IB Visual Arts

Beginning IB Visual Arts

I, Mr. Eddie Adiamah (B.A Art (Hon.) Painting; Masters in Fine Art(painting); IB Accredited Visual Art tutor, Examiner and head of the Art Department officially welcome you to IB Visual Arts. This course promises to be a very challenging and rewarding experience for those of you who can match it with the effort and time required for success. For most of you who have had previous art courses at IG, this marks an achievement. You wouldn't be here if the art faculty didn't feel confident that you were capable of meeting the rigorous standards that IB Visual Arts at this school demand. Understand that you have a great tradition in IB art at SOS-HGIC to uphold.

What you need all most at this point is support, guidance and some help getting started on your two-year artistic journey. It helps to understand that Mr. ED will be looking for work and development in specific areas as you progress through the year. There are two primary areas of achievement that will be key to your success in this class:

1. Studio work - the artworks (both finished and unfinished) that you create at home and in the studio at SOS-HGIC.

2. Investigation - the research, idea development, experiments, reflective writing and relevant preparation that you do to help support and improve your artwork.

Studio work:

Your Studio work will be developed and evaluated according to several key criteria. Some of them overlap and involve other criteria, and should be considered parts of a holistic approach to your work. They are:

a. Understanding - This refers to the degree to which your work reflects an understanding of how one can express concepts and ideas in the visual image, as well as how well you grasp the technical and formal methods through which these can be conveyed.

b. Relevance - This refers to the degree to which your work reflects or conveys personal elements (Where are YOU in the work?); the degree to which your work shows an awareness and an understanding of socio-cultural issues and concerns; and finally the degree to which your work shows evidence of well-developed, complex ideas and approaches to your given theme.

c. Development - This refers to the level of development of both your ideas and your technical competence with your chosen media or mode of expression.

d. Sensitivity to materials - This criterion concerns your ability to use and in some cases develop novel uses for your materials. It refers most importantly to your ability to review and modify your use of materials, so that your work shows evidence of increasingly well-informed resolutions of concepts and the ideas that can be conveyed in your work.

e. Technique - This is related to both a and d above. It refers to your mastery and understanding of the media you have chosen to explore. A student in our IB art program is free to choose whatever medium he or she wishes, but they must be able to demonstrate that they have learned a great deal of the handling, potential and limits of that medium.

f. Confidence - this criterion refers to the degree to which your work shows evidence of a confident, inventive and wholly personal approach to image-making, one that does not rely heavily on existing art, historical precedent or teacher guidance.

g. Independence - This criterion looks at the degree to which your work shows self-direction and use of your own judgment. Ultimately, your work must be entirely your own and should show that you arrived at the visual statement it makes on your own accord. This has a great deal to do with the above criterion f.

Investigation work:

Your Investigation work will be done primarily in your Investigation workbook - a hard-covered, sturdy, A4-sized sketchbook that you will make your own. It is absolutely essential that you acquire such a sketchbook within the first week of school. Please make sure you pick one from Mr. ED by the end of your first week. Your Investigation work will be developed and evaluated according to several key criteria. Some of them overlap and involve other criteria, and should be considered parts of a holistic approach to your book. They are:

a. Cultural/Contextual research - This refers to the degree to which your book shows that you analyzed, considered, compared and reflected upon art from other cultures and time periods, especially its function and significance, both within its original context and today. We do not create art in a vacuum. All art is interrelated.

b. Technical/Process - this criterion references your book's ability to display the degree to which you kept careful record of how you developed effective skills and awareness of techniques and processes that enabled you to create your studio pieces. It also refers to work in your book that shows that you developed your ability to understand and discuss the techniques and methodologies of other artists.

c. Investigation - This refers to evidence in your book that you developed clear, coherent strategies for investigating the visual qualities, ideas and their contexts, and various (ie. More than one) approach to ways of formulating your art. It also examines how your book shows evidence of connections between all these things.

d. Depth & Breadth - This is a difficult one to understand easily, but you'll get used to it. It is like the above criterion c, but most specifically it refers to the degree to which your book shows evidence that your research and investigations took in a broad range of influences, ideas and inspirations that helped you to formulate a successful synthesis of these for your own work. It also looks at the degree to which you examined these thoroughly, pushing your understanding of them and helping you to infuse your work with a more informed and articulate means of expression and meaning.

e. Vocabulary - This criterion examines the evidence in your book that indicates the degree to which you learned and became familiar with an effective and accurate specialist vocabulary in the visual arts. A god artist uses the proper terminology to refer to his or her work and the work of others.

f. Acknowledgment of Sources - As in all your coursework in the IB, it is important that you cite the sources and origins of the work you do in this class. This criterion considers the degree to which you accurately and consistently cite the sources you use in your book.

g. Presentation - This criterion looks at how you present your work in your book. It considers effective and creative writing regarding your work and the degree to which you demonstrate thoughtful, critical evaluations of your work. It also looks for evidence that you were discriminating in the ways that you chose your methods and approaches towards your work.

h. Integration - This criterion refers to your book's relevance to your studio work. All that you do in your book should reference your studio work. This criterion evaluates the level to which your studio work is emphatically evolved, supported, justified and explained in your book. It is imperative that this be seen as a developmental process - it should be continuously taking place as you develop your work, not simply after the fact. Your Investigation workbook is an organic work, not a scrapbook in which you paste what you've accomplished. It should grow and develop with your studio work and reflect that fact.

In your final exam in 2010, the weighting of these criteria, the amount for which each counts, will depend upon whether you are taking High or Standard level. But for now, you should begin to acquaint yourself with them and learn to understand what each means. The more you understand them and rely upon your knowledge of them, the better you will understand Mr. ED's critiques of your work and the feedback you will receive.

You will receive periodic reviews and feedback from Mr. ED. They will involve direct reference to these criteria. The following page outlines a sample marksheet that will be used for these reviews.

(Insert sample marksheet here - OCC Resources list download)

Expectations

In your first year, you will be expected to develop a familiarity and a fluency with these criteria. In addition, you will be required to develop a series of studio works based upon a theme of your choice. Many of you have already begun to do this through the summer assignment given over the break. Mr. ED's main job will be to help guide you in the development of your ideas and help introduce you to media and techniques that might enhance your ideas.

Your pace throughout the first year will be your own, but you will be expected to complete at least one major, finished studio work per month. These must be related to the theme you've begun to develop and all relevant investigation should accompany the creation in the workbook. Mr. ED will ask for all completed artworks on the last school day of every month for review.

Think of a camera. Your theme is the lens through which you approach your work. It can, of course, change and evolve (indeed, it should!) and that change and evolution should be well documented in the Investigation workbook.

