Investigation Criteria for Full Markings (Syllabus Excerpt)
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Analyses and compares perceptively art from different cultures and times, and considers it thoughtfully for its function and significance.

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

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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.

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

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

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Uses an appropriate range of sources and acknowledges them properly.

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Presents the work effectively and creatively and demonstrates effective critical observation, reflection and discrimination. • Presents a close relationship between investigation and studio.
Outline and Explanation:
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Introduction Page- introduce the studio work you plan on investigation, brainstorming and creating.
Explain why you are interested in that specific studio work creation. Give a few minor sketches of how you visualize the project.

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Brainstorming Page- brainstorm your ideas. The brainstorming page may turn into two pages depending on how simple or complex the studio work idea is. Write about technique ideas, media ideas, area(s) you wish to target, etc. Give about 2-3 different ideas you have in your mind about creating the studio work and how you envision the final piece. Another good idea is to draw out the materials you are thinking about using, instead of gluing in pictures of them. At the end of the brainstorming page write about which ideas you are looking into pursuing the most. Use colors, underlining, etc. to indicate minor ideas versus major ideas.

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Experimentation Pages- Experiment in your workbook with the medias and/or techniques your wish to incorporate into your studio piece. The experimentation page typically turns into two or three pages. Make the experimentation the main part of the page and leave a corner or strip of the page to explain yourself
(do you like the media/technique, how did the experimentation go, define what you mean by bad or good experimentation, do you plan on using this technique for your studio work or have you decided on another, why or why not have you chosen this media/technique, etc.). Write you explanation in paragraph or bullet-point format. Do not write out questions you are answering and then the answers.

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Artist Page- Introduce an artist that inspired you. Not all studio works will have the artists page because you may use one artist inspiration for more than one studio piece or you may not have had a specific artist that inspired you for that specific studio work. Briefly write factual information about the artist (this writing should be in the minority). Sketch out some of his/her works or glue in pictures if it is too difficult to imitate their works. Explain how their art has inspired you and how you plan to use that inspiration in your studio work(s) (this writing should be in the majority). Hint: you do not have to imitate the artists technique to use them as an inspirational figure. You could have been inspired by the themes they target, sizes of

art they create, their morals and/or beliefs, etc. Make sure to mention what aspect about the artist inspired you!
Process Page- have someone take pictures randomly throughout your creation of the studio work so you

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can glue them onto your process page. Reflect on the pictures (what are you doing in the photographs, are you having trouble, are you doing well, are you satisfied with your progress, etc.)
Reflection Page- Once your studio piece is complete is it good to have a reflection page about your

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work. I usually glue in a picture of the final work and then reflect. Speak about the good things and the bad things, difficulties, your likes and dislikes, how you have enhanced your skill in a certain media or technique, if you are satisfied with your work and why or why not, what would you do differently if you had
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to do the studio piece again, etc.
Tips for Developing your Knowledge about the Language of Art:
Investigation Pages- when investigating an artist, look up new vocabulary (artistic words related to the form of art you are looking at). Create a investigation workbook page about it and write about it. One thing I always added in was a corner in the page called: "New Glossary Terms", where I would list new words I learned and their brief definition. Feel free to create investigation pages throughout your workbook that are unrelated to your current studio piece you are working on.

Experimentation Pages- when experimenting with a new technique or medium, make sure to check up the actual terminology for them. Like the investigation pages, write up the new vocabulary and their brief definitions. This will demonstrate to the interviewer that you recognized new vocabulary linked to a specific medium and technique and that you have taken note of it. Make sure to use that new vocabulary throughout the rest of your investigation workbook if you use that technique or medium. The interviewer likes to see how you have learned new, important words, and strive to use them when explaining your own art.
Questions for Analyzing Artworks
First Reaction- write down your first response to the artwork
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Did you like it?

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How does it make you feel?

• Does it remind you of anything you have seen before?
Description- list what you can see in this artwork
Figures, colors, shapes, objects, background, etc.

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• Imagine you are describing it to a blind person. Do this in as much detail as possible
Formal Analysis- write down your observations in more detail, looking at these specific aspects of the artwork: •

Colors:
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Which type of palette has the artist used: is it bright or dull, strong or weak?

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Are the colors mostly complementary, primary, secondary or tertiary?

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Which colors are used most, and which are used least in this artwork?

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Are the colors used different ways in different parts of the artwork?

