BIFS IBDP Art Handbook 2012-2013 by Michelle Lee

BIFS IB Art Student Handbook

Mrs. M. Lee 2012-14

This Handbook contains a lot of essential information. Keep it safe and refer to it often!

Table of Contents: 1: The Basics …………………………............................... 1 General overview of the course

2: Getting started ………………………………………… 2 Equipment, Materials and workspace

3: IB Visual Arts Assessment Criteria ………………….. 3 Studio Work and Investigation workbook criteria

4: Assessment procedures …………….............................. 5 Internal and external assessment, CRB, quantity of work

5: Investigation Workbooks …………………………….. 7 Guidelines, good working practice, writing, tips

6: Monthly tasks …………………………………………. 11 Planning and producing studio work, the research process, self- assessment checklist, Independent project checklist

7: Writing ………………………………………………… 16 Do’s and Don’t’s, terms and techniques

8: Glossary of terms ……………………………………... 18 IB Glossary, Language of Art, Useful terms, Writing about cultural values

9: Elements and Principles ……………………………… 32 Elements of Art, Principles of Design

10: Analyzing artworks ……………………....................... 34 Artist analysis guides 1-3, Painting analysis guide 1-2, Sculpture analysis ljh guide, Architecture analysis guide, Gallery analysis guide, Descriptive words

11: How do I do…? ………………………......................... 43 Idea/Development pages, Sample IWB pages, Reflection samples 1-4

12: IB Art Subject Report …………………....................... 55 Comments: General comments, Investigation Workbook, Studio Work, November 2011 (Including current Markbands) and May 2010

13: Handouts and templates ……………………………... 66 Compare and contrast handouts 1-3, Artwork analysis template, Drawing gfgf from observation handout, Thumbnail sketches handout

14: Candidate Record Booklet …………………………... 69 Candidate statement, photos of studio work, IWB pages, sample pages

15: Galleries ………………………………………………. 75 Gallery visits, Galleries in Busan

16: Ethics, Plagiarism and Copyright in Art.............

IBO Ethics, Copyright article 1-4

17: Additional notes pages ..……………………………… 84 Additional ages to write notes and ideas

1: The Basics

During the IB course you will produce:

Studio Work: 60% Drawings, paintings, prints, sculptures, collages, design work, mixed media work, digital artwork, photography, models, textiles and more. Your Studio Work must show your personal interests and artistic skills through a range of different media and techniques. Investigation Workbooks (IWBs): 40% Investigation Workbooks are like sketchbooks, but so much more! Your IWBs will contain written notes, photos, exhibition leaflets, postcards, sketches, experiments with different media, written analysis of artworks, brainstorms, as well as more ‘finished’ drawings and paintings. You can basically put anything you want into your IWB as long as it supports the development of your artistic ideas and skills. Your IWB is the ‘net to catch your ideas’ and will be a great support in your studio work. You will need to complete 3 or more IWB pages each week. Most of this will be done in your study periods or at home. Some weeks you will be able to do more than 5 pages because of your wonderful ideas. Excellent – but that does not mean the next week you do not have to do any! Holidays are a great opportunity to collect information, sketch, record and develop ideas, especially if you are in another country. By the end of the course, you should have at least two thick IWBs completed. Self-Assessment You will be involved in assessing your own work every month, referring to the IB assessment criteria in detail. You will also receive comments from me that are useful in showing both your strong points and areas for improvement. There will be regular opportunities to discuss and explain your work and ideas in group discussions and critiques. You will be asked to comment upon other IB students work.

Summary: Investigation Workbook

At least 3 QUALITY pages every week

Studio Work

At least one quality finished piece per month.

Self-Assessment

Every month!

2: Getting Started

Equipment:

During the school day, you will have open access to the Art Studio and equipment. However, much of your work will also be done outside school, during the evenings, weekends, and holidays. Due to this, you must collect as wide a range of art media as possible, to help you develop and practice your skills in your own time. A suggested starter list would be: 2B, 4B and 6B sketching pencils Good quality eraser Glue Stick

Essential items

Pack 12 x color pencils (preferably watercolor pencils) Markers and drawing (ink) pens - Black, blue and red Acrylic paints (at least primaries, secondaries, white, black) A small range of quality brushes in a variety of sizes (e.g. No. 5, No. 9 and No. 20) Art supply case (for storing and transporting supplies)

Recommended items

Try to get as many of these items as you can, and add to your supply of art materials when you are able to. The first three items on the list are urgent purchases – please buy these as quickly as possible! Collect as many ‘free’ items as you can to build up your art supplies, such as different papers, tissues, magazines etc. Work Space Setting up a workspace at home is not absolutely essential but it would be highly advantageous if you were able to create a ‘mini-studio’. It is much easier for you to work if your have a space and your art equipment is out and ready, also wet work can be left to dry overnight etc. A basic workspace should include: A large flat table and comfortable chair. A good source of natural light. Working at night can be troublesome if you do not have good lighting, as overhead lights can cast annoying shadows on work and alter perceived colors.