Monthly work

Every month, you will be asked to approach your theme through a different “filter” - a way of considering your theme which can help you develop new ideas regarding your overall theme. You may select from the list below to help aid you in getting your monthly projects completed:

* Self (you, your identity, self image, self-esteem) or dark self (see C.G. Jung)

* Family or ethnic group (not necessarily yours)

* Science & Technology

* Dreams/the surreal world,/alternate reality/questioning reality

* Society/Public vs. Private

* Gender issues/ Sexual politics

* Capitalism/ (Free)Trade/Economic equality/Globalism

* Epistemology (ie. how we know what we know)/TOK

* Conflict/resolution/war/peace

* Art/History/Art History/Interpretation

* Origins/Beginnings/Endings/divisions in time

* Age/Adolescence/Biological growth/evolution

* Location

* Power

* Symbols/Systems of Meaning/Codes

* Kitsch/Taste/Fashion

* Story/Narrative

* Humour/dark humour/

* Shock/Horror/Ugliness

Any other suitable (and approved by Mr. ED) filter you might want to consider

Take your theme (for instance, feminism) and look at it through the filter of one of these topics (say, Kitsch/Taste). Your month's project will involve developing an approach, an idea, experimenting with media and techniques that compliment that idea, researching the idea and eventually creating an artwork that embodies your idea.

So you might end up creating a Jeff Koons-like piece with a feminist message.

IB Visual Arts Year 1 - List of Studio work accomplished

Month

Work Title(s)

Media Used

Describe briefly

September

October

November

December

January

February

March

April

May

Crop this down and paste it inside the back cover of your sketchbook. Keep it updated. It will help you keep track of what you have done and what remains to be done.

Studio etiquette

The art studio is your artistic home in the school. It is a state-of-the-art facility purpose built for your two-year creative journey. A great deal of your work will be done at home but you will also be working in the studio and using the materials and tools kept here. Please keep in mind that other students need to use these as well. Therefore, if we all abide by certain expectations in the studio, we'll all benefit from it and from each other's work:

* All work and materials should be stored away.

* All tools (especially brushes) should be properly cleaned and stored away.

* All tables and flat surfaces should be kept free of paint, varnishes, dust, clay, ink and other working materials.

* Food and drink are off limits in the hallways and may not be brought into the studio (a hot water kettle is available for you in the studio for instant coffee or tea). Please do not try to bring things through the hallways. Feel free to bring your own supply of coffee, tea, etc to keep in the studio.

* Messes on the floor (both wet and dry) should be swept or mopped up immediately and certainly before leaving the studio.

* The balcony is for our use, but should always be kept clear of objects and tools, free from paint and spray marks.

* The stereo system was purchased by Mr. ED for everyone's use. iPods, MP3 players and laptops with USB ports can all play through the system. However, the volume level must remain reasonable at all times. The system must remain paint-free and clean. Misuse/abuse will result in no one using it. It is everyone's responsibility to work out a sharing system by which all students have an opportunity to use the system when in the studio.

* Sinks must be properly used - paint residue, refuse and traces of materials must not be permitted to collect in the basins. No volatile or oil-based solvents may be washed down the sinks in any quantity. All sediments (clay, plaster, etc) and acrylics must be washed up in the large sink in the middle with the sediment trap.

* Mr. ED's office is also storage area and should be kept tidy and treated with respect (conferences often take place in the office during class).

* Respect for other students' work is imperative.

* Additional expectations may be introduced as the year progresses.

Deadlines

Arguably, the most important skill you will learn in your early work in the IB Diploma program is meeting deadlines. You will be expected to produce 18-23 finished works of art and some 300 pages of investigative research in the workbook over the two year period. The only way you will be able to meet these requirements is by meeting the deadlines set up by Mr ED. There will be no second chances for missed deadlines. Late work, by school policy, is a zero.

A calendar will be posted on the cabinet beside the classroom door. It will detail deadlines and due dates. It will also list special events like the UAL portfolio workshop, fieldtrips, college representative visits and the IB2 mock exams (in which you will participate). Keep watching and noting the calendar.

Nature of the subject

The impulse to make art is common to all people. From earliest times, human beings have displayed a fundamental need to create and communicate personal and cultural meaning through art.

The process involved in the study and production of visual arts is central to developing capable, inquiring and knowledgeable young people, and encourages students to locate their ideas within international contexts. Supporting the principles of the IBO mission statement (that is, to foster students' appreciation of diverse world cultures and traditions), the course encourages an active exploration of visual arts within the students' own and other cultural contexts. The study of visual arts and the journey within it encourages respect for cultural and aesthetic differences and promotes creative thinking and problem solving.

Visual arts continually create new possibilities and can challenge traditional boundaries. This is evident both in the way we make art and in the way we understand what artists from around the world do. Theory and practice in visual arts are dynamic, ever changing and connect many areas of study and human experience through individual and collaborative production and interpretation.

New ways of expressing ideas help to make visual arts one of the most interesting and challenging areas of learning and experience. The processes of designing and making art require a high level of cognitive activity that is both intellectual and affective. Engagement in the arts promotes a sense of identity and makes a unique contribution to the lifelong learning of each student. Study of visual arts provides students with the opportunity to develop a critical and intensely personal view of themselves in relation to the world.

The Diploma Programme visual arts course enables students to engage in both practical exploration and artistic production, and in independent contextual, visual and critical investigation, with option A students focusing more on the former and option B students on the latter. The course is designed to enable students to study visual arts in higher education and also welcomes those students who seek life enrichment through visual arts.

Difference between HL and SL

Because of the nature of the subject, quality work in visual arts can be produced by students at both HL and SL. The aims and assessment objectives are the same for visual arts students at both HL and SL. Through a variety of teaching approaches, all students are encouraged to develop their creative and critical abilities and to enhance their knowledge, appreciation and enjoyment of visual arts.

The course content for HL and SL may be the same. However, due to the different amount of time available for each, students at HL have the opportunity to develop ideas and skills, to produce a larger body of work and work of greater depth. In order to reflect this, the assessment criteria are differentiated according to option and level. Please see the markband descriptors in the “Assessment criteria” section for more detail. There need be no direct relationship between the number of works produced, the time spent on each, and the quality achieved: a high level of performance at either HL or SL can be achieved in both a large and small body of work.

Visual arts and prior learning

The Diploma Programme visual arts course is designed to offer students the opportunity to build on prior experience while encouraging them to develop and use new skills, techniques and ideas. While it is possible to take the Diploma Programme visual arts course without previous experience, this is helpful, particularly at HL option A (HLA).

Visual arts and the MYP

Those students who have completed the IB Middle Years Programme (MYP) will already have engaged in a structured learning process in the performing and visual arts. This will allow them to develop further their experiences in visual arts at Diploma Programme level.

Visual arts and TOK

Students of group 6 subjects study the various artistic ways through which knowledge, skills and attitudes from different cultural traditions are developed and transmitted. These subjects, known collectively as “the arts” allow students to investigate and reflect on the complexities of the human condition. By exploring a range of materials and technologies, students should aim to develop an understanding of the technical, creative, expressive and communicative aspects of the arts.

