IB Visual Art

Student Handbook
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1: The Basics
During the IB course you will produce:
Studio ork !"#
$ra%in&s' paintin&s' prints' cera(ics' sculptures' colla&es' te)tiles' (i)ed (edia
%ork' etc.
*our studio %ork (ust sho% +our personal interests and artistic skills throu&h a
ran&e of di,erent (edia and techni-ues.
*ou %ill ai( to co(plete at least one piece of studio %ork each (onth startin& in
Septe(ber of +our .unior +ear totalin& / least nine co(plete pro0ects b+ 1a+. In
+our Senior +ear +ou %ill co(plete / least 2 (ore pro0ects. 3or +our 4nal
e)hibition +ou %ill ha5e / least 16 studio %ork pro0ects' if not (ore!
In5esti&ati5e orkbook 7IB8 9"#
IBs are like sketchbooks but SO 1:;H 1O<=! *our IB %ill contain %ritten
notes' photos' e)hibition lea>ets' postcards' sketches' e)peri(ents %ith (aterials'
%ritten anal+sis of art%ork' brainstor(in&' de5elop(ent of concepts and studio
%ork as %ell as ?4nished@ dra%in&s and paintin&s. *ou can put an+thin& +ou %ant
in +our IB as lon& as it supports the de5elop(ent of +our artistic concepts and
skills.
*ou %ill need to co(plete ASBCDHB or (ore IB pa&es each %eek. 1ost of this %ill
be done outside of class. B+ the end of $ece(ber +ou should ha5e o5er E" pa&es
co(pleted! So(e %eeks +ou %ill 4nd +ou are able to do (ore than ASBCDHB pa&es
because of +our %onderful ideas. Ho%e5er' e5en if +ou co(plete (ore than
ASBCDHB pa&es one %eek' +ou %ill still need to co(plete ASBCDHB or (ore pa&es
the ne)t %eek! <e(e(ber holida+s are also a &reat opportunit+ to collect
infor(ation' sketch' and record and de5elop ideas.
B+ the end of +our senior +ear +ou should ha5e / least four thick IBs co(pleted
to support +our 4nal e)hibit and docu(ent +our &ro%th as a student artist.
SelfFGssess(ent
*ou %ill be 5er+ in5ol5ed in
assessin& +our o%n %ork e5er+
(onth' referrin& to the IB
assess(ent criteria in detail. *ou
%ill also recei5e co((ents fro( (e
%hich %ill be useful in sho%in& both
+our stron& points and re(indin& +ou of areas %here i(pro5e(ents are needed.
There %ill be re&ular opportunities for +ou to discuss and e)plain +our %ork and
ideas in &roup criti-ues and discussions.
OK LETS REVIEW
Investigation Workbook = @ least 2(SL) 3(HL) pages a week!
Studio Work = @ least one per mont!
A: Hettin& started
Grt studio
$urin& the school da+ +ou are in5ited to use the Grt Studio facilities and e-uip(ent
at an+ ti(e. Ho%e5er %ork %ill also be done outside of school' durin& e5enin&s'
%eekends and holida+s. 3or this reason' +ou (ust collect a %ide ran&e of art
(aterials to help de5elop and practice +our skills be+ond the school da+.
=ssential (aterials:
Hardbound Spiral IJ)1AJ
dra%in& book
AB' 9B and !B sketchin& pencils
hite 5in+l eraser
Hlue Stick
Black pens
See IB 1aterials Bist for (ore details.
If +ou e)pect to do lots of paintin& at ho(e' in5est in lar&er tubes of paint and that
can be bou&ht indi5iduall+.
Settin& up +our studio 7not essential but 5er+ useful8
It %ould be to +our ad5anta&e to create a (iniFstudio at ho(e. This %ill (ake +our at
ho(e %ork (uch easier' as +our (aterials %ill be out and read+ to &o %hen inspirations
strikes and %et %ork can be left to dr+ o5er ni&ht. In addition to +our art (aterials' it
should include:
1. G lar&e >at table surface and co(f+ chair.
A. G &ood source of natural li&ht and or a desk la(p. O5er head li&hts tend to cast
anno+in& shado%s onto +our %ork at ni&ht.
In5esti&ati5e ork Book 7IB8
These are %orkin& 0ournals of +our life as an artist o5er the ne)t t%o +ears!
hat is the ideal siKeL *ou %ill need a IJ)1AJ sketchbook %ith reasonabl+ thick
paper 76"FI" lbs8 so +ou can %ork on both sides of the pa&es. 1ake sure +ou &et a
sketchbook that is spiral or hardbound' NOT &u((ed 7these fall apart8.
Ho% do I startL e %ill do this to&ether in class! Put +our na(e and address 7or
school address8 inside the front co5er. G phone nu(ber or e(ail address is a 1:STF +ou
do not %ant to lose it! Glso put the date of sketchbook birth on it. Bea5e the 4rst pa&e
blank' it %ill be used later as a table of contents. Nu(ber each and e5er+ pa&e' front
and back in the botto( outside corner.
H<=GT %orkin& habits
o Work in +our IB e5er+da+F &et into the habit startin& toda+! Se5eral &ood IB
pa&es spread throu&hout the %eek are al%a+s better than hours of rushed %ork late
at ni&ht.
o Date each pa&e in +our IB as +ou %ork. The date should be %ritten in the top
outside corner. This %ill help docu(ent +our &ro%th throu&hout the pro&ra(.
o Title each pa&e in +our IB as +ou %ork. The title should be %ritten b+ the date.