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Have the colors been applied flat (straight from the tube), or have different colors been mixed?

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Tones:
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Is there a use of light/shadow in this artwork?

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Where is the light coming from? where are the shadows?

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Are the forms in the artwork realistically modeled (does it look 3D)?

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Is there a wide range of tonal contrast (very light highlights and very dark shadows) or is the tonal range quite narrow (mostly similar tones)?

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Use of Media:
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What medium has been used?

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How has the artist used the medium (applied thick or thin? How can you tell?)

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Can you see brushstrokes, markmaking or texture? Describe the shape and direction of the brushstrokes/marks. What size of brush.pencil was used?

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Was is painted, drawn, sculpted quickly, or slowly? What makes you think this?

Composition:
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What type of shaped are used in this artwork? (rounded, geometric, curved, etc.)

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Is there a mixture of different types of shapes or are all of the shapes similar?

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Are some parts of the composition full of shapes and some empty or are the shapes spread evenly across the artwork?

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Does the whole composition look full of energy and movement, or does it look still and peaceful?

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How did the artist create this movement or stillness?

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What is the center of interest in the composition?

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Are some shapes repeated or echoed in other parts of the artwork?

How does the artist draw your attention to it?

Mood/Emotion:
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What do you think the artist wanted you to feel when you look at this artwork?

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What has he/she used to create a mood? (think about the colors, shapes, tones, etc.)

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How has he/she succeeded in creating this mood?

Interpretation- your personal thoughts about the work
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What do you think the artist is trying to say in this artwork? What does it mean?

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What is the main theme or idea behind this piece?

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If you were inside this artwork, what would you be feeling / thinking?

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Does the artwork have a narrative (tell a story)? is it a religious artwork?

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Is it abstract? is it realistic? Why?

• How would you explain this artwork to someone else?
Evaluation- based on what you have observed, give your opinion of the artwork with reasons
Questions for Reflecting on a Studio Work

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Define what you mean by "good" or "bad" studio work?

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What difficulties did you encounter?

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How did you overcome these difficulties?

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Does the studio work look like how you imagined it?

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What would you do differently if you could do it over again?

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What is your favorite part about your final studio piece?

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How do you feel overall with the studio work?

Artist Page- a page in your sketchbook researching a specific artist of your interest. This page usually contains a creative title (decorated artist's name, decorated piece of works name, etc.), a brief biography, reasons you chose the artist, how you plan to use the knowledge you have learned from that artist in your future works, sketches or pictures of the artist's works, etc.

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Art Analysis Page- this is not an "Artist Page". It focuses solely on one work from a specific artist and analyzes that work in-depth. This page is typically mostly writing with a brief sketch of the work being analyzed and a picture of the original work. See the "Questions for Analyzing Artwork" for guidance on this page.

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Technique Experimentation Page- this is a page filled with your experimentation with one specific technique. Commonly, this page turns into 2 or 3 pages. The reason for this is because sometimes you can experiment with the same technique using different mediums, so you may chose to experiment with
2-3 different mediums, each on its own page. Make sure to reflect on your experimentation on each page, not just the last one!

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Medium Experimentation Page- this is a page filled with your experimentation with one specific medium. Commonly, this page turns into 2 or 3 pages. The reason for this is because sometimes you can experiment with the same medium using different techniques, so you may chose to experiment with 2-3 different techniques, each on its own page. Make sure to reflect on your experimentation on each page, not just the last one!

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Research Page (other than artists)- this page is similar to the "artist page", but instead of investigation/researching one artist, you are researching one symbol, object, person, theme, etc. On this page you will, generally, draw the object, symbol, etc. being researched and write out new information you have learned about it. A good way to go about your writing on the "research page" would be to give various definitions of the object being researched- common dictionary definition, word origin and history, medical dictionary, science dictionary, famous quotes using that object, etc. Finally, form your own definition out of the researched definitions to demonstrate how you plan on using the object, symbol, etc. in your studio work(s).

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Practicing Page- similar to the experimentation pages, yet is related to one studio work. If you plan on using a new medium you are unfamiliar with for a studio work, it is a good idea to have 1-3 experimental pages of that medium or technique before you begin your actual studio work. If the experimentation is too large to be done in your workbook, then take pictures while experimenting (e.g. if you are experimenting with clay) and glue them on to one page in your workbook. Make sure to reflect on the experimentation!