Students of group 6 subjects analyse knowledge from various perspectives, and they acquire this knowledge through experiential means as well as more traditional academic methods. The nature of the arts is such that an exploration of the areas of knowledge in general, and knowledge of the different art forms specifically, can combine to help us understand ourselves, our patterns of behaviour and our relationship to each other and our wider environment.

Group 6 subjects complement the theory of knowledge (TOK) ethos by revealing interdisciplinary connections and allowing students to explore the strengths and limitations of individual and cultural perspectives. Studying the arts requires students to reflect on and question their own bases of knowledge. In addition, by exploring other Diploma Programme subjects in an artistic fashion, students can gain an understanding of the interdependent nature of knowledge and are encouraged to become “active, compassionate and lifelong learners who understand that other people, with their differences, can also be right” (IBO mission statement).

Whatever form visual arts take (for example, a personal expression of ideas, commercial enterprise or ritual), they share similar educational concerns and interests with TOK. The investigation workbooks are a particularly good vehicle to investigate issues related to life and knowledge as explored through the study of visual arts. For example, a student might wish to investigate controversial works and their impact on societies, and the extent to which an artist should or should not challenge standards of morality. Teachers are encouraged to refer to the Theory of knowledge guide (March 2006) for further guidance and information.

Questions related to TOK activities that a visual arts student might consider include the following.

* Why are the arts important?

* What do the subjects that make up the arts have in common?

* What are the roles of emotion and reason in the arts?

* To what extent do other Diploma Programme subjects have “artistic” qualities?

* What are the standards by which we judge art? Can we justify these standards, and, if so, how?

* What moral responsibilities does the artist have? Are they different to those of any other “knower”?

* Does the artist have a responsibility to reflect on the values, beliefs and attitudes of his or her time and place?

* To what extent does an artist have a moral obligation to avoid or confront controversial issues that might shock or be contrary to those of the common populace?

* To what extent does the work of the artist influence the culture in which it was created? To what extent does the existing culture influence the artist working within it?

* Is it possible for artistic expression in visual arts to take the place of words?

* Is it important for artworks to be original? Why?

* Is art simply an imitation of an idea?

* Is the artist's intention relevant to the viewer?

* What do we expect from art? Truth? Seduction? Provocation? Beauty?

* What does it mean to say “I know an artwork”?

* What is art?

Aims

The aims of the visual arts course at HL and SL are to enable students to:

* investigate past, present and emerging forms of visual arts and engage in producing, appreciating and evaluating these

* develop an understanding of visual arts from a local, national and international perspective

* build confidence in responding visually and creatively to personal and cultural experiences

* develop skills in, and sensitivity to, the creation of works that reflect active and individual involvement

* take responsibility for the direction of their learning through the acquisition of effective working practices.

Assessment objectives

Having followed the visual arts course at HL or SL, students will be expected to:

1. respond to and analyse critically and contextually the function, meaning and artistic qualities of past, present and emerging art, using the specialist vocabulary of visual arts

2. develop and present independent ideas and practice, and explain the connections between these and the work of others

3. explore and develop ideas and techniques for studio work through integrated contextual study and first-hand observations

4. develop and maintain a close relationship between investigation and a purposeful, creative process in studio work

5. produce personally relevant works of art that reveal evidence of exploration of ideas that reflect cultural and historical awareness

6. develop and demonstrate technical competence and artistic qualities that challenge and extend personal boundaries (option A) and technical competence and self-direction (option B).

Mapping the course

Assessment objective

Which assessment area addresses this objective?

How is the assessment objective addressed?

1. Respond to and analyse critically and contextually the function, meaning and artistic qualities of past, present and emerging art, using the specialist vocabulary of visual arts

Investigation workbooks

External assessment option B; internal assessment optionA—investigation markband descriptors

2. Develop and present independent ideas and practice, and explain the connections between these and the work of others

Investigation workbooks

External assessment option B; internal assessment optionA—investigation markband descriptors

3. Explore and develop ideas and techniques for studio work through integrated contextual study and first-hand observations

Investigation workbooks

External assessment option B; internal assessment optionA—investigation markband descriptors

4. Develop and maintain a close relationship between investigation and a purposeful, creative process in studio work

Investigation workbooks

External assessment option B; internal assessment optionA—investigation markband descriptors

5. Produce personally relevant works of art that reveal evidence of exploration of ideas that reflect cultural and historical awareness

Studio work

External assessment option A; internal assessment optionB—studio markband descriptors

6. Develop and demonstrate technical competence and artistic qualities that challenge and extend personal boundaries (option A) and technical competence and self-direction (option B).

Studio work

External assessment option A; internal assessment optionB—studio markband descriptors

Syllabus outline

Higher level (240 hours)
Option A (HLA)

Studio work (60%)

Investigation workbooks (40%)
Option B (HLB)

Investigation workbooks (60%)

Studio work (40%)
Standard level (150 hours)
Option A (SLA)

Studio work (60%)

Investigation workbooks (40%)
Option B (SLB)

Investigation workbooks (60%)

Studio work (40%)

Studio work involves practical exploration and artistic production. Investigation work involves independent contextual, visual and critical investigation and reflection, both visual and written.

Syllabus details

The Diploma Programme visual arts syllabus provides a framework that allows teachers to choose content and activities appropriate to both their students' interests and experience and their own. When constructing a course of study, the teacher must bear in mind the visual arts assessment criteria and the specific requirements for the assessment tasks explained in this guide.

Teachers should design their courses of study according to:

* the cultural background, personal needs and abilities of the students

* the nature of the school

* their own expertise.

Because these factors vary considerably, the precise syllabus content is not specified but is generated by the teacher and students. In accordance with the aims and assessment objectives listed in this guide, each school's course of study should reflect the distinctive international perspective of the Diploma Programme in individual ways. This flexibility is one of the distinguishing characteristics of the visual arts course.

An integrated relationship between studio work and investigation work is essential throughout the course.

Option A (HL and SL)

Option A is designed for students who wish to concentrate on studio practice in visual arts. Students will produce investigation workbooks to support, inform, develop and refine studio work through sustained contextual, visual and critical investigation.

At both HL and SL, the investigation workbooks are integral to studio practice and should reflect the student's critical visual and written investigation.

Option B (HL and SL)

Option B is designed for students who wish to concentrate on contextual, visual and critical investigation in visual arts. In their investigation workbooks students will explore fully an integrated range of ideas within a contextual, visual and critical framework and produce studio work based on their visual and written investigation.

At both HL and SL, students should demonstrate connections between academic investigation and studio work.

Course structure

The course of study devised by teachers should enable students in studio work and investigation workbooks to develop their knowledge about visual arts, and should allow for individual exploration.

Teachers should provide opportunities for students to develop different approaches to the practices of visual arts. They should encourage students to develop their own perspectives and approaches and should not impose their own: students' interests and aesthetic preferences should play a prominent role in determining individual courses of study. Contextual and critical study of past, present-day and emerging practice should be integrated into studio work.