This %ill allo% +ou' (+self and +our e)a(iners eas+ reference.
o hen +ou %rite in +our IB al%a+s use a lack pen and write clearly. I %ill need
to read it and select pa&es %ill be photo copied and sent to the IB art e)a(iners.
1ake +our IB a pleasure to look at and read! $o not use colored pens to %rite
unless it is reall+ appropriate to +our %ork.
o Ne!er e!er cut or tear out pa&es fro( +our IB! $on@t stick pa&es to&ether e5en if
+ou think +ou ha5e (ade a (istake or a terrible dra%in&. The IB has to sho%
(istakes &ood or bad so the e)a(iners can see ho% (uch +ou ha5e i(pro5ed.
o <e(e(ber +ou nu(bered +our pa&esL This (akes it eas+ to re"er ack to an idea'
thou&ht or techni-ue. 3or e)a(ple on p.!" +ou (i&ht sketch an idea and then
re(e(ber that +ou did so(ethin& si(ilar before. *ou could then %rite MThe dra%in&
on pa&e !" could beco(e a block print' see (+ notes on printin& pa&e 9!.J Glso
re(e(ber to crossF reference on the other related pa&es too.
o hen drawing something "rom oser!ation %rite do%n %here +ou are and %h+
+ou ha5e chosen to dra% it. 1ake notes on the ti(e of da+' %eather' li&hts' sounds
etc. =n&a&e +our senses! G photo&raph in addition to +our dra%in& could be 5er+
helpful if +ou chose to de5elop a paintin& or sculpture fro( +our dra%in&. Gl%a+s ask
the authorities if +ou can use +our ca(era thou&h.
o If +ou ha5e used a ook or the Internet to 4nd an i(a&e al%a+s %rite do%n the full
reference in +our IB F +ou (a+ need to 4nd the infor(ation a&ain at a later date.
The sa(e idea &oes for (a&aKine articles' tele5ision pro&ra(s and 4l(s. Sources of
infor(ation (ust al%a+s be ackno%led&edF e5en postcards fro( e)hibitions that +ou
stick in +our IB. Not to (ention these artists' authors' etc $=S=<N=
ackno%led&e(ent!
H=BP! hat should I %rite about in (+ IBL
o There should be %ritten co((ents on e5er+ pa&e of +our IB.
o *ou should (ake co((ents on +our feelin&s' ho% +our %ork is pro&ressin& and %hat
successes +ou ha5e had. *ou should also %rite about an+ research or technical
proble(s +ou ha5e encountered and %hat +ou learned fro( the(.
o *ou should (ake co((ents on +our attitudes about life' social' cultural and political
concerns. Think about the %orld outside of school and IB! The IB is +ours' so it
should re>ect +our beliefs. These co((ents can be related to art +ou are researchin&
or art%ork +ou are producin&.
o *ou should %rite about an+ connections +ou (i&ht see bet%een Grt and +our other IB
sub0ects. 3or e)a(ple' the stud+ of blood cells in Biolo&+ (i&ht inspire so(e prints of
tin+ natural ob0ects' the contour lines or &rids in (aps fro( Heo&raph+ (i&ht be
co(bined into landscape dra%in&s' the description of characters in a no5el (i&ht
inspire a series of i(a&inati5e portraits' etc.
o 1ake notes on %hich (aterials +ou ha5e used in +our studio %ork e)peri(ents. The
t+pe of paper' (ediu(' %hat t+pes of &lue &a5e the best results' %hich cla+ +ou used
and ho% %et it %as' %hich &laKe and %hat te(perature it %as 4red to' etc. This %ill
sa5e +ou a lot of ti(e %hen +ou need certain results later!
Ho%e5er
hen +ou are %ritin& in +our IB' don@t for&et that the IB is an acade(ic
course and that +our %ritten notes should re>ect that. $escribe +our thou&hts
and feelin&s' successes and failures' co((ent on +our o%n pro&ress and +our
ideas about life and the %orld but $O NOT use slan& or infor(al =n&lish 7unless
is appropriate for a certain pro0ect8. <e(e(ber that this is +our IB' but it is
not bein& %ritten for +our friendsan IB e)a(iner %ill be readin& it!!!
Gl%a+s tr+ to use the correct art 5ocabular+ in +our IB. Book at
%%%.artle).co( for a &reat e)a(ple of an Grt dictionar+ online. There are
pa&es e)plainin& art 5ocabular+ later in this booklet.
Studio ork
*ou %ill be producin& bet%een 1A O 1! 4nished studio pieces fro( +our t%o +ear
stud+. So(e %ill be set b+ (e and so(e %ill co(e fro( +our o%n interests and ideas.
ritin& Gbout Grt
$ON@T $O
rite an essa+ on the artist@s life and histor+
7date of birth' fa5orite football tea(' etc. 8
Gn+one could do this. G fe% bio&raphical
details are useful but not essential.
1ake notes on %h+ +ou@re lookin& at this
artist
hat +ou ad(ire' %hat +ou don@t O ho% this
artist@s %ork relates to +our studio %ork. 1ake
+our research personal to +our particular
pro0ect.
Photo&raph loads of art%orks
and stick the( into +our IB %ith no %ritten
anal+sis or other infor(ation.
and for&et to %rite the titles do%n!