You may wish to purchase daylight bulbs or additional lamps to prevent directional shadows when working at night.

A 12” mirror, if you’re interested in producing self-portraits. A full-length mirror would be ideal for figure drawing.

3: IB Visual Arts Assessment

Criteria:

Studio Work Studio work will be developed and evaluated according to several key criteria. Some of them overlap and should be considered parts of a holistic approach. They are: A

Understanding

This refers to the degree to which the artwork reflects an understanding of how one can express concepts and ideas in the visual image, as well as how well the student grasps the technical and formal methods through which these can be conveyed.

Relevance

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

Development

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

Sensitivity to materials

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

Technique

This is related to criterion A and D. It refers to the mastery and understanding of the media chosen to explore. A student in the IB Art program can choose whatever medium they wish, but must be able to demonstrate competence in the handling, potential and limits of that medium.

Confidence

This criterion refers to the degree to which 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.

Independence

This criterion looks at the degree to which work shows selfdirection and use of the studentâ&#x20AC;&#x2122;s own judgment. Ultimately, artwork must be entirely oneâ&#x20AC;&#x2122;s own and should show the arrival of the visual statement it makes on oneâ&#x20AC;&#x2122;s own accord. This has a great deal to do with criterion F.

Investigation Work The Investigation Workbook will be developed and evaluated according to several key criteria. Some of them overlap and should be considered parts of a holistic approach. They are: This refers to the degree to which the workbook shows that the student has 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. All art is interrelated. This criterion references ability to display careful records of skill development and awareness of techniques and processes that led to the creation of studio pieces. It also refers to work that shows that the ability to understand and discuss the techniques and methodologies of other artists.

Cultural / Contextural Research

Technical / Process

Investigation

This refers to evidence in the workbook that develops clear, coherent strategies for investigating the visual qualities, ideas and their contexts, and various approaches to ways of formulating art. It also shows evidence of connections between all these things.

Depth and Breadth

Vocabulary

Acknowledgement

This refers to the degree to which the workbook shows evidence that research and investigations took in a broad range of influences, ideas and inspirations that helped formulate a successful synthesis of these in the studio work. This criterion examines the evidence in the workbook that indicates the student has learned and became familiar with an effective and accurate specialist vocabulary in the visual arts. A good artist uses the proper terminology to refer to his or her work and the work of others. This criterion considers the degree to which the student accurately and consistently cites the sources used in the workbook.

of sources G

Presentation

This criterion looks at how work is presented in the workbook. It considers effective and creative writing regarding work and the degree to which the student demonstrates thoughtful, critical evaluations of work.

Integration

This criterion refers to the workbookâ&#x20AC;&#x2122;s relevance to studio work. All workbook entries should reference studio work. This criterion evaluates the level to which studio work is emphatically evolved, supported, justified and explained in the workbook. It is imperative that this be seen as a developmental process â&#x20AC;&#x201C; it should be continuously taking place as work is developed, not simply after the fact.

4: Assessment Procedures

Internal and External:

Assessment in IB 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 Option A this is studio; for Option B it is investigation. Students must present their externally assessed work 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. 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. The teacher will provide support in students selecting photographs of studio work for the CRB and wherever possible, two additional photographs of the overall exhibition should be provided for inclusion. The two photographs can be taken at the time of the interview. This can provide a useful record of the exhibition. See section 14 for more detailed information on CRBs. 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. 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

Option B

Investigation 40% - Internal assessment Studio 60% - External assessment High level

Standard level

30 A4/letter-size copies of workbook pages Selection of 18 photographs representing the works produced

20 A4/letter-size copies of workbook pages Selection of 12 photographs representing the works produced

Studio 40% - Internal assessment Investigation 60% - External assessment High level

Standard level

Selection of 12 photographs representing the works produced 40 A4/letter-size copies of workbook pages

Selection of 8 photographs representing the works produced 30 A4/letter-size copies of workbook pages

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. Work will be monitored in class on a regular basis and studio work will take place almost entirely at school. Copyright is discussed in detail in section 16. 6

5: Investigation Workbooks

A closer look:

