This course introduces students to basic skills, techniques and processes of painting with water based paints and mediums. Studio projects focus on the observation and handling of tonal values, and colour systems and their application in the composition of paintings. Fundamental principles and concepts of representational and abstract painting are introduced and students are encouraged to learn from historical and contemporary examples. The projects involve working from the observation, landscape, still life, and imagination, with the focus on the colour and physical qualities of paint. Studio theory is delivered as a series of lectures.

Learning Outcomes

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

1. utilise skills relevant to Painting in response to Workshop projects;
2. explore materials used in Painting projects;
3. recognise relationships between concept and processes in painting; and
4. identify historical and theoretical contexts relevant to Painting workshop projects.

Research-Led Teaching

This course draws on basic principles and practices in historical and contemporary painting to inform practice-led research with emphasis on the use of colour and materials.

Field Trips

Students will be required visit the National Gallery of Australia or the ANU Drill Hall Gallery independently as part of their visual diary homework. This will not take place in class time.

Additional Course Costs

Required Resources and Incidental Fees – ANU School of Art

Student contribution amounts under the Higher Education Support Act 2003 (HESA) and tuition fees support the course described in the Course Outline and include tuition,

teaching materials and student access to the workshops for the stated course hours.

Students are requested to refer to the School of Art website for information: http://soa.anu.edu.au/required-resources-and-incidental-fees.

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 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.

 

Students will be responsible for the purchase of their own materials.

Examination Material or equipment

N/A

Required Resources

Required Resources and Incidental Fees – ANU School of Art

Student contribution amounts under the Higher Education Support Act 2003 (HESA) and tuition fees support the course described in the Course Outline and include tuition,

teaching materials and student access to the workshops for the stated course hours.

Students are requested to refer to the School of Art website for information: http://soa.anu.edu.au/required-resources-and-incidental-fees.

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 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 Material Fee is payable for the School of Art to supply 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, allowing you to take advantage of the GST-free bulk purchasing power of the ANU. These materials are also WHS compliant.

Students have the choice of acquiring these materials from a supplier other than the School of Art, however students should note that many materials may not be WHS compliant

(and therefore are not approved for use in the workshops), or are not available for individuals to purchase because they must be supplied and stored in a particular way in order to

meet WHS regulations.