;hoose one or t%o &ood art%orks
annotate the( and (ake copies of the( to
practice brush techni-ues' color (i)in& or
so(ethin& si(ilar.
Treat +our IB like an e)ercise book
$on@t produce blocks of %ritin&' underlined'
%ith no 5isual consideration or interest.
Think about +our research in a 5isual %a+
:se of color' headin&s and i(a&es to
co(ple(ent +our notes. ;o(pose the pa&e so
it looks interestin& and 5aried.
rite %ithout checkin& the facts
1ake sure that +ou are accurate about dates'
(edia used and especiall+ the &ender of +our
chosen artist.
:se the correct 5ocabular+
i.e. ?tone@ is (ore accurate then ?li&ht and
shado%@. <e(e(ber that at the IB le5el' +ou
%ill be assessed on the -ualit+ of +our %ritten
%ork! $on@t be afraid to use ad0ecti5es'
especiall+ %hen e5aluatin& an art%ork 7&i5in&
+our opinion8.
Pla&iariKe
7include -uotations fro( other %riters as if
the+ are +our o%n %ords8 This is al%a+s
ob5ious to the reader.
Include one or t%o rele5ant -uotations
Such as the artist %ritin& about his or her ideas
O< a %ellFkno%n critic and al%a+s use
-uotations (arks. Include the na(e of the
person %ho +ou are -uotin& and %rite do%n
%here +ou found it.
ritin& ter(s and techni-ues tasks +ou %ill be asked to co(plete:
To annotateF To (ake short notes e)plainin& or clarif+in& a point or dra%in& the
5ie%er@s attention to so(ethin& of rele5ance 7e.&. ?the %ide ran&e of tones here adds
dra(a and interest8
To analy#eF To look closel+ and in detail at an art%ork' notin& as (an+ points as +ou can
about the piece. These points (i&ht co5er thinks like:
o ;o(position 7or&aniKation of shapes %ithin the %ork8
o :se of colorCtone
o 1ediu( used 7oil paint' photo&raph+' etc8
o 1ood or e(otion created
o ;ontentCnarrati5e 7%hat@s happenin& in this art%orkL Is there a stor+L8
o Issues co5ered 7i.e. political' social' reli&ious issues8
To compare and contrastF To anal+Ke t%o or (ore art%orks at once' focusin& on the
si(ilarities and di,erences bet%een the(. This is often easier than anal+Kin& a sin&le
art%ork.
To e!aluateF To (ake personal 0ud&(ent about the art%ork and to &i5e +our reason i.e.
$o +ou like the art%orkL h+L hat is &ood about itL hat is not so &oodL The reason
for this %ill' of course' co(e fro( +our anal+sis.
Gnal+Kin& Grt%ork: A $tep%y%$tep &uide
3ollo% these stepsP ans%er all the -uestions and +ou can@t &o %ron&!
<e(e(ber that +our o%n dra%in&Ccopies of the art%ork should acco(pan+ GBB
%ritten anal+sis.
1: 3irst <eaction
rite do%n +our 4rst response to the
art%ork.
o $o +ou like itL
o Ho% does it (ake +ou feelL
o $oes it re(ind +ou of an+thin& +ou
ha5e seen beforeL
A: $escription
Bist %hat +ou can see in this art%ork.
o 3i&ures' colors' shapes' ob0ects'
back&round' etc.
o I(a&ine +ou are describin& it to a
blind person. $o this in as (uch
detail as possible and use art ter(s.
D: 3or(al Gnal+sis
rite do%n +our obser5ations in (ore
detail' lookin& at these aspects of the
art%ork:
;olors
o hich t+pe of palette has the artist
used: is it bri&ht or dull' stron& or
%eakL
o Gre the colors (ostl+
co(ple(entar+' pri(ar+ or
secondar+L
o hich colors are used (ost in this
art%orkL
o hich colors are used least in this
art%orkL
o Gre the colors used di,erent %a+s in
di,erent parts of the art%orkL
o Ha5e the colors been applies >at'
Mstrai&ht fro( the tubeJ or ha5e
di,erent colors been (i)edL
Tones
o Is there a use of li&htCshado% in this
art%orkL
o here is the li&ht co(in& fro(L
here are the shado%sL
o Gre the for(s in the art%ork
realisticall+ (odeled 7does it look DF
$8L
o Is there a %ide ran&e of tonal
contrast 75er+ li&ht hi&hli&hts and
5er+ dark shado%s8 or is there tonal
ran&e -uite narro% 7i.e. (ostl+
si(ilar tones8L
:se of (edia
o hat (ediu( has been used 7oil
paint' acr+lic' charcoal' cla+' etc8L
o Ho% has the artist used the (ediu(
O i.e. is the paint applied thick or
thinL Ho% can +ou tellL
o ;an +ou see brushstrokes' (ark
(akin& or te)tureL $escribe the
shape and direction of the
brushstrokes C (arks. hat siKe of
brushC pencil %as usedL
o as it painted' dra%n or sculpted
-uickl+' or slo%l+ and painstakin&l+L
hat (akes +ou think thisL
;o(position 7or&aniKation of shapes8
o hat t+pes of shapes are used in this
art%ork 7i.e. rounded' cur5ed'
strai&htFed&ed or &eo(etric shapes8L
o Is there a (i)ture of di,erent t+pes
of shapes or are all the shapes
si(ilarL
o Gre so(e parts of the co(position
full of shapes and so(e parts e(pt+'
or are the shapes spread e5enl+
across the art%orkL
o Gre so(e shapes repeated or echoed
in other parts of the art%orkL
o $oes the %hole co(position look full
of ener&+ and (o5e(ent' or does it
look still and peacefulL Ho% did the
artist create this (o5e(entCstillnessL
o hat is the center of interest in the
co(positionL
o Ho% does the artist dra% +our
attention to itL
9: Interpretation
No% %rite do%n +our personal thou&hts
about the %ork: there are no Mri&htJ or
M%ron&J ans%ers here!