Essential Information You will be provided with an A4 sketchbook for use as an IWB. Clearly write ‘If found please return to:’ and follow with all information listed in the box below on the inside front cover of your IWB – in the event that your IWB is ever misplaced you must provide as many details as possible in order for it to be returned. Full name, address (or school address), home or mobile number, school phone number, email address, class, teacher name, classroom number. Investigation Workbook Guidelines You are to record the date of each entry you make in your IWB, including the year. This is so that your progress throughout the course can be clearly seen. Your work should be neat, show good craftsmanship and a sense of good art aesthetics. Use only black pen when writing in your IWB and write clearly and legibly. Your teacher will need to read your IWB and photocopied pages will sent to the IB examiners. Whilst your IWB should be visually interesting you must also be aware of clarity. Writing in colored pens is distracting they do not photocopy well. You will use both sides of all pages and all pages are to be numbered. Go through your workbook numbering pages in advance, with black pen, placing numbers on the bottom right of each A4 page. Numbering pages allows you to easily refer back to an idea, though or work. Ideas will keep recurring, but also developing. Sometimes the development can be stimulated by an exhibition or another piece of work you are doing, or something you have been researching. On page 60 you might sketch an idea and remember you did something similar before and write “The idea/sketch on page 25 has possibilities for a painting, see notes of ‘x’ exhibition on page 57.” Also remember to cross-reference on pages 25 and 57. In addition, if ideas or concepts change from page to page, make connecting statements. Sources of information must always be acknowledged, always write down the full reference in your IWB – you may need to find the information again at a later date. This also applies to magazine articles, television programmes, films and postcards from exhibitions. When using the Internet, the format for referencing is the full web address and the date you accessed it. For books, the author, title, publisher and edition date and page numbers. For periodicals, the name of the magazine, issue number and date, page number, author and title of the article. The same idea goes for television programmes and films. 7

When you sketch an idea, or when out drawing from observation, always sign or initial your sketch/drawing and date it. This is for copyright reasons. When drawing from observation include as much information as possible for future reference. Write down where the subject is and why you have chosen to draw your subject. Make notes on the weather, light, sounds, surrounding environment, your thoughts etc. Photographs of the subject you are drawing are essential for development of an idea or sketch. Always take your camera with you and record images, scenes, textures and colours etc that you think are interesting. Place these into your ‘image bank’ for possible development in your IWB. Good Working Practices Work in your IWB every day and make this a habit. Several good IWB sessions spread throughout the week are always better than hours of rushed work late at night – and the difference is noticeable in both your IWB and your studio work. Never cut or rip pages out of your IWB. Don’t stick pages together even if you believe you have made a mistake or a terrible drawing. Your IWB has to show mistakes as well as your good work and most importantly it must show your development as an artist over a period of time. If you are using pencil, colored pencil or charcoal to draw with, always fix it – ‘firm hold’ hair spray works for this and is a cheaper alternative to purchasing artist fixative. Watercolour or acrylic paints do not need fixing as the paints contain an adhesive. If you are using oil pastels, glue in a sheet of tracing paper, greaseproof or OHT along the bound edge of the page to cover it, protecting your artwork and the facing page. Writing in your Investigation Workbook There should be written comments on every page of your IWB, even if you just write the date. Think about a visually interesting balance between images and text and do not full a page with text only. Make comments on your feelings, how your work is progressing and what successes you have had. You should also write about any difficulties and research or technical problems you have encountered and how you have solved these. Make notes on which materials you have used in your studio work experiments. The type of paper, the type of medium, what type of glue gives the best results, which clay you used and how wet it was, etc. This will also save you time later when you need a specific result. 8

When trying out any new medium, experiment with it, find out what you can do with it (by drawing in your IWB) and make notes about what you discover. Write about any connections you might see between Art and your other IB subjects. Make links across the curriculum and follow up your ideas, for instance, studying blood cells in Biology might inspire prints of tiny natural objects, contour lines or grids in maps from Geography might be combined into landscape drawings etc. Make comments on your attitudes about life, social, cultural and political concerns. Think about the world outside school and IB. The IWB is yours, so it should reflect your thoughts and beliefs. These comments can be related to art you are researching or artwork that you are producing. Language and writing style When you are writing in your IWB you must be aware that IB is an academic course and that your written notes should reflect that. Describe your feelings, successes and failures, comment on your progress, and your ideas about life etc but do not use slang or informal English. Your writing must be clear, concise and grammatically correct. Although this is your Investigation Workbook, it is not being written as your personal diary or for your friends â&#x20AC;&#x201C; remember an IB examiner will be reading and grading it. Read and learn Art vocabulary and always incorporate this into your writing in your IWB. You should have access to a good dictionary as well as an Art-specific dictionary (see section 8 of this booklet for further information).