Recommended Resources

Whether you are on campus or studying remotely, 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	February 20 -24 : • Monday 9am Lecture 09:00—10:00, Released online via Wattle Introduction. • Induction to workshop. • Light and Dark: Exploring light and shadows • Volume: making 3D on a 2D surface believable.	Visual Diary (** Visual Diary homework from weeks 1-6 inclusive are part of Assessment TASK 1 **) 3 tonal studies, each of a simple object in a context, painted from direct observation using white and black gouache. No colour.
2	February 27 - March 3 : • Greyscale • ‘Tonal Value Still life Painting establish a mid-tone ground make thumbnail compositional sketches and determine final composition.	Class: • Greyscale on oil sketch • Begin Tonal Value Still life Painting (Assessment task 2) Visual Diary: practice making a grey scale in gouache make 2 tonal composition studies of two or three objects. Include a background.
3	March 6-10: • ‘Tonal Value Still life Painting continued • Emphasis on controlling tonal contrast	•Tonal Value Still Life Painting—(Assessment TASK 2) Visual Diary: Visit National Gallery of Australia find one painting of a still life, one landscape and one portrait and make a sketch of each in your visual diary. Take notes on your experience of each.
4	March 13-17: • *Lecture 09:00—10:00, Released online via Wattle • ‘Colour Problem Painting’ applying coloured ground • Colour mixing / Colour contrast exercises • Small study of one object from Colour Problem Painting Discussion of homework from the visit to the Gallery	• Small study of 1 object from the Colour still-life on oil sketch Visual Diary: 1. Find 10 colours in magazines or paint samples etc and try to match those 10 colours. 2. setup a few pieces of fruit and make a study to create volume. Include simple background.
5	March 20-24 : • ‘Colour Problem Painting’ • Underpainting • Order of layering a painting or Pictorial order	Visual Diary: The area(s) in your painting that is causing the most problems, work up two studies for how to solve it in your visual diary.
6	March 27-31: • Class Critique of Colour Problem Paintings • Introduction to critiquing/evaluation • Final session for Colour Problem Painting- fine-tuning colour composition. Submit assessment Tasks 1 & 2	• Colour Problem Painting—(Assessment TASK 3) Visual Diary: Research for Landscape/Mood in visual diary. Go outdoors and do at least 3 different alla prima landscapes in gouache or acrylic. Be sure to not copy a picture. Submit for assessment Tasks 1& 2
7	April 17-21: • *Lecture 09:00—10:00, Released online via Wattle • Landscape/Mood Project: bring in completed alla prima studies. • Discussion of what your strongest study is and how to scale that up into a painting. • Decide on composition and establish a coloured ground, bring in canvas stretcher.	Visual Diary: (** Homework and research in Visual Diary for Weeks 7- 12 is Assessment Task 6) At least 5 pages in your visual diary experimenting with ways to describe the various elements (tree bark, water, rocks,...) in your landscape. Experiment!
8	April 24-28 : • Landscape/ Mood Project continued establish composition and underpainting	Visual Diary: make 2 alla prima studies of your chosen landscape scene trying to enhance the sense of mood.
9	May 1-5: • Continue Landscape/Mood Project • Class critique - use feedback to make necessary changes in your painting	• Landscape/Mood painting on stretched canvas—(Assess ment TASK 4) Visual Diary: make painted 2 self-portraits studies using a mirror (not a phone or a picture).
10	May 8-12: • *Lecture 09:00—10:00, Released online via Wattle • The Unorthodox Self-Portrait/ Getting past the cliches Make one naturalistic alla prima portrait Bring in a canvas and establish a coloured ground.	On oil sketch paper make one alla prima self portrait painting from direct observation focusing naturalistic colour. (part of Assessment task 5) Visual Diary: Make at least 3 sketches exploring your ideas for your unorthodox self-portrait focusing on the composition.
11	May 15-19: • The Unorthodox Self-portrait continued. • Feedback on any painting	Visual Diary: 3 Explorative sketches/alla prima paintings of difficult aspects of the painting. Trouble painting eyes? lips? Try them from different angles and make sure to consider the LIGHTING. Independent research in visual workbook
12	May 22- 26 : • Critique of Unorthodox Self-Portrait • The unorthodox self-portrait final session. • How turning in the Folio and Visual Diary will work • Feedback on any painting	• Unorthodox Self-Portrait— (Assessment TASK 5) Visual Diary: A brief written (200- 500 word) reflection of personal learning through the course. Independent research in visual workbook

Tutorial Registration

Tutorial registration is done via MyTimetable

Assessment Summary

Assessment task	Value	Due Date	Return of assessment	Learning Outcomes
Visual Diary Homework and Independent Research Part 1 (week 1 -6 inclusive)	10 %	31/03/2023	14/04/2023	1, 2, 3,4
Tonal Value Still-life	20 %	31/03/2023	14/04/2023	1, 2, 3
Colour Problem Still-life	20 %	06/06/2023	16/06/2023	1, 2, 3
Landscape/Mood Painting	20 %	06/06/2023	16/06/2023	1, 2, 3,4
The Unorthodox Self-portrait	20 %	06/06/2023	16/06/2023	1, 2, 3,4
Visual Diary Part 2 (Weeks 7--12 inclusive)	10 %	06/06/2023	16/06/2023	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
• Special Assessment Consideration Guideline and General Information 
• 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 ‘Wattle’ 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

Students are required to attend scheduled lectures and to participate in studio workshops, local excursions, class discussions and critiques. You are expected to contribute to setting up and packing up your work space and cleaning the sinks and floors. You are required to devote at least 10

hours per week to this coursework - 4 hours in class and 6 hours towards independent research and homework.

Examination(s)

Students will submit the visual diary homework (weeks 1-6 inclusive) and Task 2 the tonal still life painting on Friday March 31. The date to submit remaining projects for assessment will be on Tuesday 6th June in the examination period.

Assessment Task 1

Visual Diary Homework and Independent Research Part 1 (week 1 -6 inclusive)

Presentation requirements: This assessment task is for the homework and independent research for weeks 1 - 6 inclusive. You will need to document each page of the visual diary and upload a PDF file to the assessment portal for this task on Wattle. To be submitted for assessment in Week by 6 Friday March 31, 2023.