o hat do +ou think the artist is tr+in&
to sa+ in this art%orkL hat does it
(eanL
o hat is the (ain the(e or idea
behind this pieceL
o If +ou %ere inside this art%ork' %hat
%ould +ou be feelin&C thinkin&L
o $oes the art%ork ha5e a narrati5e
7tell a stor+8L Is it a reli&ious art%orkL
o Is it abstractL Is it realisticL h+L
o Ho% %ould +ou e)plain this art%ork
to so(eone elseL
E: =5aluation
Based upon %hat +ou ha5e obser5ed
alread+' &i5e +our opinion of the art%ork.
*ou 1:ST &i5e reason.
o M3ranK 1arc has created an e,ecti5e
e)pressi5e paintin&' because the hot
colors and li5el+ brush (arks he has
used add to the o5erall feelin& of
ener&+ and e)cite(ent his is tr+in&
to create.J
o MThe o5erall (ood of this dra%in&
%ould be i(pro5ed if Qathe Qollo%itK
had used stron&' dra(atic shado%s'
instead of pale tones. $ark tones
%ould de5elop the feelin& of fear and
loneliness in this i(a&e.J
ritin& about paintin&F a &lossar+ of useful ter(s:
&esturalF G loose' ener&etic application of paint %hich relies on the artist@s
(o5e(ent to (ake e)pressi5e (arks on the can5as. This is a supposed to be a
5er+ personal and uni-ue %a+ of %orkin&F al(ost like hand%ritin&. Book at artist
like ;+ T%o(bl+ or Gntoni Tapies for e)a(ples.
&la#eF 7or %ash8F a se(iFtransparent la+er of thinned paint. 1an+ traditional
painters like 1ichelan&elo (ade use of this techni-ue to create the subtle tones of
skin for fabric. 3or a (odern use of the &laKin& techni-ues' look at the abstract'
&estural paintin&s of Helen 3rankenthaler.
ImpastoF a thick la+er of paint' often applied in se5eral la+ers %ith a brush or
palette knife. Book at the dense' te)tual brush%ork of paintin&s b+ artist like
Hillian G+res or 3rank Guerbach.
'lein%aireF a paintin& %hich has been (ade outside' often -uite -uickl+' to cope
%ith chan&in& %eather' li&ht e,ects etc. The I(pressionist %ere the 4rst artists to
paint outdoors' rather than in their studios. Before this' ho%e5er' (an+ artists had
sketched outdoors in preparation for paintin&' the oil sketched of ;onstable are an
e)cellent e)a(ple.
'ointillistF the use of (an+ tin+ dots of pure color' %hich see(s to ?blend@ %hen
seen at a distance. Heor&es Seurat@s %ork is the (ost fa(ous e)a(ple of this
al(ostF scienti4c techni-ue. Book at the %ork of ;huck ;lose and co(pare and
contrast the( to Seurat.
$cumlingF a thin &laKe of paint dra&&ed o5er a di,erent color' so that both la+ers
of paint can be seen' &i5in& a lu(inous' &lo%erin& e,ect. Gbstract painters like
1ark <othko (ade use of this techni-ue.
$"umatoF literall+ (eans ?s(oked@ in ItalianP the use of hea5+' dark tones to
su&&est (+ster+ and at(osphere. <e(brandt@s late selfFportraits are a superb
e)a(ple of this techni-ue in practice.
$ketchF G -uick paintin&' often (ade in preparation of the ?4nal 5ersion@.
BrushworkF the %a+ in %hich the artist used the brush to appl+ paint. Brush%ork
can be loose' ener&etic' controlled' ti&ht' obsessi5e' repetiti5e' rando( etc.
'aletteF 1. G tra+ used for (i)in& colors %hen paintin&. A. The choice of in a
paintin& i.e. ?5an Ho&h uses a pure and 5i5id palette in his Grles landscapesJ.
Tone or tonalF 1. The ele(ents of li&hts and shado% in an art%ork i.e. ?Qathe
Qollo%itK@s etchin&s use stron&' dense tones to create an intense' sorro%ful (ood@.
A. The ran&e of tones %ithin an art%ork ie ?<e(brandt@s later portraits use a 5er+
dark tonal ran&e@.