Writing about Artworks – Do’s and Don’ts

Don’t…

Do…

Write essays on the artist’s life history…
(date of birth, favourite football team etc..) Anyone with Encarta could do this. A few biographical details are useful, but are not essential.

Make notes on why you’re looking at this artist…

Photocopy loads of artworks …
… and stick them into your RWB with no written analysis or other information.

Choose one or two good artworks …

… and forget to write the titles down!

… include the artist’s name, title of the artwork, year, medium and where you found it (web address or book title and page).

Treat your RWB like an exercise book …
Don’t produce blocks of writing, underlined, with no visual consideration or interest.

Think about your research in a visual way…

Write without checking the facts! …
Make sure that you are accurate about dates, media used and especially the gender of your chosen artist!

Use the correct vocabulary…

Plagiarise…
(include quotations from other writers as if they are your own words). This is always obvious to the reader. Include one or two relevant quotations…

what you admire, what you don’t – how this artist’s work relates to your Studio Work. Make your research personal to your particular project. … annotate them and make copies of them (to practice brush technique, colour mixing or something similar).

use colour, headings and images to complement your notes.

Compose the pages so that they look interesting and varied.

i.e. ‘tone’ is more accurate that ‘light and shadow’. Remember that at IB level, you will be assessed on the quality of your written work! Don’t be afraid to use adjectives, especially when evaluating an artwork (giving your opinion).

(e.g. the artist writing about his / her ideas OR a well-­‐known critic) and always use quotation marks. Include the name of the person who you are quoting and write down where you found it.

Writing terms and techniques… tasks you will be asked to complete:

To annotate To make short notes explaining or clarifying a point or drawing the viewer’s attention to something of relevance (e.g. ‘the wide range of tones here adds drama and interest’). To analyse To look closely and in detail at an artwork, noting down as many points as you can about (see next the piece. These points might cover things like: page) o Composition (the organisation of shapes within the work) o Use of colour / tone o Medium used (oil paint, photography, pastel) o Mood or emotion created o Content / narrative (what’s happening in this artwork? Is there a story?) o Issues covered (i.e. political, social, religious issues?) To compare To analyse two or more artworks at once, focusing on the similarities and differences and contrast between them. This is often easier than analysing a single artwork. To evaluate To make personal judgements about the artwork and to give your reasons i.e. Do you like the artwork? Why? What is good about it? What is not so good? The reasons for this will, of course, come from your analysis.

Analysing Artworks: A Step-­‐by-­‐Step Guide

⇒ Follow these steps, answer all the questions and you can’t go wrong!

⇒ Remember that your own drawings/copies of the artwork should accompany ALL written analysis.

1: First Reaction

Write down your first response to the artwork.

o Do you like it?

o How does it make you feel?

o Does it remind you of anything you have seen before?

2: Description

List what you can see in this artwork. o Figures, colours, shapes, objects, background etc.

o Imagine you are describing it to a blind person. Do this in as much detail as possible.

3: Formal Analysis

Write down your observations in more detail, looking at these specific aspects of the artwork: Colours:

o which type of palette has the artist used: is it bright or dull, strong or weak?

o are the colours mostly complementary, primary, secondary or tertiary? o Which colour(s) are used most in this artwork?

o Which colour(s) are used least in this artwork? o Are the colours used different ways in different parts of the artwork?

o Have the colours been applied flat, ‘straight from the tube’, or have different colours been mixed? Tones:

o is there a use of light / shadow in this artwork?

o where is the light coming from? where are the shadows?

o Are the forms in the artwork realistically modelled (does it look 3D)? o is there a wide range of tonal contrast (very light highlights and very dark shadows) or is the tonal range quite narrow (ie mostly similar tones)? Use of media:

o what medium has been used (oil paint, acrylic, charcoal, clay etc)?

o How has the artist used the medium – ie is the paint applied thick or thin? How can you tell?

o Can you see brushstrokes, markmaking or texture? Describe the shape and direction of the brushstrokes / marks. What size of brush / pencil was used?

o Was it painted, drawn, sculpted quickly, or slowly and painstakingly? What makes you think this? Composition (organisation of shapes):

o what type of shapes are used in this artwork (ie rounded, curved, straight-­‐edged or geometric shapes)?

o Is there a mixture of different types of shapes or are all the shapes similar?

