Scholarship- Nuts and Bolts

$30 to enter
$500 if you get one
3% of the total cohort entries generate the number of scholarships available
!
Eg: 2400 entries in painting may generate 80 to 90 scholarships, with about 10
outstanding scholarships included in this.
Eg 250 entries in print may generate 6 scholarships with 1 outstanding
scholarship included in this
!
Entry numbers for scholarship painting are around 350ish so you are competing
with them for a scholarship award.. So if entries stay consistent then a get
scholarships.RANK ORDER not standard based

Scholarship Performance Descriptor

The student will demonstrate aspects of high level:
analysis and critical thinking
integration, synthesis, and application of highly developed knowledge, skills,
and understanding to complex situations
logical development, precision and clarity of ideas.
!
!
Outstanding Performance Descriptor
In addition to the requirements for Scholarship, the student will also
demonstrate, in a sustained manner, aspects of:
perception and insight
sophisticated integration and abstraction
independent reflection and extrapolation
convincing communication.

 Abstraction, in this instance, is the process of engaging in

conceptual and lateral thinking; refining, editing, selecting,
and expanding thought processes to demonstrate the
regeneration and development of a depth of ideas.
Convincing communication involves evaluating and
reflecting upon the proposition and instigating new and
complex investigations that successfully communicate
students own visual ideas and concepts.

Scholarship Visual Arts 2013 Evidence Statements

SYNTHESIS
8 marks

Candidate
12 marks
will
1
Work
Explore
Does not meet
involves
aspects of art the
appropriate and design
requirements
methods and practice
of Level 8 of
approaches, through
the Visual Arts
and merges identifying
curriculum.
all aspects of associative
practice into links and
Use media, Does not meet
a holistic
materials, and the
form that
processes
requirements
actively
with
of Level 8 of
acknowledge understanding the Visual Arts
s and
, fluency, and curriculum.
recognises clarity of

34 marks

SCHOLARSHIP
56 marks

OUTSTANDING
SCHOLARSHIP
78 marks
Identifies
Positions a
Intelligently
relevant art
thorough enquiry draws together
and design
through
artistic
Contemporary appropriate
references and/
and/or
artistic
or other contexts
historical
references and to extend and rereferences
by making
position the line
linked to their
of enquiry into a
Makes use of connections
Consistently
Strategically
media,
manages subject explores and
materials, and conventions and recognises
processes to technical
lateral
advance visual characteristics to opportunities
exploration
enrich and
through
and outcomes. expand the visual articulation of

ANALYSIS
8 marks

Candidate
will

12 marks

34 marks

Work shows
Research, test, Does not meet Uses a range of
evidence of on- evaluate, test the
processes,
going evaluation and synthesise requirements of materials, and
through
ideas,
level 8 of the techniques to
reflection,
processes,
Visual Arts
advance the
critical thinking, procedures, curriculum.
investigation.
and contextual materials, and
research.
Technique
Provide
Does not meet Identifies ideas
Analysis may
evidence of
the
related to
include, but not ability to
requirements of subject matter
be limited to, art develop ideas, level 8 of the and makes
and design
to think and Visual Arts
initial inquiries
contexts,
work laterally, curriculum.
through
personal
and to
exploratory
contexts,
implement
means.
situational
strategies for
contexts, and

SCHOLARSHIP OUTSTANDING
56 marks
SCHOLARSHIP
78 marks
Identifies a
Independently
range of
evolves critical
options in
and practical
relation to key strategies,
concepts and lateral
explores these approaches,
through logical and
and
imaginative
Presents a
Takes
coherent
ownership of
enquiry that the enquiry
utilises
and is open to
reflective and discovery
questioning through
strategies to interpretative
consolidate
methods of
ideas and
evaluation,

COMMUNICATION
8 marks

Candidate
will

12 marks

34 marks

SCHOLARSHIP
56 marks

OUTSTANDIN
G
SCHOLARSHIP
Work communicates Demonstrate Does not
Identifies visual Employs
Evidences
(through explicit and clarity of
meet the
language and appropriate and critical
implicit means), and intention
requirements methods
purposeful
perspectives
issues relevant to the through
of Level 8 of relevant to the application of
through
chosen field of
methods
the Visual designated
formal and
innovative
practice.
utilised and Arts
investigation conceptual
processes
This specifically
interpretation curriculum.
devices to
that refine,
involves the
within
develop ideas
edit, select,
Establish,
Does not
Documents and Demonstrates Evidences
relationship between
reinforce, and meet the
presents
(through
critical
intent, process, and
sustain links requirements making and
engagement
perspective
outcome.
and consider of Level 8 of thinking
with selected
through
the
the Visual processes
subject) ideas
innovative
relationship Arts
involved in the and concepts
processes that
between the curriculum. development of through
refine, edit,
workbook
the work.
application of
select, and
and folio.
highly developed expand to

 Helpful Websites
http://www.topart.govt.nz/
http://www.nzqa.govt.nz/qualifications-standards/awards/scholarship/
http://www.curious-eye.com/index_alt.php
http://www.studentartguide.com/featured/high-school-painting-projects-portraiture
http://www.studentartguide.com/
http://www.amiria.co.nz/artist/
http://www.nzqa.govt.nz/qualifications-standards/qualifications/ncea/subjects/
visual-arts/levels/

So I am an excellence student and I need to

make an 8 page document to prove how
much thinking and effort has gone into my
folio board and beyond. What is that going to
look like?
!
How will it reflect my design style/ aesthetic in my 8 pages?
How do I make it stand out in the crowd and make it unique to me?
How do I capture the significant shifts in my thinking as the year progresses?