Learning outcomes

Throughout the course, teachers should help students to:

* develop the skills and techniques of investigation—both visual and written

* relate art to its cultural and historical contexts

* explore art concepts

* explore art elements

* develop and use the processes of art criticism and analysis

* develop confidence and expertise in the use of various media

* extend their knowledge of design

* share their work with an audience through displays and exhibitions or presentations

* extend individual investigation to inform practical work

* make connections between ideas and practice—both their own and others'.

In visual arts, media (plural of medium) can be described as the selected material and the working processes used, and the relationship between these.

Scheduling

Depending on school facilities and the flexibility of teaching schedules, it should be possible to teach both HL and SL students in the same group.

The school schedule should allow time for a visual arts student to become seriously involved with creative work in the studio. Therefore, short periods of time for work in the studio should be avoided: set-up time and clean-up time must be taken into account.

Allocating a sufficient proportion of the recommended teaching hours (240 hours at HL; 150 hours at SL) to each component is crucial to the success of the course of study at each level. For each option, the following breakdown in teaching hours is recommended.

HLA

SLA

HLB

SLB

Studio work

144 hours

90 hours

96 hours

60 hours

Investigation workbooks

96 hours

60 hours

144 hours

90 hours

Within this timeframe, teachers need to allow for sufficient hours to be given to arranging and setting up the exhibition (mandatory for option A; optional for option B).

Studio work

Students should be introduced to art concepts and techniques through practical work in the studio. To support students' abilities to express themselves in visual arts, teachers should include, at both HL and SL, opportunities for a structured approach to:

* the exploration of media, including the use of material and equipment

* the exploration and development of artistic qualities in visual arts

* the study of relationships between form, meaning and content in visual arts

* the study of a variety of social and cultural functions of visual arts

* the appreciation and evaluation of their own work and that of others.

The development of studio techniques is essential to help students explore the potential for expression and to understand the relationship between theory and practice.

Teachers should facilitate wide-ranging independent investigation, which could be of a more experimental nature but also one that is concerned with form, meaning and content. Students should be encouraged to explore art, craft and design traditions from past, present and emerging cultural backgrounds, and local, national and international contexts.

At the end of the course, option A students should have produced studio work that communicates their understanding of conceptual content, their technical skill and their sense of critical awareness. They should also have developed an understanding of the artistic process from the generation of initial ideas through the various stages that lead to the completion of a final studio work.

At the end of the course, option B students should have a selection of studio work that has evolved from their in-depth contextual, visual and critical investigation. The studio work should be finished.

All work produced by option A and option B students needs to reflect personal involvement and be linked to the investigation contained in their workbooks.

Choice of media

Artistic understanding and expression may be taught through various media from painting to puppetry, calligraphy to computer graphics, and sculpture to conceptual art. Students may demonstrate technical competence in various ways, provided their course of study includes an introduction to art elements, concepts and techniques. All work, both visual and written, should be documented in the investigation workbooks.

When discussing the choice of media, teachers should help students to discover their individual strengths. Students should be made aware that the studio work assessment criteria reward the pursuit of ideas in a variety of media (students should not be discouraged from combining several media), the development of original approaches, the discovery of creative solutions and the acquisition of technical skills. However, students should be reminded that quality work that shows a developing maturity of artistic understanding at the end of the course is preferable to work that shows a superficial acquaintance with a large number of different skills and techniques.

As with all choices of media, visual arts students who wish to work in alternative or emerging media must remember that this is a visual arts course and their work will be assessed against criteria specific to visual arts.

Students must, in conjunction with their teachers, do the following.

* Refer to the visual arts assessment criteria

* Document, both visually and in writing, the work in their investigation workbooks

Collaborative work

The final assessment is an individual one and if students wish to work collaboratively on a project, teachers must ensure that the project is fully documented in each student's investigation workbooks. Students who work collaboratively on a visual arts project must document their individual input and show evidence of their individual achievement. It is also essential for teachers and students to refer to the visual arts assessment criteria.

Investigation workbooks

The purpose of the investigation workbooks is to encourage personal investigation into visual arts, which must be closely related to the studio work undertaken. The relative importance of the investigation workbooks depends on whether the student has chosen option A or option B.

The investigation workbooks should incorporate contextual, visual and critical investigation. They should function as working documents and support the student's independent, informed investigation and studio practice. Investigation workbooks provide an opportunity for reflection and discovery and they play a key role in allowing ideas to take shape and grow. They should contain visual and written material that address contextual, visual and critical aspects of the investigation. They should also reflect the student's interests and include wide-ranging first-hand investigations into issues and ideas related to visual arts. There should be a balance in the investigation between analytical and open-ended discussion, illustrating the student's creative thinking.

It is important to refer to the definition of “investigate” as used in this guide. (Please see the “Glossary of action verbs” section at the end of this guide.)

Making connections

Teachers should encourage students to make creative connections in the work they do through open-ended exploration and experimentation. For example, students might initially begin their investigation by working through an idea, theme or issue, then making comparisons, cross-referencing, and thinking laterally. This can give the work a sense of unity and continuity. One idea, theme or issue may be the connecting thread throughout the course or may naturally promote the investigation of another or others.

Students should be taught to develop strategies and skills that enable them to make informed decisions about the direction of their investigation, taking advantage of the resources that are available in their locality. They should also be encouraged to present arguments and points of view.

Content guidelines

The content of the investigation workbooks can vary considerably, but must show evidence of investigation into artistic qualities and cultural contexts from different cultures and times. (A culture can be described as learned and shared beliefs, values, interests, attitudes, products or patterns of behaviour. Culture is dynamic and organic and operates on many levels—international, national, regional, local and social interest groups.) A developing use of the specialist vocabulary of visual arts is expected.

* Workbooks are working journals that should reflect personal approaches, styles and interests. They are not simply scrapbooks, sketchbooks or diaries but may be a combination of all three. They may contain weak initial ideas and false starts, but these should not be seen as mistakes and can be used as a means of identifying a student's progress over the course.

* While the teacher is expected to guide and support the students, workbooks should reflect students' personal interests. Students should be encouraged to investigate “around” ideas, themes and issues, make links and connections, speculate, hypothesize and draw conclusions that may support or challenge artistic conventions. The work should be presented in a way that is appropriate to visual arts, rather than as isolated ideas or formal essays.

* Information may be recorded in a variety of ways. This is a good opportunity for visual experimentation, and may be both critical and creative. Written work must be legible and all sources, both written and visual, must always be acknowledged properly.

* Meetings with local artists, and visits to museums, galleries and libraries, provide first-hand opportunities for investigation. Students' personal responses to these visits should be documented in the workbooks and may well influence some of the studio work they produce.

