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Evidence Guide: CUESCE04C - Use research, innovation and experimentation to produce scenic art

Student: __________________________________________________

Signature: _________________________________________________

Tips for gathering evidence to demonstrate your skills

The important thing to remember when gathering evidence is that the more evidence the better - that is, the more evidence you gather to demonstrate your skills, the more confident an assessor can be that you have learned the skills not just at one point in time, but are continuing to apply and develop those skills (as opposed to just learning for the test!). Furthermore, one piece of evidence that you collect will not usualy demonstrate all the required criteria for a unit of competency, whereas multiple overlapping pieces of evidence will usually do the trick!

From the Wiki University

 

CUESCE04C - Use research, innovation and experimentation to produce scenic art

What evidence can you provide to prove your understanding of each of the following citeria?

Identify the potential or need for new techniques and media

  1. Analyse design or production elements to determine areas where research and experimentation may be appropriate
  2. Pro-actively assess the potential for the use of new painting techniques and media to maximise the effectiveness of scenic art
Analyse design or production elements to determine areas where research and experimentation may be appropriate

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Pro-actively assess the potential for the use of new painting techniques and media to maximise the effectiveness of scenic art

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Conduct research

  1. Undertake relevant research to identify the historical, cultural and other factors that might influence techniques or media
  2. Research, adapt and use relevant ideas and approaches from other practitioners with consideration of intellectual property, moral rights and copyright requirements
  3. Identify appropriate specialists who may be able to contribute to the overall realisation of scenic art elements
  4. Maintain references in an accessible form to allow for use by other colleagues as required
  5. Use research material to adapt styles for integration into scenic art production
Undertake relevant research to identify the historical, cultural and other factors that might influence techniques or media

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Research, adapt and use relevant ideas and approaches from other practitioners with consideration of intellectual property, moral rights and copyright requirements

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Identify appropriate specialists who may be able to contribute to the overall realisation of scenic art elements

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Maintain references in an accessible form to allow for use by other colleagues as required

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Use research material to adapt styles for integration into scenic art production

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Experiment with scenic art techniques and different media

  1. Conduct or coordinate trials to establish the best ways in which the desired scenic art effect can be achieved, including experimentation with: colour mixes, textures, materials and painting styles
  2. Assess results of experimentation, balancing the need for creative effectiveness and cost practicality
  3. Select, adapt or introduce new materials, tools, equipment or technology for the achievement of different effects
  4. Liaise with colleagues to provide information on the results of experimentation and to make appropriate decisions on new techniques and media
  5. Set-up or coordinate specific resource requirements which arise from the use of different techniques in accordance with workplace requirements
Conduct or coordinate trials to establish the best ways in which the desired scenic art effect can be achieved, including experimentation with: colour mixes, textures, materials and painting styles

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Assess results of experimentation, balancing the need for creative effectiveness and cost practicality

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Select, adapt or introduce new materials, tools, equipment or technology for the achievement of different effects

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Liaise with colleagues to provide information on the results of experimentation and to make appropriate decisions on new techniques and media

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Set-up or coordinate specific resource requirements which arise from the use of different techniques in accordance with workplace requirements

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Assessed

Teacher: ___________________________________ Date: _________

Signature: ________________________________________________

Comments:

 

 

 

 

 

 

 

 

Instructions to Assessors

Evidence Guide

The Evidence Guide provides advice on assessment and must be read in conjunction with the performance criteria, required skills and knowledge, range statement and the Assessment Guidelines for the Training Package.

Overview of assessment

Critical aspects for assessment and evidence required to demonstrate competency in this unit

The following evidence is critical to the judgement of competence in this unit:

in depth knowledge of a wide range of techniques and media that may be used and adapted for scenic art

ability to create innovative scenic art effects through appropriate research and experimentation.

Context of and specific resources for assessment

The assessment context must provide for:

creative collaboration with others in a process to experiment with new techniques to achieve effects for a particular production requirement.

Method of assessment

Assessment may incorporate a range of methods to assess performance and the application of essential underpinning knowledge, and might include:

evaluation of effects developed by the candidate to meet a particular brief

evaluation of ideas and methods developed by the candidate to create a range of different effects and production contexts

oral or written questioning to assess knowledge of materials and techniques

review of portfolios of evidence and third party workplace reports of on-the-job performance by the candidate.

Assessment methods should closely reflect workplace demands and the needs of particular groups (e.g. people with disabilities, and people who may have literacy or numeracy difficulties such as speakers of languages other than English, remote communities and those with interrupted schooling).

Guidance information for assessment

Assessment of this unit requires access to:

scenic elements, equipment and materials as identified in the Range Statement.

Required Skills and Knowledge

Required skills

research skills and sources of information to inform research and experimentation on scenic art

literacy skills sufficient to undertake research and interpret information and material from a broad range of sources

numeracy skills sufficient to evaluate resource costs

Required knowledge

the expressive qualities of scenic art as it relates to the nature of the work, the style of the production and the qualities of the performance

innovative and experimental scenic art production techniques in 2-dimensional (2D) and 3-dimensional (3D)

ways in which highly effective interaction between the effects produced by scenic art and performance action can be achieved

the behaviour of various materials, finishes, painting techniques and colours under lighting

ways of adapting scenic art skills across styles, genres and art forms, including film, television, radio and live performance in dance, music, drama

colour theory, line, dimension, chiaroscuro, depth and their application on the stage

painting techniques, including water colour technique and opaque technique

the use and properties of a range of paints and media

testing finished and unfinished materials, such as fabric, leather, vinyl, plastic, foam, latex, found objects, straw, paper, and cardboard

the properties and characteristics of a variety of materials before and after art finishing

costs and costing processes for scenic art elements

organisational and legislative occupational health and safety requirements particularly in relation to scenic art, e.g. fire-proofing

copyright, moral rights and intellectual property issues and legislation as they apply to scenic art

environmental issues associated with tools and materials used in scenic art and potential issues associated with new approaches

Range Statement

The range statement relates to the unit of competency as a whole. It allows for different work environments and situations that may affect performance. Bold italicised wording, if used in the performance criteria, is detailed below. Essential operating conditions that may be present with training and assessment (depending on the work situation, needs of the candidate, accessibility of the item, and local industry and regional contexts) may also be included.

Research may involve:

approaching individuals with relevant expertise

conducting material and technical experiments and tests

reviewing approaches of other practitioners

reviewing work for other productions

seeking out information in books, journals, newspapers

visiting exhibitions, museums

Techniques and methods used may include:

ageing

anti-clogging techniques for scenic gauzes

glazing

marbling

perspective

pouncing

preparation

priming

scaling up drawings

stencilling, e.g. rollers and stamps

traditional scene painting techniques for canvas

transparent painting for silk and nessle cloths

velour and velvet painting techniques

woodgraining

Intellectual property, moral rights and copyright requirements may relate to:

extent to which the work may be used

procedures for seeking permission to use the work of others, including systems for the administration of copyright

protocols for the adaptation of work by others

Scenic art elements may include:

canvas

flats

flooring and floor cladding, eg: tarkett

flown pieces

gauze

large props, eg: furniture

nessle

rakes

roster

scaffolding

silk

soft drapes, eg: legs border, cycloramas, back drops, drops

stairs

synthetic fabrics, eg: plastics

treads

velour

wool

Materials used may include:

adhesives

dyes

fire retardant

solvent-based paints

stains

texture mediums

water-based paints

Painting styles may include:

architectural

figurative

non-figurative