Investigation Workbooks

Quick tips:

Revised from Subject Guide IB Visual Arts, April 1996, 2002, 2009 The purpose of the Investigation Workbooks (IWBs) is to encourage adventurous and critical research. During the course, workbooks will be produced as a highly personal record of the student's research in the appreciation and history of art and design. The IWBs will contain both visual and verbal information and will have the appearance of working journals. Equal space should be given to illustrating the thought or creative processes and to the research conclusions. The IWBs should reflect the student's personal interests. It is not necessary to follow a particular theme. The IWBs can be a wide-ranging personal investigation into many fields- critical, historical or aesthetic. They should also include the student's own original work in the form of sketches, diagrams et cetera. Photographs and cut-outs from magazines are acceptable only if they are relevant and accompanied by an explanation or critical comment. Information may be recorded by any means such as photocopies and reproductions. Sources, however, must always be attributed. Personal reports of visits to museums and galleries, local artists and designers should be included. Relevant material from other disciplines (mathematics, music, theatre arts, literature, et cetera) is suitable. Unedited coursework should not be included, and material should never be added merely to fill space. Workbooks should look like working journals; they are neither scrapbooks nor sketchbooks. Students should not spend time on elaborate or complicated layouts. IWBs are intended to record the studentâ&#x20AC;&#x2122;s progress since the beginning of the course.

6: Monthly Tasks

Planning & producing Studio work

Set the challenge

The artistic challenge is set – you decide what you want to achieve with your next piece of Studio Work. This can be entirely your own idea, but should be agreed with your teacher, who may make suggestions.

Research

Research and explore ideas related to the challenge or idea. This should take at least 1-2 weeks and is an intensive period of work. Research your subject visually through sketches and taking photographs. Look for examples of other artists who use similar ideas in their own work.

Generate Ideas

Generate possible solutions to the challenge. This should not take more than one or two hours, but needs to be done in some depth. Consider composition (the arrangement of shapes and objects in the image or sculpture), colour, texture, technique, tone, shape etc. Come up with several visual ideas and sketch them in your IWB.

Visual Test

Test possible solutions, experiment with media, techniques, color etc. This should be an intensive period of work. Develop your possible ideas in depth. This should take several IWB pages – not just one or two. Make small sized versions (IWB sized), using the correct media, color etc. This will allow you to accurately assess your ideas and will let you know about any problems you might face making the final piece.

Evaluation

Evaluate your tests and decide upon the best solution. State clearly the reasons for your choice in your IWB.

Production

Produce the piece of studio work, making improvements and documenting progress.

Final Evaluation

Evaluate the piece – was it as successful as you hoped? Did you encounter any unexpected problems along the way? How did you solve those problems? How will this piece of work lead into your next piece of work? 11

The Research process

An example of artist research:

All research needs to have a clear focus: donâ&#x20AC;&#x2122;t just collect information randomly

Decide the topic

to research (ie the similarities and differences between the work of two different painters).

Collect information

from as many different sources as possible: art books, magazines, CD Roms, DVDs, Exhibition catalogues, TV, Documentaries, Galleries, youtube, interviews with the artists involved, information from the artists website, gallery websites.

Arrange the information

into manageable sections. For examples, choice of subject matter, use of skills or techniques, major influences etc.

Draw some conclusions

based on what you have found. Write up your findings and clearly state your conclusions. A useful way to do this might be a compare and contrast research task.

Monthly Tasks

and self assessment checklists:

The following pages are assessment sheets and guidelines for your monthly self assessment of work. Use them as guidelines to check you are producing the required amount of work in the correct way â&#x20AC;&#x201C; addressing all criteria.

Each month you will do the following: 1.

Write your main subject idea/theme title at the start of the next piece of work.

Define what you will take from the last piece and what you will change (based on analysis).

Brainstorm (from wide to narrow) idea for next piece.

Write your statement for this work (10-15 words on what you will communicate).

Art reference using the analysis/critique handouts in the handbook (with function and significance), include images of artists work.

Broaden the idea visually with more thought and related research.

Produce at least 3 sketches (preferably 5).

Produce a range of media tests, at least 3 (preferably 5).

Produce thumbnail sketches (different compositions of your intended final).

10. Final page sketch (or maquette), using actual media, to show what the piece will look like. 11. Produce final piece of studio work. 12. Evaluation of final piece (refer to analysis handouts in handbook), including photograph. 13. Update CRB and write information tag for final piece. Reminders: 1. Date each entry and number each page. 2.

Leave a space top right on each page to write your candidate number.

Use and site a variety or sources (preferably primary sources).

Annotate all entries to explain the work and your thoughts.

Take photos/screenshots to track to the progress of the work.