Value 10%

The Visual Diary needs to be a separate book, specifically for this course. It is to be presented in Week 6 and the second part in the examine period. The task includes your contribution to the workshop and engagement in critiques is part of an ongoing class assessment.

This task will be assessed according to the following criteria:

• Homework activities

• Your ability to undertake basic contextual research relevant to your project and discipline.

• Evidence of a basic knowledge of the technical, historical and/ or theoretical context for your work.

• Your engagement with relevant developments in the broader context of visual arts and design.

Your visual diary should demonstrate your curiosity, initiative and engagement with this course- you need a separate visual diary for each course you are enrolled in. It is

a place to make weekly drawings and technical notes, lecture & seminar notes, research and your own thoughts and to paste in images related to the course, images from

shows you’ve seen etc . At least half your diary should be taken up with drawings. These can be sketches, diagrams or studies from life, from art history or from your

imagination and can incorporate collage elements, mixed media etc. Add some new material every week. Bringing all this together helps focus and extend your

experience of the course in a personalised way, it also helps your lecturer develop insight into your sensibility and interests.

Rubric

CRITERIA	HD	D	C	P	F
Utilisation of skills	Consistently applies all skills to an exceptionally high level	Consistently applies all skills to a high level	Applies broad range of skills at a competent level	Applies limited range of skills at an adequate level	Technical skills below standard
Explore materials	Utilises a very high level of exploratory and inventive material processes.	Demonstrates a thorough exploration of material processes	Developing attempts to explore materials	Satisfactory knowledge of materials and processes	Unsatisfactory knowledge and implementation of material and processes
Recognise relationship between materials and processes	Insightful and independent thinking evident in work and articulated in discussion	Clear relationships demonstration in work and well articulated in discussion	Competent accounting for concepts and process	Basic grasp of concepts and processes	Lack of understanding between concept and process
Identify and evaluate historical and contemporary painting contexts	High level of critical awareness evident in work and/or through discussion	Signicant level of critical awareness evident in work and/or through discussion	A competent level of critical awareness evident in work and/or through discussion	Not clearly revealed through work or in discussion	Work shows no research or critical evaluation

Assessment Task 2

Tonal Value Still-life

First Project is a monochromatic still-life. The goal is to learn how to create 3-d illusion on a 2-d support. Students will begin this project by

mixing eleven values of grey from white to black. From there students will only use these values in their paintings. Strong emphasis is on simplification of form and

ignoring details to create uniformity and believable 3-d illusion. Emphasis is also placed on seeing and understanding positive and negative space, proper scale, and

correcting. Formal language nomenclature will be used as a basis to understand and talk about composing thereby instilling critical distance from which to evaluate

works of art. Art historical precedent is given in the lecture.

Assessed:

• Tonal Value Still-life finished painting

• Greyscale

• Students need to be able to clearly articulate how the works presented explore the concepts and technical aims of the project.

Students need to be able to clearly articulate how the works presented explore the concepts and technical aims of each given project.

Value: 20%

Presentation requirements: Presented for class critic sessions. To be submitted for assessment in Week 6 (31/3/23).

Assessment rubric: See rubric for Independent Painting Projects

Rubric

CRITERIA	HD	D	C	P	F
Utilisation of skills: Demonstrates observation of tonal values in still-life. Demonstrates attention to positive and negative shapes.	Consistently applies all skills to an exceptionally high level	Consistently applies all skills to a high level	Applies broad range of skills at a competent level	Applies limited range of skills at an adequate level	Technical skills below standard
Explore materials. Creates a distinct and even grey scale. Paint handling in still life creates convincing illusion of forms in space.	Utilises a very high level of exploration of material processes.	Demonstrates a thorough exploration of material processes	Developing attempts to explore materials	Satisfactory knowledge of materials and processes	Unsatisfactory knowledge and implementation of material and processes
Recognise relationship between materials and processes Ability to manage the compositional elements and tonal contrasts to achieve and illusionist still life.	Insightful and independent thinking evident in work and articulated in discussion	Clear relationships demonstrati on in work and well articulated in discussion	Competent accounting for concepts and process	Basic grasp of concepts and processes	Lack of understanding between concept and process

Assessment Task 3

Colour Problem Still-life

Create an illusionistic and balanced colour still-life painting by controlling colour contrast, colour intensity, colour balance, and texture.