Are some parts of the composition full of shapes and some parts empty, or are the shapes spread evenly across the artwork?

o Are some shapes repeated or echoed in other parts of the artwork?

o Does the whole composition look full of energy and movement, or does it look still and peaceful? How did the artist create this movement/stillness?

o What is the centre of interest in the composition? o How does the artist draw your attention to it? Mood / Emotion:

o What do you think the artist wanted you to feel when you look at this artwork?

o What has he/she used to create a mood? (think about colour, shape, tone etc.)

o How has he/she succeeded in creating this mood? (For example, strong vivid colours might be used to create a joyful or angry mood in an artwork, depending upon how the artist has used them).

o Could the same mood have been created in a different way? How could you change this? o

4: Interpretation Now write down your personal thoughts about the work: there are no ‘right’ or ‘wrong’ answers here! o What do you think the artist is trying to say in this artwork? what does it mean?

o What is the main theme or idea behind this piece? o If you were inside this artwork, what would you be feeling / thinking?

o does the artwork have a narrative (tell a story)? is it a religious artwork? o is it abstract? is it realistic? Why? o How would you explain this artwork to someone else?

5: Evaluation

Based upon what you have observed already, give your opinion of the artwork. You MUST give reasons. Eg: o “Franz Marc has created an effective expressive painting, because the hot colours and lively brushmarks he has used add to the overall feeling of energy and excitement he is trying to create.” o “The overall mood of this drawing would be improved if Kathe Kollowitz had used strong, dramatic shadows, instead of just pale tones. Dark tones would develop the feeling of fear and loneliness in this image.” o “Picasso has used sharp, stabbing, geometric shapes in some areas of his composition to create a sense of violence and distress within ‘Guernica’.

These make the figures and animals seem more

vulnerable, as if in pain and suffering while under

attack.”

Writing about Painting – A glossary of useful terms:

o Alla Prima the paint is applied in one layer only; there are no under-­‐layers or over-­‐working. The work of the Fauves was often alla-­‐prima; their energetic, spontaneous style suited this method of working. o Gestural A loose, energetic application of paint which relies on the artist’s movements to make expressive marks on the canvas. This is supposed to be a very personal and unique way of working -­‐ almost like handwriting. Look at artists like Cy Twombly or Antoni Tapies for examples. o Glaze (or Wash) a semi-­‐transparent layer of thinned paint. Many traditional painters like Michaelangelo made use of this technique to create the subtle tones of skin or fabric. For a more modern use of the glazing technique, look at the abstract, gestural paintings of Helen Frankenthaler. o Impasto a thick layer of paint, often applied in several layers with a brush or palette knife. Look at the dense, textural brushwork of paintings by artists like Gillian Ayres or Frank Auerbach. o Plein-­‐aire a painting which has been made outside, often quite quickly, to cope with changing weather, light effects etc. The Impressionists were the first artists to paint outdoors, rather than in their studios. Before this, however, many artists had sketched outdoors in preparation for painting; the oil sketches of Constable are an excellent example. o Pointillist the use of many tiny dots of pure colour which seem to ‘blend’ when seen at a distance. Georges Seurat’s work is the most famous example of this almost-­‐scientific technique. Look also at the paintings of his pupil, Paul Signac. o Scumbling a thin glaze of paint dragged over a different colour, so that both layers of paint can be seen, giving a luminous, glowing effect. Abstract painters like Mark Rothko made use of this technique. o Sfumato literally means ‘smoked’ in Italian; the use of heavy, dark tones to suggest mystery and atmosphere. Rembrandt’s late self portraits are a superb example of this technique in practice. o Sketch A quick painting, often made in preparation for the ‘final version’.

See also ‘plein-­‐aire’. ‘Brushwork’ The way in which the artist uses the brush to apply paint. Brushwork can be loose, energetic, controlled, tight, obsessive, repetitive, random etc. ‘Palette’ 1. A wooden or plastic tray, used for mixing colours when making a painting. 2. The choice of colours in a painting ie ‘van Gogh uses a pure and vivid palette in his Arles landscapes’. ‘Tone’ or ‘tonal’ 1. The elements of light and shadow in an artwork ie ‘Kathe Kollowitz’s etchings use strong, dense tones to create an intense, sorrowful mood.