Investigation Workbook â&#x20AC;&#x201C; Self Assessment Checklist: Complete the checklist each month to determine your skill level. Where deficiencies exist use resources in the IB Art handbook to improve your skills in these areas.

Annotation - Do you use a black pen to write in your workbook? write in your workbook within 12 hrs. of exploring or making art? number and record the date on every page? (on the date you work on it) use primary sources and books for all research? have approximately 50% images and 50% writing on your pages? (On some pages more images MAY be acceptable). convey a progression of ideas towards a completed art piece? use art vocabulary to describe your work? Formal elements? make comparisons to other art that you have seen or researched? include references to other art or artists that have inspired you during this art piece? include descriptions of ideas/techniques learned from visits to museums, galleries, and artists in your community? describe meaning and your connection to the art that you are making? describe cultural connections within your art? assess what you have learned in recent projects? Describe what has worked for you and how you can build upon it. have a type written copy of your artist statement in your workbook? Revised & re-edited twice a term! have 20 workbook pages completed per month? 16 is the absolute minimum, however 20 is the recommended minimum! Visuals - Do you use thumbnail sketches/drawings to work through design and composition? include material samples / brush strokes/ experiments with medium and technique/ that you intend to use? include drawings from observation? practice skills that need improvement? show evidence of trying new art forms, media and techniques? show samples of artist's work that have influenced your ideas and art making? demonstrate an exploration of interesting and challenging ideas? include ticket stubs, flyers, brochures from art galleries that you have visited? include photographs of your completed art pieces? convey a close relationship between your workbook and your studio work?

TOTAL: DATE OF ASSESSMENT:

7: Writing

Do’s and Don’ts:

Don’t……

Do……

Write essays on the artist’s life history – (D.O.B, favourite sports team etc..) Anyone with Encarta could do this. A few biographical details are useful, but not essential.

Make notes on why you’re looking at this artist – 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.

Photocopy loads of artworks – and stick them into your IWB with no written analysis or other information. – and forget to write the titles down!

Choose one or two good artworks – annotate them and make copies of them (to practice brush technique, color mixing or something similar). – include the artist’s name, title of work, year, style, medium and where you found it (web address or book title/page).

Treat your IWB like an exercise book – producing large blocks of writing, underlined, with no interest or visual consideration.

Think about research in a visual way – use colour, headings and images to complement your notes. Compose the pages so that they look interesting and varied.

Write without checking the facts – make sure that you are accurate about dates, media used and essential information about your chosen artist.

Use the correct vocabulary – 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).

Plagiarize – use or 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 – e.g. the artist writing about his / her ideas OR a well-known critic. Always use quotation marks and include the name of the person who you are quoting and where you found it.

Terms and Techniques- Tasks you will be asked to complete: To record

To make brief notes on basic information – i.e. credit line with artist name, title and size of work, style and historical facts.

To annotate and describe

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 adds drama and interest’).

To analyze (see section 10 for more detail)

To look closely and in detail at an artwork, noting down as many points as you can about the piece. These points might cover things like composition, use of colour/tone, medium used, mood/emotion created, content/narrative, issues etc.

To compare and contrast

To analyse two or more artworks at once, focusing on the similarities and differences between them. This is often easier than analyzing a single artwork.

To evaluate

To make personal judgments 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.

8: Glossary of terms

Be familiar with:

The IB Glossary: Students are asked to do the following:

Action verb

Definition

Analyze

Break down in order to bring out the essential elements, structure, underlying assumptions and any interrelationships involved. Describe two (or more) situations and present the similarities between them. Contemplate carefully and reflectively with regard to taking some action or forming an opinion. Describe two (or more) situations and present the differences between them. Prove or make clear by reasoning or evidence, illustrating and explaining with examples or practical application. Present the characteristics of a particular topic.

Compare Consider Contrast Demonstrate Describe Discuss

Evaluate Examine Explain Explore Identify Interpret

Investigate Present

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. Make an appraisal by weighing up the strengths and limitations of different evidence and arguments. Consider an argument or concept in a way that uncovers the assumptions and interrelationships of the issue. Describe, giving reasons. Study, analyze or examine systematically through a process of discovery. Recognize and state briefly a distinguishing fact or feature. Use knowledge and understanding to explain, represent symbolically and where appropriate, draw inferences and create meaning. Observe, study, or make a detailed and systematic examination, in order to establish facts and reach new conclusions. Offer for observation, examination or consideration, to show or display a creative art.