Assessed:

• Colour Problem Still-life finished painting

• extension paintings carried out as part of problem solving ( on oil sketch paper)

• Students need to be able to clearly articulate how the works presented explore the concepts and technical aims of the project.

Value: 20%

Presentation requirements: Presented for class critic sessions and exam period

Assessment rubric: See rubric for Independent Painting Projects

Rubric

CRITERIA	HD	D	C	P	F
Utilisation of skills Ability to mix to match colours from direct observation. Ability to observe forms, attention to positive and negative shapes.	Consistently applies all skills to an exceptionally high level	Consistently applies all skills to a high level	Applies broad range of skills at a competent level	Applies limited range of skills at an adequate level	Technical skills below standard
Explore materials ?Paint handling in still life creates convincing illusion of forms in space.	Utilises a very high level of exploratory and inventive material processes.	Demonstrates a thorough exploration of material processes	Developing attempts to explore materials	Satisfactory knowledge of materials and processes	Unsatisfactory knowledge and implementation of material and processes
Recognise relationship between materials and processes Ability to manage the compositional elements and colour contrasts to achieve a still life with an illusionistic space	Insightful and independent thinking evident in work and articulated in discussion	Clear relationships demonstrati on in work and well articulated in discussion	Competent accounting for concepts and process	Basic grasp of concepts and processes	Lack of understanding between concept and process

Assessment Task 4

Landscape/Mood Painting

For this project the students will head outdoors and will not be allowed to use photographs or electronic devices. Students instead will make a series of 3 or more sketches and 3 or more alla prima studies in the landscape which will inform a final landscape painting with a mood. The alla prima studies need to incorporate at least one of the following:

• Additives: substances such as powder marble, ne sand that may be added to acrylic colours to alter stiffness and texture.

• Medium: substance such as gel, moulding paste etc... that change the properties of the paint.

The final painting will need to demonstrate; a convincing illusion of landscape elements in a space using linear and atmospheric perspective. Furthermore textures will

need be considered and show observational colour use which are all explained in the Landscape/Mood lecture.

Assessed:

• 3 observational alla prima studies of the landscape

• Landscape/Mood Painting finished painting

• Students need to be able to clearly articulate how the works presented explore the concepts and technical aims of the project.

Value: 20%

Presentation requirements: Presented for class critic sessions and exam period

Assessment rubric: See rubric for Independent Painting Projects

Rubric

CRITERIA	HD	D	C	P	F
Utilisation of skills: observational studies of landscape with attention to layering paint to create perspectival space, observing atmospheric colour, and varying brushwork. Final painting expands on studies to develop a landscape with a mood	Consistently applies all skills to an exceptionally high level	Consistently applies all skills to a high level	Applies broad range of skills at a competent level	Applies limited range of skills at an adequate level	Technical skills below standard
Explore materials Use of paint application and additives to generate landscape with mood	Utilises a very high level of exploratory and inventive material processes.	Demonstrates a thorough exploration of material processes	Developing attempts to explore materials	Satisfactory knowledge of materials and processes	Unsatisfactory knowledge and implementation of material and processes
Recognise relationship between materials and processes Develops a composition and palette to generate a landscape with a mood	Insightful and independent thinking evident in work and articulated in discussion	Clear relationships demonstration in work and well articulated in discussion	Competent accounting for concepts and process	Basic grasp of concepts and processes	Lack of understanding between concept and process
Identify and evaluate historical and contemporary painting contexts	High level of critical awareness evident in work and/or through discussion	Signicant level of critical awareness evident in work and/or through discussion	A competent level of critical awareness evident in work and/or through discussion	Not clearly revealed through work or in discussion	Work shows no research or critical evaluation

Assessment Task 5

The Unorthodox Self-portrait

Details of task: This task requires students expand upon concepts explored from the previous 3 paintings(tasks). Emphasis is placed on producing an original work

showing exploration of colour and the use of conventional and non-conventional painting materials and paint handling methods.

Students will need to be able to articulate how they have developed their knowledge of colour, composition, paint-handling, and materials in painting through their

independent work.

Assessed:

1 small observational alla prima study of self-portrait from direct observation.

1 Unorthodox Self-portrait finished painting

• Students need to be able to clearly articulate how the works presented explore the concepts and technical aims of the project.