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2. The range of tones within an artwork ie ‘Rembrandt’s later portraits use a very dark tonal range’. ‘Support’ The surface that a painting or drawing is produced on. Supports can be paper, card, wood, canvas, metal etc. ie ‘Antoni Tapies’s paintings sometimes look as if they have been attacked. The support is often violently torn, ripped and stabbed into.’

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Writing about Colour – A glossary of useful terms:

o Primary colours: red, yellow and blue. Primary colours can be used to mix a wide range of colours. There are cool and warm primary colours. (ie warm cadmium red and cool vermilion red OR warm primary yellow and cool lemon yellow. o Secondary colours: orange, green and purple. Secondary colours are mixed by combining two primary colours. o Complementary colours: pairs of opposite colours on the colour wheel:

green-­‐red, blue-­‐orange and yellow-­‐purple. Complementary colours are as contrasting as possible (ie there is no yellow at all in the colour purple). Painters like Andre Derain and van Gogh often made use of the contrasts of complementary colours in their paintings. o Tertiary colours: A wide range of natural or neutral colours. Tertiary colours are created by mixing two complementary colours together. Tertiary colours are the colours of nature: skin, plants, wood, stone etc. o Tones: are created by adding black to any colour. (ie maroon is a tone of red). o Tints: are created by adding white to any colour. (ie pink is a tint of red). o Palette: the choice of colours an artist makes; ie ‘Van Gogh uses a vivid palette to paint his Arles landscapes’.

o Limited palette: the selection of only a few colours within an artwork; ie ‘In this drawing, Matisse has used a limited palette of ultramarine blues and purples to create a moody, subdued atmosphere.’ o Broad palette: the use of a wide range of different colours within an artwork; ie ‘Kandinsky’s paintings are instantly recognisable for their use of geometric shapes, but also for the broad palette of colours he employs.’ o Tonal range: the range of tones in an artwork from light to dark. A wide tonal range would include all tones from white to black. A narrow tonal range would include only pale tones, only mid tones or only dark tones; ie ‘Kathe Kollowitz’s etchings make powerful use of a narrow tonal range to create oppressive, dark images.’ o Opacity: the density or thickness of the colour used; if the colour is strong and nothing can be seen beneath it, the colour is said to be opaque. Acrylic and oil colours are often opaque. o Transparency: thin, transparent colour, with perhaps other colours, shapes and lines visible beneath it. Watercolour paintings typically use transparent colour.

o Useful adjectives you might use when describing COLOUR: Saturated, bright, pure, vivid, strong, harsh, dramatic, vibrant, brilliant, intense, powerful. The Regent’s School

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Muted, subtle, gentle, dull, soft, watery, subdued, delicate, gloomy, tertiary, faded, limited.

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Writing About Cultural Values Attached To The Arts

Useful terms to consider:

When the arts of the past are seen in museums, they are effectively detached from the life of the culture within which they originated. If you only see these art objects in books or photographs, it is very difficult to see them as a ‘real’ part of a living culture. To begin to understand the meanings various arts had for the societies they came from, consider the following values:

RELIGIOUS VALUES: Arts were often essential to the belief systems of many cultures; for example: statues of gods/deities, temples, icons, altarpieces, masks, music, dances etc.

SOCIAL VALUES: Arts often symbolised group identity and pride; for example: banners, headdresses, tattooing, flags, chants, anthems etc.

PSYCHO-­‐EMOTIONAL: Arts sometimes provided assurance of the continuity of life; for example: portraits, epic poetry, mythological tales, hymns etc.

USEFUL or PRACTICAL VALUES: Art was often an integral aspect of functional objects, both in shape and decoration; for example: knives, pottery, lamps, buildings etc.

SENSUAL VALUES: Arts provided a direct source of sensual pleasure and perhaps an intrinsically aesthetic response; for example: textiles, clothing, sculpture, music etc.

EDUCATIONAL VALUES: Arts were frequently a means of transmitting the values, attitudes and history of a culture; for example: cave painting, frescoes, illuminated manuscripts, epic poetry, historic drama, tribal dance etc.

DECORATIVE VALUES: Arts were used to enhance people’s appearance or to beautify the environment; for example: jewellery, wall-­‐hangings, tapestries, clothing etc.

COMMUNICATION VALUES: Arts reached the illiterate for whom the written word was meaningless; for example: friezes, stained glass windows, mosaics etc.

AN EXAMPLE: Medieval cathedrals integrated most of the values above.