OTHER CANDIDATES
Candidates who were not awarded Scholarship or Scholarship with
Outstanding
Performance typically:
set themselves propositions that were overreaching in description
and under delivering in the work

discussed or attributed symbolism in their work, which was

unrelated to the subject matter or art contexts or the effect of their
work
used the workbook as an opportunity to give the panel an Art
History lesson, through including annotations about the work of
artists they have studied that may or may not be relevant to work in
their folio
included lots of photos of work seen on the folio with literal
annotations of issues that are clearly evident in the work itself.

FOLIO BOARD 1
Drawings which establish theme and show
multiple options to develop

!
!

At least one sequence of painting which

displays good observational skills
2 to 4 additional sequences of work based
on specific artist models or shifts or
focuses on the elements of art (line, colour,
form, repetition, reflection, distortion, grid,
compositional devises etc)

Use drawing as the central means to

purposefully generate a range and depth of
ideas

NZQA Student Code

FOLIO BOARD 2

!!
!!

3 to 6 sequences of painting /
printmaking based on specific artist
models or shifts or focuses on the
elements of art (line, colour, form,
repetition, reflection, distortion, grid,
compositional devises etc)

Purposefully generate a range and

depth of ideas to analyse, clarify and
regenerate options.

FOLIO BOARD 3
3 to 6 sequences of painting / printmaking
based on specific artist models or shifts or
focuses on the elements of art (line, colour,
form, repetition, reflection, distortion, grid,
compositional devises etc)

The final sequence should be more

original, based on your own develops;
opened ended, leaving room for ideas to
continue developing.

Show knowledge and understanding of

the characteristics and constraints of
established processes, procedures,
materials and techniques

BALANCE
CONTRAST


FORMAT
PERSPECTIVE
COMPOSITION
DISSORTION
LINE..

!
!

EDGE

SPACE

WEIGHT


STRUCTURE
SCALE

LEADING LINES
SHADOWS
GRID

VOLUME
MOVEMENT
ILLUSION
LIGHT
CROPPING
SEXY PAINT
PATTERN

SUSPENSION
DEPTH SURFACE

ABSENCE

TEXTURE
LIGHTING

REPETITION

Folio
Term Three and Four - Focus on process, use of
artist models and regenerating ideas
I recommend 3 or more shifts per folio board
These shifts can be a response to an artist model,
or the elements and conventions of art or a
mixed discipline approach (installation, sculptural,
photoshop, photography, print, design)

Will it be neat and tidy and ordered or random and

dynamic with ideas jumping around?
Will it be a story?
Will it be a cartoon?
Will it be an interview?
What other works can I include? Drawings, cartoons,
prints, installations, work from other art subjects.
Will it be interactive?
!
Well here is the assignment - now reinvent it, make it fresh, make it your own, break the
rules, and break the mould!!!!!!!

Show your personality, how are you unique and intelligent and creative?
Use big words ( use a thesaurus)
Use a sense of humour
Comment on big issues but get specific
Use different coloured pens for different ideas on a page
Divide you page up with images
Consider Theory Post colonialism, Climate change theory Economics, Information
theory, Film Theory, Critical theory, Semiotics, Literary theory, Music, Philosophy,
Psychology, Critical theory, Sociological theory, Statistics, Theatre..
Consider Art Movements - The Pictures Generation , Zombie Formalism, toyism,
Massurrealism, New Leipzig School, Social Practice, Post-internet art, Craft Activism, GIF
art, Stuckism.
Make connecting statements/ comments between images and ideas
Group artist models under a thematic ideas
Use current events how does this relate to your theme and art making (Cecil the lion,
refuges in the chunnel, Auckland housing prices, earthquakes, capitalism, war, unions,
strikes, superpowers, etc.)
Start your beyond the folio pages now. Think Big!, unlimited budget, resources,
slaves..
Dont copy the assignment exactly and dont use I like statements

THEME

ACTUAL
SUBJECT
MATTER
PAINT/ PRINT
TECHNIQUE
ARTIST MODEL
ELEMENT OF
ART
INFLUNECES
PERSONAL
MEANING
SOCIAL
INFLUENCES
BIG PICTURE
IDEAS
ISMS Po-Mo
Relationship to
research
questions