Language of Art: General Art Glossary abstract Art that looks as if it contains little or no recognizable or realistic forms from the physical world. Focus on formal elements such as colors, lines, or shapes. Artists often "abstract" objects by changing, simplifying, or exaggerating what they see. The term is also used to describe art that is nonrepresentational. Abstract Expressionism An art movement, primarily in painting, that originated in the United States in the 1940s and remained strong through the 1950s. Art that rejects true visual representation. It has few recognizable images with great emphasis on line, color, shape, texture, value; putting the expression of the feelings or emotions of the artist above all else. action painting A style of nonrepresentational painting that relies on the physical movement of the artist in using such gestural techniques as vigorous brushwork, dripping, and pouring. Dynamism is often created through the interlaced directions of the paint. A subcategory of Abstract Expressionism. aerial view Viewing a subject from above, looking downward. allegory A work of art created to represent something else but disguised by use of symbols and symbolic ideas. analogous colors Any set of three or five adjacent or neighboring colors of the color wheel. An example of such a set would include blue, blue-green, green - or- blue, blue-green, green, yellowgreen, yellow. Because each set of colors shares similar colors, there is a harmony to analogous colors. Also known as harmonious colors. analysis The second stage in the art critiquing process focusing on identifying how an artist uses the elements of art and principles of design. armature In sculpture, a skeleton-like framework to support material being modeled. Art Nouveau A style that originated in the late 1880s, based on the sinuous curves of plant forms, used primarily in architectural detailing and the applied arts. assemblage A three-dimensional collage created from a group of everyday objects, many times premade and put together in a specific way. avant-garde French for advance guard" or "vanguard." Those considered the leaders (and often regarded as radicals) in the invention and application of new concepts in a given field. background In a painting or drawing, the area that seem most distant, as if in the back of the picture. Often this is referred to as negative space. balance An equal arrangements of specific elements within a composition deliberately organized by the artist. Elements could include color, line, shape, or texture etc. for example. Major types are symmetrical and asymmetrical. See symmetry. Baroque The seventeenth-century period in Europe characterized in the visual arts by dramatic light and shade, turbulent composition, and exaggerated emotional expression. Bauhaus German art school in existence from 1919 to 1933, best known for its influence on design, leadership in art education, and a radically innovative philosophy of applying design principles to machine technology and mass production. canvas A cotton-like cloth stretched over a wooden frame. Usually primed with gesso, the fabric surface is ideal for painting with oils and acrylics. carving A subtractive process in which a sculpture is formed by removing material from a block or mass of wood, stone, or other material, using sharpened tools. ceramics The art of making objects such as pottery out of clay. This term is used to decribe these objects as well. charcoal Compressed, burned wood used for drawing. chiaroscuro Italian for "light-dark." In drawing or painting, the treatment and use of light and dark, especially the strong contrasting of light and shade to produce the effect of modeling. Highly developed by Renaissance painters. classical The art of ancient Greece and Rome. More specifically, Classical refers to the style of Greek art that flourished during the fifth century B.C. 2. Any art based on a clear, rational, and regular structure, emphasizing horizontal and vertical directions, and organizing its parts with special emphasis on balance and proportion. The term classic is also used to indicate recognized excellence. collaboration To work together in an artistic undertaking. collage From the French word "coller" which means "to paste". A collage is any artistic composition made by gluing assorted materials to a flat surface. color The element of art that is derived from reflected light.