The cathedrals were the focus of the religious life of the community even as they were 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 emotions 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. The Regent’s School

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4: Assessment

There are six Studio Work Assessment Criteria:

IB ASSESSMENT CRITERIA
A Imaginative Expression
The examiner is looking for studio work that is exploratory, creative and imaginative. Interesting ideas are presented in intelligent, sometimes surprising, ways.

Questions to ask yourself:
“Have I truly explored my ideas to create interesting, adventurous studio work (or have I just settled for the obvious)? Have I used any unusual or unexpected combinations of ideas or materials in my studio work?”

B Purposeful Exploration
The examiner is looking for studio work that matters to its creator. The art is thoughtful and has been developed into something full of power and meaning.

“How are the ideas in my studio work connected with my own life and cultural background? Have I created strong, powerful pieces of art work which really mean something to me?”

C Meaning and Function
The examiner is looking for work where subject matter, artistic ideas and technique are combined well to produce a coherent outcome.

“Are the ideas behind my studio work well suited to the techniques and media that I have chosen to use? What is the personal, cultural or visual meaning/purpose of my studio work?”

D Formal Qualities
The examiner is looking for studio work that is well planned. Its form is the result of the thoughtful application of design principles.
E Technical and Media Skills
The examiner is looking for studio work that shows technical skill and effective use of the medium.

Growth & Commitment
The examiner looks at both the studio work and RWBs for evidence of high quality visual and written work, including reflections on the relative success of different pieces of work and on their place in the student’s growth

“How effectively have I designed the appearance of my studio work? Have I used visual language well? (line, composition, form, tone, colour, texture etc) Which visual or artistic problems have I encountered and have I solved them well?”

“Am I using my chosen media with high levels of skill? What visual effects do I want to create? How effective is the medium I have chosen at creating these effects? Would it be better to choose a different medium?”

“How much growth and improvement does all my art work show so far? How I have developed as an artist during the course? Can I distinguish between my good and not-so-good art works, explaining how each piece has contributed to my improvement?”

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and development as an artist.

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There are five RWB Assessment Criteria:

IB ASSESSMENT CRITERIA

Questions to ask yourself:

P Independent Research The teacher is looking for workbooks that show independent research, both visual and verbal, in appropriate depth and/or breadth, with outcomes that are thoroughly understood by the candidate.

“Does my RWB show truly independent research (or have I only researched what is set in class)? Have I explored and researched my ideas in enough depth or breadth? Have I shown that I understand what I have researched (or have I simply stuck things in without explaining them)?”

Q Critical Research The teacher is looking for workbooks that systematically examine the meaning and significance of art from various cultures.

“Have I researched appropriate examples of artworks (from more than one culture) which are related to my artistic ideas? Have I been able to analyse and discuss the visual qualities of these artworks? Have I shown that I understand the significance, meaning and purpose of these artworks?”

R Contextual Research The teacher is looking for workbooks that thoroughly investigate sociocultural and historical contexts, in more than one culture.

“Have I researched the social / historical background to art from more than one culture? Have I shown that I understand how the social / historical context is relevant to these artworks? Have I used what I have learned elsewhere in my RWB?”

S Visual Research The teacher is looking for workbooks that show a thorough, wide-­‐ranging and experimental investigation of visual qualities and expressive forms.

“Have I shown a thorough visual exploration of ideas through sketching, drawing, experimenting with different media and practising different techniques? Have I have recorded my ideas in a wide range of ways? (or have I just produced pencil sketches?)”

Integration For this criterion, the teacher is looking for a close relationship between the RWBs and the studio work, in which reflection and research support experimentation and successful artistic production.

“Do my RWBs and Studio Work demonstrate a close relationship and connection? Have I produced a worthwhile, mature body of work which shows how what I have learned has led to the production of successful art works?”

The Final Exam: In March / April of Year 13, you will organise an exhibition of your work which covers everything you have produced during the whole IB course. Your exhibition will be assessed by a visiting examiner, who will also talk with you about your Studio Work and RWBs. In Year 12, you will have a mock interview to give you some practice at this. You will also produce a Candidate Record Booklet, which contains photographs of your finished Studio Work, photocopied pages from your RWBs and a 300 word statement about your development during the course. This will be sent to the IBO for final assessment, so it must be of a high quality. This booklet will be produced right at the end of the course, so I’ll explain more about it at that time.

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