?  Activity: ‘Mini-install activity’ Students set up (test) work as an installation somewhere in the studio or in the ceramics courtyard. Class crits of the installations.  Optional demo: spray gun to apply glaze.  Student activities: finalising major body of work. Check timelines.	All work out of bisque firings.
12	No lecture.  Discussion: Informal crits on everyone’s work.	Finishing major body of work. Check timelines. Exam Period Student Activities: Photographing works and finalising instal plans.

Tutorial Registration

Via Canvas

Assessment Summary

Assessment task	Value	Due Date	Learning Outcomes
Critical reflection essay	10 %	17/03/2026	3
Portfolio of Studio tasks	30 %	21/04/2026	1,2,3,4
Artwork proposal	20 %	05/05/2026	1,2,3
Major studio project	40 %	09/06/2026	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

Participation in the weekly classes and independent studio study time is essential to fulfilling the learning outcomes of this course. If you cannot attend all of the scheduled classes and out of class activities, please consider a different course.

Please do not enrol in this course if you cannot attend the ANU campus Ceramics Workshop and commit to these study requirements.

Examination(s)

This course does not include a formal examination. Submission of assessable elements are outlined above in Tasks 1-4.

Students will need to provide their presentation materials such as paper table coverings, stationary and signage to support the presentation or documentation of their work for assessment.

Assessment Task 1

Critical reflection essay

Write a critical reflection on the experimental sculpture you made with your partner using wheel thrown forms, joined together.  

Rubric

Task Marking Criteria	HD	D	C	P	F
Theoretical frameworks: employ theoretical research to identify, analyse and respond to contemporary ceramic theories and art practices.   (LO 3)	Essay offers exceptional analysis and critical reflection of the project, including astute insights into the historical, cultural and political contexts of the resulting artwork, which leads to a highly convincing and original essay. Images are very well selected, organised and referenced.	Essay offers superior analysis and critical reflection of the project, including interesting insights into the historical, cultural and political contexts of the resulting artwork, which leads to a convincing and original essay. Images are well selected, organised and referenced.	Essay offers a sound analysis and critical reflection of the project, including some interesting insights into the historical, cultural and political contexts of the resulting artwork, which leads to an original essay. Images are selected, organised and referenced to a degree.	Essay offers some analysis and critical reflection of the project, and/or some insights into the historical, cultural and political contexts of the resulting artwork.  Images are selected, organised and referenced minimally.	Essay does not offer satisfactory evidence of theoretical research or analysis.

Assessment Task 2

Portfolio of Studio tasks

Demonstrate your ability to throw and trim complex forms on the wheel, as well as join them into sculptural forms and finish their surface using a variety of techniques. Also, reflect on these works and the broader field of contemporary ceramics/art in your Visual Diary. 