$upportF The surface that a paintin& or dra%in& is produced on. Support can be
paper' card' %ood' can5as' (etal etc i.e. MGntoni Tapies@s paintin&s so(eti(es look
as if the+ ha5e been attacked. The support is often 5iolentl+ torn' ripped and
stabbed into@.
ritin& about ;olorF G &lossar+ of useful ter(s:
o 'rimary colors: red' +ello% and blue. Pri(ar+ colors can be used to (i) a %ide
ran&e of color. These are cool and %ar( pri(ar+ colors.
o $econdary colors: oran&e' &reen and purple. Secondar+ colors are (i)ed b+
co(binin& t%o pri(ar+ colors.
o (omplementary colors: pairs of opposite colors on the color %heel: &reenFred'
blueForan&e' and +ello%Fpurple. ;o(ple(entar+ colors are as contrastin& as
possible 7i.e. there is no +ello% in the color purple8. Painters like Gndre $erain and
5an Ho&h often (ade use of the contrast of co(ple(entar+ colors in their
paintin&s.
o Tertiary colors: G ran&e of natural or neutral colors. Tertiar+ colors are created b+
(i)in& t%o co(ple(entar+ colors to&ether. Tertiar+ colors are the colors of nature:
skin' plants' %ood' etc.
o Tones: are created b+ addin& black to an+ color 7i.e. (aroon is a tone of red8.
o Tints: are created b+ addin& %hite to an+ color 7i.e. pink is a tint of red8.
o 'alette: the choice of colors an artist (akes.
o )imited palette: the selection of onl+ a fe% colors %ithin an art%orkP i.e. ?In this
dra%in&' 1atisse has used a li(ited palette of ultra(arine blues and purples to
create a (ood+' subdued at(osphere.@
o Broad palette: the use of a %ide ran&e of di,erent colors %ithin an art%orkP i.e.
Qandinsk+@s paintin&s are instantl+ reco&niKable for their use of &eo(etric shapes'
but also for the broad palette of colors he e(plo+s.@
o Tonal range: the ran&e of tones in an art%ork fro( li&ht to dark. G %ide tonal
ran&e %ould include all tones fro( %hite to black. G narro% tonal ran&e %ould
include onl+ pale tones' onl+ (id tones or onl+ dark tonesP i.e. MQathe Qollo%itK@s
etchin& (ake a po%erful use of a narro% tonal ran&e to create oppressi5e' dark
i(a&es.@
o *pacity: the densit+ or thickness of a color usedP if the color is stron& and nothin&
can be seen beneath it' the color is said to be opa-ue. Gcr+lic and oil are often
opa-ue.
o Transparency: thin' transparent color' %ith perhaps other colors' shapes and lines
5isible beneath it. atercolor paintin& t+picall+ uses transparent color.
+se"ul ad,ecti!es you might use when descriing (*)*-:
Saturated' bri&ht' pure' 5i5id' stron&' harsh' dra(atic' 5ibrant' brilliant' intense'
po%erful' (uted' subtle' &entle' dull' soft' %ater+' subdues' delicate' &loo(+'
tertiar+' faded' li(ited
ritin& about cultural 5alues attached to the arts
+se"ul terms to consider:
hen the arts of the past are seen in (useu(s' the+ are e,ecti5el+ detached fro(
the life of the culture fro( %here the+ ori&inated. If +ou onl+ see these art ob0ects
in books or photo&raphs' it is 5er+ diRcult to see the( as a ?real@ part of a li5in&
culture. To be&in to understand the (eanin&s of 5arious arts had for the societies
the+ ca(e fro(' consider the follo%in& 5alues:
o -eligious !alues: Grts %ere often essential to the belief s+ste(s of (an+ culturesP for
e)a(ple: statues of &odsCdeities' te(ples' icons' altarpieces' (asks' (usic' dances etc.
o $ocial Values: Grts often s+(boliKe &roup identit+ and prideP for e)a(ple: banners'
headdresses' tattooin&' >a&s' chants' anthe(s etc.
o 'sycho%.motional: Grts so(eti(es pro5ided assurance of the continuit+ of lifeP for
e)a(ple: portraits' epic poetr+' (+tholo&ical tales' h+(ns etc.
o +se"ul or 'ractical Values% Grt %as often an inte&ral aspect of functional ob0ects' both
in shape and decorationP for e)a(ple: kni5es' potter+' la(ps' buildin&s' etc
o $ensual Values% Grts pro5ided a direct source of sensual pleasure and perhaps and
intrinsicall+ aesthetics responseP for e)a(ple: te)tiles' clothin&' sculptures' (usic etc.
o .ducational Values: Grts %ere fre-uentl+ a (eans of trans(ittin& the 5alues' attitudes
and histor+ of a cultureP for e)a(ple: ca5e paintin&s' frescos' illu(inated (anuscripts'
epic poetr+' historic dra(a' tribal dance etc.
o Decorati!e Values: Grts %ere fre-uentl+ a (eans of trans(ittin& the 5alues' attitudes
and histor+ of a cultureP for e)a(pleP 0e%elr+' %allFhan&in&s' tapestries' clothin& etc.
o (ommunication Values: Grts reached the illiterate for %ho( the %ritten %ord %as
(eanin&lessP for e)a(ple: frieKes' stained &lass %indo%s' (osaics etc.
An ./ample: 1edie5al cathedrals inte&rated (ost of the 5alues abo5e.
The cathedrals were the focus of the religious life of the community even as there
was being built by hundreds of ordinary people and skilled craftsmen over long
periods of time. The towers symbolically rose high above the town and within the
walls, the sculpture and stained glass windows stirred the emotional of the faithful.
Processions with banners, chants and the mass, with its music, poetry and drama,
integrated the arts and values of the culture. All of this gave meaning and
continuity to the otherwise impoverished lives of the common people.
9: Gssess(ent
There are si) Studio ork Gssess(ent ;riteria:
IB GSS=SS1=NT ;<IT=<IG 0uestions to ask yoursel":
Imaginati!e ./pression
=)hibits e)cellent understandin&
of the ideas and techni-ues that
underpin artistic e)pression.