* Class notes and handouts should only be included in the workbooks if appropriate. Visual material should be relevant to the investigation and not simply used to fill space. Photographs, copies and magazine cut-outs are acceptable if they are relevant to the investigation, are accompanied by an explanation or critical comment and are acknowledged properly. Copying from Internet sites, books and other secondary sources without personal and critical reflection should be avoided.

* Teacher feedback in the workbooks should include pertinent comments, questions, pointers to resources and constructive criticism. (As students often value their workbooks as a personal record of their artistic development, it may be appropriate for teacher observations to be presented in such a way that they can be removed after the examination session is closed.)

Format

* The recommended format for the investigation workbooks is bound with unlined pages, rather than loose-leaf.

* Entries must be dated and kept in chronological order. Pages must be numbered for cross-referencing ideas, themes or issues that run through the investigation workbooks. (Care should also be taken to leave the top right-hand corner of each page free, in order to allow the candidate session number to be included.)

* Students should be advised that legibility is extremely important. Blue-black or black ink is recommended for writing.

* Although black and white copies (A4/letter-size) of the representative pages selected for assessment purposes are acceptable, students should consider, where possible, using colour copies for pages that clearly refer to colour and/or media experiments relating to the use of colour.

Health and safety guidelines

All schools are required to follow health and safety guidelines during their studio work and mounting of exhibitions to standard regulations, as appropriate. Each school should recognize and accept its responsibilities and obligations as an institution offering visual arts to provide a safe and healthy working environment, and is ultimately responsible for the health and safety of students and staff in all visual arts work.

Assessment outline

Higher level

First examinations 2009

Option A

Studio

60%

External assessment

The student prepares a selection of his or her studio work in the form of an exhibition. This is externally assessed by a visiting examiner following an interview with the student about the work.

Investigation

40%

Internal assessment

The student presents selected pages of his or her investigation workbooks that have been produced during the course. This selection is internally assessed by the teacher and externally moderated by the IBO at the end of the course.

Option B

Investigation

60%

External assessment

The student presents selected pages of his or her investigation workbooks that have been produced during the course. This selection is externally assessed by a visiting examiner following an interview with the student.

Studio

40%

Internal assessment

The student presents a selection of his or her studio work. This selection is internally assessed by the teacher and externally moderated by the IBO at the end of the course.

Standard level

First examinations 2009

Option A

Studio

60%

External assessment

The student prepares a selection of his or her studio work in the form of an exhibition. This is externally assessed by a visiting examiner following an interview with the student about the work.

Investigation

40%

Internal assessment

The student presents selected pages of his or her investigation workbooks that have been produced during the course. This selection is internally assessed by the teacher and externally moderated by the IBO at the end of the course.

Option B

Investigation

60%

External assessment

The student presents selected pages of his or her investigation workbooks that have been produced during the course. This selection is externally assessed by a visiting examiner following an interview with the student.

Studio

40%

Internal assessment

The student presents a selection of his or her studio work. This selection is internally assessed by the teacher and externally moderated by the IBO at the end of the course.

Studio refers to the studio work the student selects for inclusion in the candidate record booklet; investigation refers to the selection of pages from the investigation workbooks for inclusion in the candidate record booklet.
Assessment details

Assessment in visual arts consists of an evaluation of each student's body of work as a whole—both the finished products and the processes of artistic investigation and development. In each case, the component contributing the larger proportion to the total assessment is externally assessed: for optionA this is studio; for option B it is investigation.

Students must present their externally assessed work (studio for option A; investigation for option B) in the candidate record booklet, which is viewed by and discussed with a visiting examiner. Before meeting each student, the visiting examiner studies the candidate record booklet. During the interview, students should have both their studio work and investigation workbooks available.

Teachers should become acquainted with the Vade Mecum (the procedures manual for Diploma Programme teachers and coordinators) and refer to the visual arts section. This publication contains:

* information about completing the candidate record booklet

* details of the process for nominating prospective examiners for consideration by the IBO

* procedures for arranging the visit of the examiner appointed

* the alternative procedure to be followed (where no visiting examiner has been allocated)

* information on assessment

* forms for completion.

Candidate record booklet

The candidate record booklet must contain:

* a statement by the student

* a short written comment by the teacher

* a photographic record of the selected studio work

* A4/letter-size copies of the selected investigation workbook pages.

In the statement, the student must describe briefly, in no more than 300 words, his or her artistic growth and development throughout the course. He or she should illustrate these insights with specific examples related to studio work and the investigation workbooks.

It is the teacher's responsibility to ensure that the student selects and provides a photographic record of studio work and representative pages from the investigation workbooks for the candidate record booklet. The teacher should provide support and advice throughout this process. As students learn to discriminate between different levels of quality in their work, they are expected to select their best body of work in both studio and investigation. However, following input from the teacher, the final decisions about what to include in the candidate record booklet must be the student's own.

Wherever possible, two additional photographs of the overall exhibition should be provided for inclusion in the candidate record booklet. The two photographs can be taken at the time of the interview. This can provide a useful record of the exhibition.

The student must select carefully the stated number of copied investigation workbook pages (see the following tables) and ensure that the work meets all the assessment criteria. It is important that the student includes pages that demonstrate how his or her investigation led to the development of some of the studio works photographed for inclusion in the candidate record booklet. The selection can include some consecutive pages.

It is also important that students demonstrate evidence of:

* their investigation and strategies for organizing its content

* first-hand responses to such content

* exploration of ideas both visually and in writing.

Quantity of work

The quantity of work expected of students for both studio and investigation work is not prescribed and should be what is “reasonable” in the time available during the course. (Please refer to the “Difference between HL and SL” and “Syllabus outline” sections.) The following tables indicate the quantity of work required for inclusion in the candidate record booklet for both studio and investigation. The selection of photographs may include, where appropriate, such details as close-ups or different angles, or a series of stills.

Option A

Studio 60%

External assessment

Investigation 40%

Internal assessment

HL

Selection of 12-18 photographs representing the works produced

25-30 A4/letter-size copies of workbook pages

SL

Selection of 8-12 photographs representing the works produced

15-20 A4/letter-size copies of workbook pages

Option B

Investigation 60%

External assessment

Studio 40%

Internal assessment

HL

30-40 A4/letter-size copies of workbook pages

Selection of 8-12 photographs representing the works produced

SL

25-30 A4/letter-size copies of workbook pages

Selection of 6-8 photographs representing the works produced Authenticity

The execution of artworks submitted for assessment must be by the student exclusively. A student who allows the work of another to stand as his or her own commits malpractice. The student is responsible for ensuring that all work submitted for assessment is his or her own, and that all investigation sources are acknowledged, including situations where the creative appropriation of another artist's work has been made.

Copying works of art without the provision of references constitutes plagiarism. There are circumstances where the creative appropriation of another artist's work may be acceptable and important, but the original source must always be acknowledged.

It is the teacher's responsibility to monitor student work on a regular basis and to confirm that, to the best of his or her knowledge, it is the student's own work.