Rubric

Task Marking Criteria	HD	D	C	P	F
Technical skills: Identify, select and utilise techniques and materials appropriate to workshop projects.   (LO1)	Wheel forming skills as well as the use of tools and equipment have been applied at an exception level.	Wheel forming skills as well as the use of tools and equipment have been applied at a superior level.	Wheel forming skills as well as the use of tools and equipment have been applied at a good level.	Wheel skills as well as the use of tools and equipment have been applied at a good level.	Technical skills are unsatisfactory.
Ideas and concepts: employ a research-based approach to creative practice in the Ceramics context to develop original ideas which consider and reflect the current contexts and precedents of the practice.   (LO 3,4)	A rigorous and independent research-based approach to creative practice has generated a deep understanding of the precedents and contexts of contemporary ceramics practice, supporting the development of highly original and innovative ideas.	An independent research-based approach to creative practice has generated a good understanding of the precedents and contexts of contemporary ceramics practice, supporting the development of original and innovative ideas.	An independent research-based approach to creative practice has generated some understanding of the precedents and contexts of contemporary ceramics practice, supporting the development of some original ideas.	Little evidence of a research-based approach to creative practice, and therefore little understanding of the precedents and contexts of contemporary ceramics practice. There is little development of original and innovative ideas.	No evidence of a research-based approach to creative practice or understanding of the precedents and contexts of contemporary ceramics practice. Underdeveloped ideas.
Development:  maintain engagement with the dialogue between materials and ideas over the course of the project to expand and refine the boundaries of the work.   (LO 3)	Has maintained an exceptionally rigorous and curious exploration of the dialogue between materials and ideas over the course of the project. Always takes on feedback and has constantly reflected on, reimagined and redefined the boundaries of the work.	Has maintained a rigorous and curious exploration of the dialogue between materials and ideas over the course of the project. Usually always takes on feedback and has reflected on, and redefined the boundaries of the work.	Has explored aspects of the dialogue between materials and ideas over the course of the project. Often takes on feedback and has reflected on and redefined some of the aspects of the work.	Has explored little of the dialogue between materials and ideas over the course of the project. Rarely takes on feedback and rarely reflects on or redefines the boundaries of the work.	Unsatisfactory level of engagement with the dialogue between materials and ideas over the course of the project.
Resolution:   The conceptual and formal components of the work are resolved, and connections are accessible to an audience / the examiner.   (LO 3,4)	Has submitted an exceptionally well resolved and refined body of work, demonstrating the ability to make and understand independent decisions that lead to very satisfying synergies and outcomes overall.	Has submitted a really well resolved and refined body of work, demonstrating the ability to make and understand independent decisions that lead to satisfying synergies and outcomes overall.	Has submitted a resolved and refined body of work, demonstrating the ability to make and understand independent decisions that lead to some satisfying outcomes.	Has submitted a body of work, but it lacks resolution and refinement.  There is little evidence of the ability to make and understand independent decisions that lead to some satisfying outcomes.	Unsatisfactory level of resolution, refinement, and independent work.
Experimentation: Evidence of original and innovative ways of working that expand the possibilities of the material and field of practice.   (LO 3)	Has undertaken an exceptionally original, divergent and innovative approach to ideas, materials and processes, exploring multiple new and exciting possibilities.	Has undertaken an original and innovative approach to ideas, materials and processes, exploring multiple new and exciting possibilities.	Has undertaken some original approaches to ideas, materials and processes, and has explored some new possibilities.	Has undertaken little original or innovative approach to ideas, materials and processes. There is some evidence of exploring ideas but they lack originality and innovation.	Unsatisfactory level of experimentation.

Assessment Task 3

Artwork proposal

Artwork proposal, submitted as a PDF on Canvas and presented to the class. 

Rubric

Task Marking Criteria	HD	D	C	P	F
Technical skills: Identify and select techniques and materials appropriate to workshop projects.   (LO1,2)	Exceptional understanding and explanation of how specific ceramic hand forming skills, tools and equipment have the capacity to realise the conceptual framework and practical plans of the project.	Superior understanding and explanation of how specific ceramic hand forming skills, tools and equipment have the capacity to realise the conceptual framework and practical plans of the project.	Sound understanding and explanation of how specific ceramic hand forming skills, tools and equipment have the capacity to engage with the conceptual framework and practical plans of the project.	Some understanding and/or suggestion of how specific ceramic hand forming skills, tools and equipment could be used but is unclear how they have the capacity to realise the conceptual framework and practical plans of the project.	Understanding and selection of ceramic techniques for the project are unsatisfactory.
Ideas and concepts: employ a research-based approach to creative practice in the Ceramics context to develop original ideas which consider and reflect the current contexts and precedents of the practice.   (LO 3)	A rigorous and independent research-based approach to creative practice has generated a deep understanding of the precedents and contexts of contemporary ceramics practice, supporting the development of highly original and innovative ideas.	An independent research-based approach to creative practice has generated a good understanding of the precedents and contexts of contemporary ceramics practice, supporting the development of original and innovative ideas.	An independent research-based approach to creative practice has generated some understanding of the precedents and contexts of contemporary ceramics practice, supporting the development of some original ideas.	Little evidence of a research-based approach to creative practice, and therefore little understanding of the precedents and contexts of contemporary ceramics practice. There is minimal development of original and innovative ideas.	No evidence of a research-based approach to creative practice or understanding of the precedents and contexts of contemporary ceramics practice. Underdeveloped ideas.
Theoretical frameworks: employ theoretical research to identify, analyse and respond to contemporary ceramic theories and art practices.   (LO 3)	Proposal evidences an exceptional level of theoretical research which leads to exceptional insights into the historical, cultural and political contexts of referenced artists/artworks and proposed artworks. Academic writing and referencing is of exceptional quality.	Proposal evidences a superior level of theoretical research which leads to exceptional insights into the historical, cultural and political contexts of referenced artists/artwork and proposed artworks.    Academic writing and referencing is of a very high quality.	Proposal evidences a good level of theoretical research which leads to exceptional insights into the historical, cultural and political contexts of referenced artists/artwork and proposed artworks.     plans. Academic writing and referencing is of a sound quality.	Proposal evidences an ok level of theoretical research which leads to exceptional insights into the historical, cultural and political contexts of referenced artists/artwork and proposed artworks.    Academic writing and referencing is of an ok quality.	Level of theoretical research and academic referencing is inadequate.