MHa5e I trul+ e)plored (+ ideas to create interestin&' ad5enturous studio
%ork 7or ha5e I 0ust settled for the ob5ious8L Ha5e I used an+ unusual or
une)pected co(binations of ideas or (aterials in (+ studio %orkLJ
;onsistentl+ de(onstrates the
production of personall+
rele5ant
art%orks that sho% e)cellent
e)ploration of ideas re>ectin&
MHo% are the ideas in (+ studio %ork connected %ith (+ o%n life and
cultural back&roundL Ha5e I created stron&' po%erful pieces of art %ork
%hich really mean something to (eLJ
Sho%s thou&htful de5elop(ent
of ideas and strate&ies for
e)pression.
MGre the ideas behind (+ studio %ork %ell suited to the techni-ues and
(edia that I ha5e chosen to useL hat is the personal' cultural or 5isual
(eanin&Cpurpose of (+ studio %orkLJ
$ispla+s sensiti5it+ to (aterials
and their use. The coherent
bod+ of %ork has been
re5ie%ed' (odi4ed and re4ned
as it has pro&ressed' resultin& in
an acco(plished resolution of
ideas and
(ediu(.
MHo% e,ecti5el+ ha5e I desi&ned the appearance of (+ studio %orkL Ha5e I
used 5isual lan&ua&e %ellL 7line' co(position' for(' tone' color' te)ture etc8
hich 5isual or artistic proble(s ha5e I encountered and ha5e I sol5ed the(
%ellLJ

Technical and 1edia $kills
The e)a(iner is lookin& for studio
%ork that sho%s technical skill and
e,ecti5e use of the (ediu(.
MG( I usin& (+ chosen (edia %ith hi&h le5els of skillL hat 5isual e,ects do
I %ant to createL Ho% e,ecti5e is the (ediu( I ha5e chosen at creatin&
these e,ectsL ould it be better to choose a di,erent (ediu(LJ
Show an informed, reflective judgment that
challenges and
e)tends personal boundaries.
$e(onstrates con4dence and
in5enti5eness.
MHo% (uch &ro%th and i(pro5e(ent does all (+ art %ork sho% so farL Ho%
I ha5e de5eloped as an artist durin& the courseL ;an I distin&uish bet%een
(+ &ood and notFsoF&ood art %orks' e)plainin& ho% each piece has
contributed to (+ i(pro5e(entLJ
There are 45e IB Gssess(ent ;riteria:
IB GSS=SS1=NT ;<IT=<IG 0uestions to ask yoursel":
Vocaulary
$e(onstrates e,ecti5e and accurate
use of the specialist 5ocabular+ of
5isual arts.
$ources
:ses an appropriate ran&e of sources
and ackno%led&es the( properl+.
(ulture
Gnal+ses and co(pares percepti5el+
art fro( di,erent cultures and tunes'
and considers it thou&htfull+ for its
function and si&ni4cance.
Visual -esearch
$e(onstrates the de5elop(ent of an
appropriate ran&e of e,ecti5e skills'
techni-ues and processes %hen
(akin& and anal+Kin& i(a&es and
artifacts.
Integration
$e(onstrates coherent' focused and
indi5idual in5esti&ati5e strate&ies into
5isual -ualities' ideas and their
conte)ts' an appropriate ran&e of
di,erent approaches to%ards their
stud+'
and so(e fresh connections bet%een
the(.
$e(onstrates considerable depth and
breadth throu&h the successful
de5elop(ent and s+nthesis of ideas
and thorou&hl+ e)plained connections
bet%een the %ork and that of others.
Presents the %ork e,ecti5el+ and
creati5el+ and de(onstrates e,ecti5e
critical obser5ation' re>ection and
discri(ination.
Presents a close relationship between research
and studio work.
M$o (+ IB@s and Studio ork de(onstrate a close relationship
and connectionL Ha5e I produced a %orth%hile' (ature bod+ of
%ork %hich sho%s ho% %hat I ha5e learned has led to the
production of successful art %orksLJ

The 3inal =)a(:
In 1arch C Gpril of *ear A' +ou %ill or&aniKe an e)hibition of +our %ork %hich co5ers e5er+thin&
+ou ha5e produced durin& the IB e)perience. *our e)hibition %ill be assessed b+ a 5isitin&
e)a(iner' %ho %ill also talk %ith +ou about +our Studio ork and IBs. 7Gt the end of *ear 1'
+ou %ill ha5e a (ock e)hibition to &i5e +ou so(e practice at this.8 *ou %ill also produce a
;andidate <ecord Booklet' %hich contains photo&raphs of +our 4nished Studio ork' photocopied
pa&es fro( +our IBs and a D"" %ord state(ent about +our de5elop(ent durin& the course.
This %ill be sent to the IBO for 4nal assess(ent' so it (ust be of a hi&h -ualit+. This booklet %ill
be produced at the end of the course.
&.T AND &AT2.-
<eco((ended:
;olored Pencils
o <an&e fro( ;ra+ola to hi&h end artist -ualit+. Pick %hich is best for +ou.
atercolors
o Het Pran& or ;ra+ola brands
Oil Pastels
o I reco((end Pentel' &ood color' lo% price point. <an&e fro( 1A to D! count. Pick
%hich is best for +ou.