* As part of the learning process, teachers should give advice to students on the development of studio artwork but students should take increasing responsibility for their own direction of the work.

* The investigation workbooks are designed to be working journals, and, although teacher feedback about them is expected, reworking or “tidying up” the content of the workbook pages is not encouraged.

In addition, the teacher is responsible for overseeing student documentation of artworks (in the photographs and investigation workbook pages included in the candidate record booklet). Teachers are also required to sign the appropriate documents. (Please see the Vade Mecum.)

Teachers should refer to Academic honesty: guidance for schools (September 2006) for further guidance and information.

Collaborative work

If students wish to work collaboratively, all work should be planned in consultation with the teacher. The teacher's role is vital in monitoring the individual's contribution to the collaborative project. The final assessment is of individual students, so each student's artwork must show evidence of his or her individual achievements within a particular project. The investigation workbooks are vital in documenting each individual's development of ideas and contribution to the project. Teacher comments relating to collaborative work, to be noted in the candidate record booklets, are also very important.

Option A
External assessment (60%): studio

Each student prepares an exhibition of work undertaken during the course. The student's exhibition is viewed by and discussed with a visiting examiner.

Before meeting the student in an interview, the visiting examiner reviews the candidate record booklet. This review normally takes place before the visit to the school, and must take place before meeting the student.

* The investigation workbooks must be available to the visiting examiner during the discussion of the student's studio work.

* The exhibition should include works that have been developed to their complete and final form as well as investigative work carried out during the development phase (for example, sketches, notes, preliminary studies). A rough sketch may have considerable relevance when explained by the student.

* The selection and presentation of studio work should reflect the student's choices. However, the teacher is expected to provide help in the display of the work.

* The studio work not chosen for exhibition must be available to the visiting examiner during the interview.

The quantity of work included in the exhibition is not prescribed. The main factors influencing the quantity of work produced are the:

* technical characteristics of the media and the production processes required

* complexity and scale of the art pieces

* nature of the art pieces and the process of their development

* various combinations of media chosen

* time available at either HL or SL.

For example, a student working in photography or computer graphics may complete a hundred or more pieces for exhibition. However, a student working with labour-intensive sculptural pieces, particularly if on a large scale, would probably produce fewer finished works.

The examiner may ask to see the exhibition space before beginning the interview. The viewing and discussion of the student's work must be arranged in a quiet, well-lit room where no other activities are taking place and where the examiner can talk privately with the student. If students present visual arts work on videotapes, DVDs or slides, appropriate viewing facilities must be provided by the school. If the examiner is not satisfied with the facilities or space arrangements, the school's Diploma Programme coordinator will be asked to make appropriate changes.

Where appropriate, works should be matted/mounted and displayed on panels, tables, or in a way that allows them to be viewed to the best advantage.

The interview

The purpose of the interview is to assess the student's studio work. At HL the interview should last for 30-40 minutes; at SL it should last for 20-30 minutes.

During the interview, the examiner will encourage the student to talk about the technical aspects of the studio works, his or her own aims or intentions, and the relationship between the studio works and the investigation workbooks. The discussion should focus on the student's experiences in making the studio works exhibited and how these relate to the investigation work undertaken. The student is not expected to make a prepared speech.

Alternative procedure

If a school has not been assigned a visiting examiner (for example, if there are too few students to justify an appointment), each student prepares a portfolio of original work to be sent to IBCA for assessment. The portfolio should also include photographs or slides of three-dimensional work, or work that is too large to mail. In addition, the teacher should record a discussion with each student. Further details about this procedure are provided in the Vade Mecum.
Internal assessment (40%): investigation

Each student produces investigation workbooks during the course of study that support, inform, develop and help to refine the studio work.

For assessment purposes, the student must select carefully the stated number of copied investigation workbook pages and ensure that they clearly meet the requirements of the assessment criteria. Once the student has chosen the required number of pages that fulfill these requirements, the school must ensure that the candidate session number has been clearly marked on the top of each page and that the pages are numbered sequentially.

The teacher should then mark the selection of investigation workbook pages. In cases where there is more than one visual arts teacher teaching option A students, internal standardization should take place during this process.

All internal assessment marks are moderated on what is presented in the candidate record booklets.

Option B
External assessment (60%): investigation

Each student presents investigation workbooks that have been produced during the course. The student's workbooks are viewed by and discussed with a visiting examiner.

Before meeting the student in an interview, the visiting examiner reviews the candidate record booklet. This review normally takes place before the visit to the school, and must take place before meeting the student.

* The studio work must be available to the visiting examiner during the discussion of the investigation workbooks.

* The option B student does not have to prepare an exhibition of his or her studio work, although this can be done if the student wishes.

The examiner may ask to see the space before beginning the interview. The viewing and discussion of the student's work must be arranged in a quiet, well-lit room where no other activities are taking place and where the examiner can talk privately with the student. If the examiner is not satisfied with the facilities or space arrangements, the school's Diploma Programme coordinator will be asked to make appropriate changes.

The interview

The purpose of the interview is to assess the student's investigation work. At HL the interview should last for 30-40 minutes; at SL it should last for 20-30 minutes.

During the interview, the examiner will encourage the student to talk about his or her investigation and its relationship to the studio work. The discussion should focus on the student's contextual, visual and critical investigation and how this relates to the studio work. The student is not expected to make a prepared speech.

Alternative procedure

If a school has not been assigned a visiting examiner (for example, if there are too few students to justify an appointment), the investigation workbooks are sent to IBCA for assessment. The teacher should also record a discussion with each student. Further details about this procedure are provided in the Vade Mecum.

Internal assessment (40%): studio

The studio work should demonstrate the student's developed understanding of some of the ways in which artists work, and the relationship of the use of media to the expression of ideas in visual arts. For assessment purposes, the student must select carefully the stated number of photographs showing his or her studio works and ensure that they clearly meet the requirements of the assessment criteria.

The teacher should then mark the selection of studio work photographs. In cases where there is more than one visual arts teacher teaching option B students, internal standardization should take place during this process.

All internal assessment marks are moderated on what is presented in the candidate record booklets.
Assessment criteria

General information

The method of assessment used by the IBO is criterion-related, rather than norm-referenced. That is to say, the method of assessment judges each student in relation to identified assessment criteria and not in relation to the work of other students.

There are two different methods of assessment in the Diploma Programme visual arts course: external and internal. Externally assessed work is marked by examiners; internally assessed work is marked by teachers. The marking for both external and internal components is subject to moderation.

* Both the studio work and the investigation workbooks are assessed using markband descriptors.

* The investigation workbooks are externally assessed for option B and internally assessed for optionA. The studio work is externally assessed for option A and internally assessed for option B.

* The markband descriptors appear on the following pages. Each markband is differentiated according to whether the student is HL or SL and option A or B. It is important to refer to the “Syllabus outline” section for information about the differences between each option, level and component.