Assessment Task 4

Major studio project

Develop, resolve and evaluate a significant body of throwing-related ceramic work drawing on your artwork proposal.

Rubric

Task Marking Criteria	HD	D	CR	P	F
Technical skills: Identify, select and utilise techniques and materials appropriate to workshop projects.   (LO1,2)	Wheel forming skills as well as the use of tools and equipment have been applied at an exception level.	Wheel forming skills as well as the use of tools and equipment have been applied at a superior level.	Wheel forming skills as well as the use of tools and equipment have been applied at a good level.	Wheel skills as well as the use of tools and equipment have been applied at a good level.	Technical skills are unsatisfactory.
Ideas and concepts: employ a research-based approach to creative practice in the Ceramics context to develop original ideas which consider and reflect the current contexts and precedents of the practice.   (LO 3,4)	A rigorous and independent research-based approach to creative practice has generated a deep understanding of the precedents and contexts of contemporary ceramics practice, leading to highly original and innovative ideas.	A rigorous and independent research-based approach to creative practice has generated a good understanding of the precedents and contexts of contemporary ceramics practice, leading to original and innovative ideas.	An independent research-based approach to creative practice has generated a reasonable understanding of the precedents and contexts of contemporary ceramics practice, leading to some original and innovative ideas.	Little evidence of a research-based approach to creative practice, and therefore little understanding of the precedents and contexts of contemporary ceramics practice. There is little development of original and innovative ideas.	No evidence of a research-based approach to creative practice or understanding of the precedents and contexts of contemporary ceramics practice. Underdeveloped ideas.
Development:  maintain engagement with the dialogue between materials and ideas over the course of the project to expand and refine the boundaries of the work.   (LO 3,4)	Has maintained an exceptionally rigorous and curious exploration of the dialogue between materials and ideas over the course of the project. Always takes on feedback and has constantly reflected on, reimagined and redefined the boundaries of the work.	Has maintained a rigorous and curious exploration of the dialogue between materials and ideas over the course of the project. Usually always takes on feedback and has reflected on, and redefined the boundaries of the work.	Has explored aspects of the dialogue between materials and ideas over the course of the project. Often takes on feedback and has reflected on and redefined some of the aspects of the work.	Has explored little of the dialogue between materials and ideas over the course of the project. Rarely takes on feedback and rarely reflects on or redefines the boundaries of the work.	Unsatisfactory level of engagement with the dialogue between materials and ideas over the course of the project.
Resolution:   The conceptual and formal components of the work are resolved, and connections are accessible to an audience / the examiner.   (LO 3,4)	Has submitted an exceptionally well resolved and refined body of work, demonstrating the ability to make and understand independent decisions that lead to very satisfying synergies and outcomes overall.	Has submitted a really well resolved and refined body of work, demonstrating the ability to make and understand independent decisions that lead to satisfying synergies and outcomes overall.	Has submitted a resolved and refined body of work, demonstrating the ability to make and understand independent decisions that lead to some satisfying outcomes.	Has submitted a body of work, but it lacks resolution and refinement.  There is little evidence of the ability to make and understand independent decisions that lead to some satisfying outcomes.	Unsatisfactory level of resolution, refinement, and independent work.
Experimentation: Evidence of original and innovative ways of working that expand the possibilities of the material and field of practice.   (LO 3)	Has undertaken an exceptionally original, divergent and innovative approach to ideas, materials and processes, exploring multiple new and exciting possibilities.	Has undertaken an original and innovative approach to ideas, materials and processes, exploring multiple new and exciting possibilities.	Has undertaken some original approaches to ideas, materials and processes, and has explored some new possibilities.	Has undertaken little original or innovative approach to ideas, materials and processes. There is some evidence of exploring ideas but they lack originality and innovation.	Unsatisfactory level of experimentation.

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

Physical works submitted for assessment will be made available for collection by the student at a time advised after the Task submission 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.

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