Value: 20%

Presentation requirements: Presented for class critic sessions and exam

Rubric

CRITERIA	HD	D	C	P	F
Utilisation of skills Alla prima study demonstrates skills in direct observation in making a self-portrait using a naturalistic palette. Final painting is based on observation and expands on studies to create an unorthodox self-portait	Consistently applies all skills to an exceptionally high level	Consistently applies all skills to a high level	Applies broad range of skills at a competent level	Applies limited range of skills at an adequate level	Technical skills below standard
Explore materials Paint handling and colour use in alignment with concept of unorthodox self-portrait	Utilises a very high level of exploratory and inventive material processes.	Demonstrates a thorough exploration of material processes	Developing attempts to explore materials	Satisfactory knowledge of materials and processes	Unsatisfactory knowledge and implementation of material and processes
Recognise relationship between materials and processes The appearance of the self-portrait and its relationship to its context creates a unified composition	Insightful and independent thinking evident in work and articulated in discussion	Clear relationships demonstration in work and well articulated in discussion	Competent accounting for concepts and process	Basic grasp of concepts and processes	Lack of understanding between concept and process
Identify and evaluate historical and contemporary painting contexts	High level of critical awareness evident in work and/or through discussion	Signicant level of critical awareness evident in work and/or through discussion	A competent level of critical awareness evident in work and/or through discussion	Not clearly revealed through work or in discussion	Work shows no research or critical evaluation

Assessment Task 6

Visual Diary Part 2 (Weeks 7--12 inclusive)

Presentation requirements: This assessment task is for the homework and independent research for weeks 7 - 12 inclusive. You will need to document each page of the visual diary and upload a PDF file to the assessment portal for this task on Wattle. To be assessment in examination period.

The Visual Diary needs to be a separate book, specifically for this course and is to be presented at examine period. Contribution to the

workshop and engagement in critiques is part of an ongoing class assessment.

Value: 10 %

This task will be assessed according to the following criteria:

• Homework activities - including independent visit to Australian National Gallery.

• Your ability to undertake basic contextual research relevant to your project and discipline.

• Evidence of a basic knowledge of the technical, historical and/ or theoretical context for your work.

• Your engagement with relevant developments in the broader context of visual arts and design.

Your visual diary should demonstrate your curiosity, initiative and engagement with this course- you need a separate visual diary for each course you are enrolled in. It is

a place to make weekly drawings and technical notes, lecture & seminar notes, research and your own thoughts and to paste in images related to the course, images from

shows you’ve seen etc . At least half your diary should be taken up with drawings. These can be sketches, diagrams or studies from life, from art history or from your

imagination and can incorporate collage elements, mixed media etc. Add some new material every week. Bringing all this together helps focus and extend your

experience of the course in a personalised way, it also helps your lecturer develop insight into your sensibility and interests.

Rubric

CRITERIA	HD	D	CR	P	F
Utilisation of skills	Consistently applies all skills to an exceptionally high level	Consistently applies all skills to a high level	Applies broad range of skills at a competent level	Applies limited range of skills at an adequate level	Technical skills below standard
Explore materials	Utilises a very high level of exploratory and inventive material processes.	Demonstrates a thorough exploration of material processes	Developing attempts to explore materials	Satisfactory knowledge of materials and processes	Unsatisfactory knowledge and implementation pf material and processes
Recognise relationship between materials and processes	Insightful and independent thinking evident in work and articulated in discussion	Clear relationships demonstrated in work and well articulated in discussion	Competent accounting for concepts and process	Basic grasp of concepts and processes	Lack of understanding between concept and process
Identify and evaluate historical and contemporary painting contexts	High level of critical awareness evident in work and/or through discussion	Significant level of critical awareness evident in work and/or through discussion	A competent level of critical awareness evident in work and/or through discussion	Not clearly revealed through work or discussion	Work shows no research or critical evaluation

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.

Returning Assignments

Folio will be available to be picked up after the exam period.

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

An assignment may be resubmitted on medical grounds.

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 Access and inclusion 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 and Learning Centre supports you make your own decisions about how you learn and manage your workload.
• ANU Counselling Centre promotes, supports and enhances mental health and wellbeing within the University student community.
• ANUSA supports and represents undergraduate and ANU College students
• PARSA supports and represents postgraduate and research students