Using the markbands

* In applying the markbands the aim is to find the descriptor that conveys most adequately the level attained by the student's work. Having scrutinized the work to be assessed, the descriptors for each markband should be read, starting with level 0, until a descriptor is reached that most appropriately describes the level achieved by the student. If a piece of work seems to fall between two descriptors both descriptors should be read again, and the one that most appropriately describes the student's work chosen.

* Four marks are available for each descriptor. Examiners and teachers should award the upper marks if the student's work demonstrates most or all of the qualities described or the lower marks if the student's work demonstrates only some of the qualities described.

* Only whole numbers must be used: fractions and decimals are not acceptable.

* The markbands should be available to students at all times.
Markband descriptors

Investigation

(Option B: external assessment; option A: internal assessment)

These markbands are concerned with the student's individual investigation (both written and visual) into visual arts in its past, present and emerging cultural contexts. They are also concerned with the student's investigation into visual qualities, ideas, themes and issues, both in written and visual forms. This should include the analysis of images and artifacts—including original, appropriated and recycled ones—found in art styles and movements from different cultures and times, and should encompass the student's technical skills and experimentation in using different media.

In the investigation, the student should take an independent and integrated approach towards his or her work. The investigation should show breadth and depth in making connections and reaching informed conclusions. A range of sources should be used, which must all be acknowledged properly. The work should show evidence of critical discrimination and demonstrate the student's developing use of the specialist vocabulary of visual arts.

The definition of “culture” in this context is given in the “Syllabus details” section.

The markbands for HLB, SLB/HLA and SLA are differentiated.

Markbands

Descriptor

HLB

SLB/ HLA

SLA

0

0

0

Investigation has not reached level 1.

N/A

N/A

1-4

* Presents art from different cultures and/or times, and rarely considers it for its function and/or significance.

* Demonstrates the development of few skills, techniques and processes when making and describing images and artifacts.

* Demonstrates few investigative strategies into visual qualities, ideas and their contexts, and these lack organization and focus.

* Demonstrates little depth and/or breadth through a very poor development of ideas.

* Demonstrates little use of the specialist vocabulary of visual arts.

* Uses a limited range of sources and acknowledges them inadequately.

* Presents little of the work effectively and/or creatively and demonstrates little critical observation.

* Presents little relationship between investigation and studio.

N/A

1-4

5-8

* Presents and describes art from different cultures and times, and sometimes considers it for its function and/or significance.

* Demonstrates the development of a limited number of effective skills, techniques and processes when making and describing images and artifacts.

* Demonstrates investigative strategies into visual qualities, ideas and their contexts that lack organization and/or focus.

* Demonstrates limited depth and/or breadth through a poor development of ideas.

* Demonstrates limited and/or generally inaccurate use of the specialist vocabulary of visual arts.

* Uses a limited range of sources and acknowledges them inadequately.

* Presents a limited amount of the work effectively and/or creatively and demonstrates limited critical observation.

* Presents a limited relationship between investigation and studio.

1-4

5-8

9-12

* Presents, describes and sometimes analyses art from different cultures and times, and sometimes considers it for its function and significance.

* Demonstrates the development of some effective skills, techniques and processes when making and describing and/or analysing images and artifacts.

* Demonstrates some organized and focused investigative strategies into visual qualities, ideas and their contexts.

* Demonstrates, at times, emerging depth and/or breadth through a mediocre development of ideas and few explained connections between the work and that of others.

* Demonstrates mediocre and sometimes inaccurate use of the specialist vocabulary of visual arts.

* Uses a range of sources and acknowledges them properly most of the time.

* Presents some of the work fairly effectively and/or creatively and demonstrates some emerging critical observation.

* Presents a developing relationship between investigation and studio.

5-8

9-12

13-16

* Considers, describes, analyses and compares satisfactorily art from different cultures and times, and considers it for its function and significance satisfactorily most of the time.

* Demonstrates the development of mostly effective skills, techniques and processes when making and analysing images and artifacts.

* Demonstrates organized and mostly focused investigative strategies into visual qualities, ideas and their contexts.

* Demonstrates satisfactory depth and breadth through some successful development of ideas and some explained connections between the work and that of others.

* Demonstrates satisfactory and generally accurate use of the specialist vocabulary of visual arts.

* Uses a range of sources and acknowledges them properly.

* Presents some of the work effectively and creatively and demonstrates some satisfactory critical observation and reflection.

* Presents a reasonably focused relationship between investigation and studio.

9-12

13-16

17-20

* Analyses and compares thoughtfully most of the time art from different cultures and times, and usually considers it carefully for its function and significance.

* Demonstrates the development of effective skills, techniques and processes when making and analysing images and artifacts.

* Demonstrates coherent and focused investigative strategies into visual qualities, ideas and their contexts, more than one approach towards their study, and some connections between them.

* Demonstrates good depth and breadth through a mostly successful development of ideas and explained connections between the work and that of others.

* Demonstrates mostly careful and accurate use of the specialist vocabulary of visual arts.

* Uses an appropriate range of sources and acknowledges them properly.

* Presents the work effectively and creatively and demonstrates some good critical observation and reflection.

* Presents a focused relationship between investigation and studio.

13-16

17-20

N/A

* Analyses and compares thoughtfully art from different cultures and times, and considers it carefully for its function and significance.

* Demonstrates the development of a range of effective skills, techniques and processes when making and analysing images and artifacts.

* Demonstrates coherent, focused and individual investigative strategies into visual qualities, ideas and their contexts, a range of different approaches towards their study, and some informed connections between them.

* Demonstrates very good depth and breadth through a successful development and synthesis of ideas and well-explained connections between the work and that of others.

* Demonstrates mostly effective and accurate use of the specialist vocabulary of visual arts.

* Uses an appropriate range of sources and acknowledges them properly.

* Presents the work effectively and creatively and demonstrates some thoughtful critical observation, reflection and discrimination.

* Presents a clear relationship between investigation and studio.

17-20

N/A

N/A

* Analyses and compares perceptively art from different cultures and times, and considers it thoughtfully for its function and significance.

* Demonstrates the development of an appropriate range of effective skills, techniques and processes when making and analysing images and artifacts.

* Demonstrates coherent, focused and individual investigative strategies into visual qualities, ideas and their contexts, an appropriate range of different approaches towards their study, and some fresh connections between them.

* Demonstrates considerable depth and breadth through the successful development and synthesis of ideas and thoroughly explained connections between the work and that of others.

* Demonstrates effective and accurate use of the specialist vocabulary of visual arts.

* Uses an appropriate range of sources and acknowledges them properly.

* Presents the work effectively and creatively and demonstrates effective critical observation, reflection and discrimination.

* Presents a close relationship between investigation and studio.
Studio: option A

(External assessment)

These markbands are concerned with the student's ability to create personally relevant artworks. These artworks should show exploration of ideas that reflect cultural and historical awareness. These should also demonstrate technical competence and artistic qualities that challenge and extend personal boundaries.