Paints
o Bi& ran&es in price and -ualit+. I reco((end &ettin& so(e student &rade tube
acr+lics andCor oils to start %ith.
o *ou can 4nd these at :nited Grt' :trecht' Blick' 1ichaels' Hobb+ Bobb+. So(eti(es
craft stores are cheaper!
Paint brushes
o G 5ariet+ of Taklon >at and round brushes.
o Brushes can be costl+. *ou &et %hat +ou pa+ for B:T cheap brushes can %ork reall+
%ell.
PreFStretched ;an5as or Panels
o Bots to choose fro(. If +ou think this is so(ethin& +ou %ould like to %ork on pick up
a couple di,erent t+pes and siKes.
Supports
o Gl%a+s keep +our e+es open for thin&s to paint on andCor (ake art out of. Hreat
and ine)pensi5e supports can be found in du(psters' thrift stores or (a+be in the
back of +our o%n &ara&e. Be creati5e and think outside the bo)!
Grt Bo)
o Hreat %a+ to keep (an+ of the abo5e or&aniKed and read+ to use. ;an be a toolbo)
or a MrealJ GrtBo).
Tips
Shop nonFart storesF alk throu&h +our local hard%are store and 4nd interestin& (aterials
to transfor(.
Be HreenF Grt (akin& can be 5er+ e)pensi5e if +ou choose it to be so. Opt to reuse'
rec+cle and recreate %hen possible. Start sa5in& cardboard' scrap %ood' old shoes'
house paint' etc. Book around the house for the pencil ba& +ou had in D
rd
&rade!
3IND YOUR T2.1.:
Theme: hat does this (eanL
To create (eanin&ful art an artist needs to 4nd a the(e or topic %ith %hich the+ ha5e a stron&
personal link. Gt this point in +our IB course +our the(e can be broad and co5er a %ide ran&e of
sub0ect (atter 7NGT:<=' 1GN 1G$=' 3GSHION' B=G:T* etc8 but it needs to be personall+ linked
to you the artist. Think about %hat interests +ou. hat fascinates +ouL hat are +ou passionate
aboutL
$ome e/amples themes4moti"s that you could choose "rom 5ut you are strongly
encouraged to de!elop your own6:
1eta(orphosis O life c+cles' chan&e' alteration' trans4&uration' (utation
1usic O sound' (akin& tone 5isible' (usic culture' %hat do (usic and art ha5e in co((onL
$ance O (o5e(ent' rh+th(' repetition' ph+sicalit+' (eanin& in &esture
Be&endC(+tholo&+ O ancient' pri(iti5e' (odern' stories' archet+pes' (oral lessons' reli&ion' ritual'
social obli&ations
Nature 5s. Science O current issues 7bioethics8 technolo&+' ho% do %e understand the %orldL Our
place in the uni5erse' li(its of scienti4c kno%led&e' art and science' ;ubis(' 3uturis(' Orphis('
etc.
1+self F diar+' (e(ories' estee(' place in the %orld' pride' sha(e' fa(il+' herita&e' ethnicit+' selfF
portrait' friends' lo5es' ene(ies.
Hender issues O (ale S fe(ale' role in societ+' in fa(il+' in e5olution. Gd5anta&esCdisad5anta&es
of bein& one or the other. Stereot+pes' cultural roles' se)ualit+' &ender in politics' &ender re5ersal.
Scale O closeFupC(a&ni4ed' ob0ects blo%n out of proportion' lar&e 5s. (iniscule' other %orlds of
scale' space' positi5eCne&ati5e' color and te)ture.
Other %orlds O under%ater' space' e)traterrestrial' (icroscopic' i(a&ination' co(puterC5irtual
%orld.
Gni(als O other life' instinctual' life c+cles of' ph+sicalCspiritual po%er in' ecolo&+' ani(als as
s+(bols' cultural associations %ith ani(als.
Grt and the senses O %a+s of kno%in&' art that s(ells' tastes' feels' etc. Grt that appeals to
alternati5e senses.
;r+pto&raph+ O art as code' codes in life' s+(bols' si&ns' te)t' sense in nonsense' order'
(athe(atics' ke+ to understandin&.
HodCreli&ion O creation' destruction' 0ud&(ent' %hat is hol+L <ole of reli&ion in societ+' (etaph+sics'
personal sense of &od' (erc+' for&i5eness' 0usti4cation' sin' sacri4ce.
Qitsch O %hat is kitschL hat is beautifulL hat is notL Nalue' (ass production' pop culture' +our
o%n personal sense of kitsch' aspects of societ+ as re5ealed in its kitsch.
Hraphics O use of line' color and co(position to create a &raphic identit+' ad5ertisin&' (ass (edia'
(anipulation of i(a&er+' the 7blurred8 line bet%een %hat realit+ and the &raphic representation.
Hu(an anato(+ O bod+' (uscle' bone' skin' %ei&ht distribution' issues of beaut+ and hu(an bod+'
useCabuse of the bod+' skin 7colorL8' a&in&' disease.
$rea(s O (eanin&' anal+sis' associations' truth in' the biKarre' %ishFful4ll(ent' i(a&er+'
Surrealis(' the subconscious' Si&(und 3reud.
;hance O allo%in& chance to dictate art' auto(atic dra%in&' the Exquisite orpse' Surrealis('
$adais(' kinetic art' i(a&e association.