color field painting A movement that grew out of Abstract Expressionism, in which large stained or painted areas or "fields of color evoke aesthetic and emotional responses. color wheel A circular arrangement of contiguous spectral hues used in some color systems. Also called a color circle. complementary colors Colors which appear opposite one another on a color wheel. When placed next to one another, complementary colors are intensified and often appear to vibrate. When mixed, brown or grey is created. composition The bringing together of parts or elements to form a whole; the structure, organization, or total form of a work of art. See also design. Conceptual art Art that focuses on the idea expressed and the process of creating the work. This trend developed in the late 1960s, in part as a way to avoid the commercialization of art. content Meaning or message contained and communicated by a work of art, including its emotional, intellectual, symbolic, thematic, and narrative connotations. contour A visible border of a shape or figure. An outline that creates the illusion of mass and volume in space. contrast The amount of darkness or brightness between colors. cool colors On one half of the color wheel are the cool colors, from yellow-green to violet. Psychologically, cool colors are calming. Cubism The most influential style of the twentieth century, developed in Paris by Picasso and Braque, beginning in 1907. The early mature phase of the style, called Analytical Cubism, lasted from 1909 through 1911. Cubism is based on the simultaneous presentation of multiple views. It was an attempt to capture , on a flat, two-dimensional surface, all aspects, points of view, and angles of what the artist sees in three dimensions. Color is limited to neutrals. By 1912 the more decorative phase called Synthetic (or Collage) Cubism, began to appear; it was characterized by fewer, more solid forms, conceptual rather than observed subject matter, and richer color and texture. criticism The process of describing, analyzing, interpreting, and judging works of art. Dada A movement in art and literature, founded in Switzerland in the early twentieth century, which ridiculed contemporary culture and conventional art. A movement which often tried to shock the public into realizing the destruction and inhumanity so apparent during WWI. The anarchic spirit of Dada can be seen in the works of Duchamp, Man Ray, Hoch, Miro, and Picasso. Many Dadaists later explored Surrealism. design Both the process and the result of structuring the elements of visual form; composition. De Stijl Dutch for "the style," a purist art movement begun in the Netherlands during World War I by Mondrian and others. It involved painters, sculptors, designers, and architects whose works and ideas were expressed in De Stijl magazine. De Stijl was aimed at creating a universal language of form that would be independent of individual emotion. Visual form was pared down to primary colors, plus black and white, and rectangular shapes. The movement was influential primarily in architecture. diagonal Any straight edge or line that is not parallel to the horizon line and is not truly vertical. dimensions A means of measuring the amount of space an object occupies. Usually these are measured in height, width and depth. diptych A two paneled art structure (often a religious painting) joined at the center like a screen. distort To deliberately exaggerate or manipulate an image to the extreme. This is often done to draw attention to a feeling or mood of the work of art. dominant An area, element of art or principle of design that is a main focal point in a work of art. drawing Representing an image on a surface by means of adding lines and shades, as with a pencil, crayon, pen, chalk, pastels, etc. dry brush Lightly touching the surface with a brush coated in ink, paint or other medium. This lends itself to a scratchy, textured effect. Earth art; earthworks Sculptural forms of earth, rocks, or sometimes plants, often on a vast scale and in remote locations. Some are deliberately impermanent. earth colors Those colors obtained naturally from the earth including many shades of tans, browns and reds. These colors are often used in the works of indigenous artists. edition In printmaking, the total number of prints made and approved by an artist, usually numbered consecutively. Also, a limited number of multiple originals of a single design in any medium. Elements of Art The language of art of the basic elements used when producing works of art. Those elements are color, value, line, shape, form, texture, and space. They can be used to descrbe a work of art.

elongate Stylizing an image by stretching it to distort the overall image. emboss A decorative technique usually used with paper that creates raised patterns or lines by pressing the underside of the paper. This creates an interesting visual and tactile texture. Emphasis The principle of design that appears to be the dominant, or the most noticeable quality of a work of art. Artist deliberately manipulate the elements of art to create such emphasis. engraving A printing process in which a metal plate is coated. Images are scratched into the coating revealing the metal surface. An acid is used to cut into the metal surface revealed by the scratches. The coating is removed. These grooves are then filled with ink, the excess removed, and paper is pressed into the grooves. Each print pulls up a drawing of the lines and scratches. Environment art Refers to art which involves the creation or manipulation of a large or enclosed space, many effectively surrounding its audience. Architectural (including landscape architectural) design might be said to qualify as environment art, although the term usually refers to artworks which do not function as either of these kinds of environmental design typically do. etching An etching is a print produced by the printing method known by the same name. It is done by coating a copper or zinc plate with a wax or similar protective shield and then the drawing is produced on the surface with a needle. Only the coating is cut, not the plate. When the drawing is complete, the plate is submerged in an acid bath and the areas that were exposed by the needle are cut by the acid. Then the plate is cleaned and inked and then wiped so ink is only in the recesses. The plate is then put in a press where it is pressed hard against a damp print paper. The resulting print is a reverse of the original drawing on the plate. exhibit and exhibition Displaying pieces of art to an audience. Expressionism An art style that focuses on the emotions of the personal feelings of an artist, not on formal composition, most often boldly executed and making free use of distortion and symbolic or invented color. The broad term that describes emotional art, More specifically, Expressionism refers to individual and group styles originating in Europe in the late nineteenth and early twentieth centuries. See also Abstract Expressionism. faรงade The front of a building. This area is often more detailed. fantasy Fanciful or grotesque images and scenes of pure imagination such as those of dreams, hallucinations, daydreams, etc. Fauvism A twentieth century painting style emphasizing brilliant, often unnatural, colors and the forms created by this. figurative Artwork representing the human form or an animal. focal point A specific area, element or principle that dominates a work of srt. The viewer's eye is usually drawn there first. foreground The area of a painting or drawing, usually located near the bottom third of a work, that represents the space "closest" to the viewer. foreshortening A drafting illusion in which, depending on the viewer's point of view, an object, or part of an object is distorted to imply the compacting of space. form An element of art that is represented by three-dimensions (height, width, and depth) and encloses space. For example, a triangle, which is two-dimensional, is a shape, but a pyramid, which is three-dimensional, is a form. Cubes, spheres, pyramids, cone, and cylinders are examples of various forms. formal balance A work of art that when optically divided in half , each side is arranged almost exactly as the other. formalism One of the three theories of art, this one emphasizes the design qualities of a work. freehand Drawing without the use of any mechanical devices. fresco A painting in which the artist applies pigments directly into wet or dry plaster usually applied to a wall. As the plaster dries, the pigments are absorbed and become permanently bonded with the plaster. frontal The visual perspective of looking directly at the front of a person or object and representing it as such. genre A style or category of art characterized by representing scenes of everyday images of life. gesso A mixture of glue and either chalk or plaster of Paris applied as a ground or coating to surfaces in order to give them the correct properties to receive paint. Gesso can also be built up or molded into relief designs, or carved.