Please refer to “Choice of media” in the “Syllabus details” section for information regarding students' experience in a variety of media.

The markbands for HLA (left-hand column) and SLA (right-hand column) are differentiated.

Markbands

HLA

Descriptor

Markbands

SLA

0

Studio has not reached level 1.

0

N/A

* Exhibits limited technical skills and/or personal involvement.

* Shows little evidence of development of ideas.

1-4

1-4

* Exhibits mediocre understanding of the ideas and techniques that underpin artistic expression.

* Demonstrates an attempt to produce some personally relevant artworks that show some exploration of ideas reflecting cultural and historical awareness and artistic qualities.

* Shows the beginnings of development of the use of materials but ideas remain unresolved.

* Displays mediocre technical competence.

5-8

5-8

* Exhibits satisfactory understanding of the ideas and techniques that underpin artistic expression.

* Demonstrates the production of personally relevant artworks that show satisfactory exploration of ideas reflecting cultural and historical awareness and artistic qualities.

* Shows development of ideas.

* Displays a developing sensitivity to materials and their use, resulting in a partial resolution of ideas and medium.

* Displays satisfactory technical competence.

9-12

9-12

* Exhibits good understanding of the ideas and techniques that underpin artistic expression.

* Demonstrates the production of personally relevant artworks that show good exploration of ideas reflecting cultural and historical awareness and artistic qualities.

* Shows development of ideas and strategies for expression.

* Displays sensitivity to materials and their use. The work has been reviewed and modified as it has progressed, resulting in an increasingly informed resolution of ideas and medium.

* Displays good technical competence.

* Demonstrates an emerging confidence.

* Shows self-direction and an increasingly independent judgment.

13-16

13-16

* Exhibits very good understanding of the ideas and techniques that underpin artistic expression.

* Consistently demonstrates the production of personally relevant artworks that show very good exploration of ideas reflecting cultural and historical awareness and artistic qualities.

* Shows thoughtful development of ideas and strategies for expression.

* Displays sensitivity to materials and their use. The collection of work has been reviewed, modified and refined as it has progressed, resulting in an informed resolution of ideas and medium.

* Displays very good technical competence.

* Demonstrates confidence and inventiveness.

* Shows self-direction and independent judgment.

17-20

17-20

* Exhibits excellent understanding of the ideas and techniques that underpin artistic expression.

* Consistently demonstrates the production of personally relevant artworks that show excellent exploration of ideas reflecting cultural and historical awareness and artistic qualities.

* Shows thoughtful development of ideas and strategies for expression.

* Displays sensitivity to materials and their use. The coherent body of work has been reviewed, modified and refined as it has progressed, resulting in an accomplished resolution of ideas and medium.

* Displays excellent technical competence.

* Demonstrates confidence and inventiveness.

* Shows an informed, reflective judgment that challenges and extends personal boundaries.

N/A
Studio: option B

(Internal assessment)

These markbands are concerned with the student's ability to create personally relevant artworks. These artworks should show exploration of ideas that reflect cultural and historical awareness. These should also demonstrate technical competence and self-direction.

Please refer to “Choice of media” in the “Syllabus details” section for information regarding students' experience in a variety of media.

The markbands for HLB (left-hand column) and SLB (right-hand column) are differentiated.

Markbands

HLB

Descriptor

Markbands

SLB

0

Studio has not reached level 1.

0

N/A

* Exhibits limited technical skills and/or personal involvement.

* Shows little evidence of development of ideas.

1-4

1-4

* Exhibits mediocre understanding of the ideas and techniques that underpin artistic expression.

* Demonstrates an attempt to produce some personally relevant artworks that show some exploration of ideas reflecting cultural and historical awareness and artistic qualities.

* Shows the beginnings of development in the use of materials but ideas remain unresolved.

* Displays mediocre technical competence.

5-8

5-8

* Exhibits some satisfactory understanding of the ideas and techniques that underpin artistic expression.

* Demonstrates an attempt to produce some personally relevant artworks that show satisfactory exploration of ideas reflecting cultural and historical awareness and artistic qualities.

* Shows development of some ideas.

* Displays a developing sensitivity to materials and their use.

* Displays developing technical competence.

9-12

9-12

* Exhibits satisfactory understanding of the ideas and techniques that underpin artistic expression.

* Demonstrates the production of personally relevant artworks that show satisfactory exploration of ideas reflecting cultural and historical awareness and artistic qualities.

* Shows some development of ideas and strategies for expression.

* Displays a developing sensitivity to materials and their use. The work has been reviewed and modified as it has progressed.

* Displays increasingly satisfactory technical competence.

* Demonstrates self-direction most of the time.

13-16

13-16

* Exhibits good understanding of the ideas and techniques that underpin artistic expression.

* Demonstrates the production of personally relevant artworks that show good exploration of ideas reflecting cultural and historical awareness and artistic qualities.

* Shows development of ideas and strategies for expression.

* Displays sensitivity to materials and their use. The work has been reviewed and modified as it has progressed.

* Displays increasingly good technical competence.

* Demonstrates growing confidence.

* Demonstrates self-direction.

17-20

17-20

* Exhibits very good understanding of the ideas and techniques that underpin artistic expression.

* Consistently demonstrates the production of personally relevant artworks that show very good exploration of ideas reflecting cultural and historical awareness and artistic qualities.

* Shows thoughtful development of ideas and strategies for expression.

* Displays sensitivity to materials and their use. The collection of work has been reviewed, modified and refined as it has progressed.

* Displays good technical competence.

* Demonstrates confidence.

* Consistently demonstrates self-direction.

N/A

Glossary of action verbs

Students should be familiar with the following terms.

Action verb

Definition

Students are asked to do the following.

Analyse

Break down in order to bring out the essential elements, structure, underlying assumptions and any interrelationships involved.

Compare

Describe two (or more) situations and present the similarities between them.

Consider

Contemplate carefully and reflectively with regard to taking some action or forming an opinion.

Contrast

Describe two (or more) situations and present the differences between them.

Demonstrate

Prove or make clear by reasoning or evidence, illustrating and explaining with examples or practical application.

Describe

Present the characteristics of a particular topic.

Discuss

Offer a considered and balanced review of a particular topic. Opinions or conclusions should be presented clearly and supported by research evidence and sound argument.

Evaluate

Make an appraisal by weighing up the strengths and limitations of different evidence and arguments.

Examine

Consider an argument or concept in a way that uncovers the assumptions and interrelationships of the issue.

Explain

Describe, giving reasons.

Explore

Study, analyse or examine systematically through a process of discovery.

Identify

Recognize and state briefly a distinguishing fact or feature.

Interpret

Use knowledge and understanding to explain, represent symbolically and, where appropriate, draw inferences and create meaning.

Investigate

Observe, study, or make a detailed and systematic examination, in order to establish facts and reach new conclusions.

Present

Offer for observation, examination or consideration, to show or display a creative act.

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