Research and Pictures to

gather

Gregg Fraley
Ask for more ideas and images
Relax give yourself time away from the problem
Mash ups - take one thing and mash it with something total out of context
Write down all your ideas
!
Phil Hansen
Think inside the box
Embrace the shake
Start with your limitation
Goodbye art
https://www.ted.com/talks/phil_hansen_embrace_the_shake?language=en#
https://www.youtube.com/watch?v=MKMq_tSO7zs

The submission date for Scholarship submissions is 5 November 2015. Schools will need to ensure that
the portfolios and workbooks are collected on this date. Work cannot be submitted by individual
candidates.
Format of the assessment
Each candidate presents a portfolio and workbook extracts for assessment for New Zealand Scholarship
Visual Arts.
The portfolio can be EITHER a three-panel portfolio (folio board) OR a digital moving image portfolio,
representing the requirements of the standard. The workbook extract requirements for both the threepanel portfolio and the digital moving image portfolio are the same and are specified below.
The body of work for the digital moving image portfolio should be equivalent to the body of work
required for the three-panel portfolio. The digital submission should NOT be merely a digital
representation of the 3-panel portfolio. The work presented for the digital submission should show
evidence of actual time-based/moving image work and/or documentation of the time-based/moving
image art or design practice.
Three-panel Portfolio specifications
Each three-panel portfolio (folio board) will be free-standing and will consist of three 820 610
mm panels of cardboard that are portrait in orientation (joined down the long edge).
The school code number and candidate National Student Number (NSN) will be printed in 40 mm
figures on the top right-hand corner, inside and outside the portfolio.
The three panels will be hinged with a suitable self-adhesive tape or a glued binding cloth. The two
panels fold inwards to ensure that the artwork is not damaged.
All work should be dry and securely fixed to the board. Work that is not securely attached, or is
bulky, wet, fragile, or that contains sharp objects or materials that might cause injury
during handling, will be removed and not assessed.
Bulky three-dimensional work or large-scale work must not be included in the portfolio in the
original form. These may be represented by photographs and, where appropriate, accompanied by
sketches, headings, description or diagrams.
The candidate should provide descriptive information about media and processes used, scale, and
size.
Portfolios should not weigh more than 1 kg each and, when folded, should not be more than 10 mm
thick. Material that does not meet these dimensions is likely to be returned to the school
without being marked.

Scholarship Workbook Specifications

A Scholarship workbook is required to accompany all Visual Arts
Scholarship entries, whether folio board or digital moving image
portfolio.
The workbook must be submitted in an A3 clearfile folder. Other
folders, such as A3 ring binder folders, or other sizes of
folder, are not acceptable.
Workbook material is limited to eight single-sided A3 pages.
Additional pages will not be assessed.
Workbook material may be displayed as either portrait or
landscape orientation.
The Scholarship workbook must start with a title page that
references the portfolio as a whole.
For a folio board submission, the title page should provide a
series of photographs of the hard copy board, in the order in which
they are presented.

This Outstanding Scholarship Design submission presented a highly energised and focused investigation
that drew upon the candidates own personal family history. The brief was to create a graphic identity
and promotional material for a genealogical foundation called Trace. This is a personal projectit is
based in their life (the candidate is one sixteenth Chinese) but relates to an audience the way a
museum does to its visitors.
The various briefs deployed were inventive, real and lateral and supported the candidate to engage at a
truly ambitious level. A real strength to this submission was the depth of research, not just surrounding
the topic, but in the assembling of visual material that was then used in a myriad of ways. This is an
incredibly intelligent foray into how type and image can activate action and interest in a topic through
good design.
Throughout the workbook the candidate evidences the design process. Approaches such as illustration,
drawing, hand and digital experimentation are both documented and notated. There is obvious fluidity
operating between the hand drawn qualities of the sketched ideas, eg. visual identity and event id and
the mechanical or digitally rendered. It is clear the candidate understood how subtle translations
between these two modes embedded concepts that located a sense of the personal for an audience, ie.
the presence of the hand in the making brings a reverence that is both respectful and celebratory to the
design.
At almost every shift the candidate brought to bear innovation combining insightful, thoughtful
analytical thinking with ambitious interplay between design conventions and concept. The interweaving
of other disciplines: their own painting, event-based installation and carefully selected objects into each
design brief was deftly handled and cleverly managed. Titles and phrasing for each sub-campaign
reinforce the way this submission has been conceptually developed the foundation, Trace, exhibition
title, Uncover your roots as well as Branch out, Get to know your family tree, etc. These are all clever
and playful draw cards for audience.
This candidate demonstrated an amazing ability to engage the audience in their project with as much
interest and excitement that they obviously had. The proposal for the Dunedin Settler Museum is lateral
and convincing and makes you want to go see it. In the workbook, an extensive parallel body of work
was revealed that confirmed - 'no stone has been unturned' - which while somewhat metaphorically
relevant to the topic is also a signifier of what makes this submission an Outstanding Scholarship.