=(otion O hu(an feelin&s' e)pression' kno%led&e throu&h e(otion' e(otional situations' culture
and e(otions' controlledCuncontrolled e(otions' con5e+in& e(otion' color' line and shape and
e(otions' =)pressionis(' 3au5is(' Gbstraction.
Installations O (anipulatin& a space' chan&in& space' a,ectin& the ps+cholo&+ of a space.
;ollectionCseries O repetition' repeated ob0ects' ob0ects in a series' ob0ects that share so(ethin& in
co((on' distant 5s. close relationships bet%een ob0ects' association.
Beaut+Cu&liness O %hat de4nes theseL hat constitutes the appealin& or the repulsi5eL
1anipulatin& (aterials so that the+ take on appealin&Crepulsi5e -ualities.

Note that all the abo5e consist of topicsC(otifs that can and should be =TT=NSIN=B* researched
e)peri(ented %ith and re>ected upon.
This the(e is %hat +ou %ill no% research in +our In!estigation Workook7
IB Art 8ear 'lanner
T2.1.:_____________________________________________5use pencil to complete6
1onth $u,ect 1edium4process Descrie rie9y
$ept
*ct
No!
Dec
:an
3e
1ar
Apr
1ay
:un
:uly
Aug
IWB (hecklist
G( I %orkin& in (+ IB e5er+ da+L If
not' %hen do I %ork in itL
G( I datin& all of (+ pa&es on the da+
that I %ork on the( alon& %ith
includin& a descripti5e pa&e titleL
G( I co(pletin& A 7SB8 D 7HB8 -ualit+
pa&es per %eekL hat does -ualit+
(eanL
G( I %ritin& in black pen and erasin&
pencil (arksL <e(e(ber' this is
&oin& to be photocopied and +ou do
not %ant to (ake it hard for the
e)a(iner to read.
G( I re(e(berin& to ne5er e5er cut or
tear pa&es fro( (+ IBL
G( I nu(berin& the pa&es and
continuin& nu(berin& %hen I start a
ne% IBL
hen dra%in& so(ethin& fro(
obser5ation' a( I %ritin& do%n %here I
a( and %h+ I@( choosin& to dra% itL
If I ha5e used a book or the internet to
4nd an i(a&e or info' a( I citin& in
1BG for(atL
G( I usin& a 5ariet+ of sourcesL hat
are so(e ideas of sources besides
internetL
G( I %ritin& co((ents on e5er+ pa&e
of the IBL
G( I (akin& connections to thin&s
that I a( learnin& in (+ other classesL
G( I re>ectin& on the -ualities of the
(aterials I@( usin& to (ake (arks and
%ritin& about (+ obser5ations %ith
di,erent (ediaL
G( I atte(ptin& to e)pand (+ art
5ocabular+ and referrin& to (+
handbook to learn (oreL
$oes the %ork in (+ IB connect %ith
(+ studio %orkL
G( I (akin& notes on %h+ I@( lookin&
at speci4c artists and ho% it connects
to (+ o%n %orkL
G( I includin& the artist@s na(e' title
of the art%ork' (ediu( and %here I
found it 7%eb address' book title and
pa&e' etc. accordin& to 1BG8
G( I thinkin& about (+ research in a
5isual %a+L :sin& color' headin&s'
and i(a&es to co(ple(ent (+ notes
and co(posin& pa&es so that the+
look interestin& and 5ariedL If not'
%h+L
G( I &oin& back and ans%erin& 1rs.
<oth%ell@s challen&es and -uestions so
that hopefull+ I can earn a hi&her (ark
durin& e)a(sL
G( I lookin& at and stud+in& the IB
(ark bands in (+ handbook so I kno%
%hat IB e)pects of (eL
G( I usin& le&ible hand%ritin&L
G( I continuin& to de5elop and
practice learned skillsL
Gre (+ i(a&es and pa&e
e(bellish(ents supportin& (+
concepts' the(e' pro0ect' etc.
G( I lea5in& a s(all &ap at the top
and botto( on (+ pa&es to
co(pensate for the standard siKe
paper in %hich the+ %ill be copied on
for e)a(sL
IB A-T TI'$ 3*- 'A-.NT$
Blick@s o,ers 1"# o, for students. The+ ha5e the reco((ended sketchbooks in stock.
Tell the( %hat school and %hat class +our student is in and the+ should be able to help
+ou 4nd %hat +ou need.

hile tra5elin&' 5isit local art &alleries and (useu(s %ith +our student. It ful4lls a class
re-uire(ent and is fun for the %hole fa(il+!
Gsk +our student %hat their current studio pro0ectCconcept is. Their studio pro0ects are
5er+ interestin& and the e)tra con5ersation and perspecti5e is bene4cial to their &ro%th.
=ncoura&e +our student to %ork in their sketchbooks for at least D" (inutes a ni&ht. This
%ill help the( sta+ on track and (ana&e their ti(e.
Help +our student set up a (ini studio in +our house %here the+ can e)peri(ent %ith
(aterials and %ork on their studio pro0ects. Hood li&htin& and a >at surface are essential.
IB -e;uirements
2igher )e!el $tudents are re;uired to
sumit:
1A to 12 studio pro0ects
AEFD" Sketchbook Pa&es that support
the IB Grt criteria in 1arch of A"11.
$tandard )e!el $tudents are re;uired to
2 to 1A studio pro0ects
1EFA" Sketchbook Pa&es that support
the IB Grt criteria in 1arch of A"11.