gestural A loose, energetic application of paint which relies on the artistâ&#x20AC;&#x2122;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. geometric shapes Recognizably named areas based on straight lines, angles and curves such as square, circle, triangle, etc. glaze In ceramics, a glassy coating applied to seal and decorate surfaces. Glaze may be colored, transparent, or opaque. In painting, a thin transparent or translucent layer brushed over another layer of paint, allowing the first layer to show through but altering its color slightly, also known as a wash. 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. Golden Mean Rooted in Greek mathematics, the Golden Mean is a study of perfect ratio of one area in proportion to another. This would meam 1 to 1.6. Gothic A style attributed to the 12th - 16th centuries of architecture. The style is recognizable by such architectural elements as flying buttresses, pointed arched windows, stained glass, and the humanization of people in sculpture. gouache An opaque watercolor paint. graphic design Commercial reproduction of artworks such as printing, including text, decorative techniques and illustration. grotesque Description of art images and sculptures that often use human and animal images. These forms are distorted proportionately to produce ugly or fanciful representations. ground The background in two-dimensional works-the area around and between figures. Also, the surface onto which paint is applied. Harlem Renaissance In the 1920s, the Harlem, NY community became the economic, political, and cultural center of black America. Various literary and artistic works were created celebrating the African-American experience. hard-edge A term first used in the 1950s to distinguish styles of painting in which shapes are precisely defined by sharp edges, in contrast to the usually blurred or soft edges in Abstract Expressionist paintings. harmonious colors see analogous colors harmony The principle of design that creates unity and harmony by stressing separate but related parts. Repetition is one example of a way that harmony is achieved. hatching and cross-hatching Lines drawn with consistent, parallel strokes used to emphasize shading. Often these lines would be drawn crossing as well as parallel. hierarchal proportion The distortion of the sizes of things according to their importance, rather than how they actually exist. horizontal A straight line parallel to the horizon line. horizon line The ever changing line that separates the sky from the land or sea. This line changes depending on the line of vision of the viewer. hue Another word for color. humanities The study of the manmade arts such as art, literacy, music that convey the cultural aspects of humanity. icon A pictorial representation of a person. Originally referring to the images of adoration of saints and religious leaders, the term has now become a pop culture term referring to anyone or thing recognizable by the public masses. illusion A misleading image visually represented . illustrate The creation of images and designs for commercial reproduction such as in magazines, newspapers and books. impasto In painting, thick paint applied to a surface in a heavy manner, having the appearance and consistency of buttery paste, 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. implied To express an intended meaning through suggestions or inferences. Impressionism A style of painting that started in France during the 1860s. Artists focused on everyday scenes and the effect of sunlight on objects. installation An artistically designed environment constructed in a gallery. Often these are photographed and archived, as the original structures are usually only temporary.

intaglio Any printmaking technique in which lines and areas to be inked and transferred to paper are recessed below the surface of the printing plate. Etching, engraving, drypoint, and aquatint are all intaglio processes. See also print. intensity A term referencing the brightness or dullness of a color. The purity of a color is affected by adding other colors to the original, changing its intensity. intermediate colors Intermediate (tertiary) colors are located between the primary and secondary colors on a color wheel. When neighboring primary and secondary color are mixed, an intermediate color is produces. If you mix red with orange, the color red-orange is created. judgment The final step in the Art Critiquing Process in which the viewer determines the merit or success of a particular work of art. juxtaposition The conscious positioning or arranging of objects. Kinetic art Art that utilizes movement. landscape A work of art that represents a view of natural scenery. life drawing Drawing from a live model. line A mark created by moving a point along in one direction. logo Short for "logotype." Sign, name, or trademark of an institution, firm, or publication, consisting of letter forms borne on one printing plate or piece of type. Mannerism A style that developed in the sixteenth century as a reaction to the classical rationality and balanced harmony of the High Renaissance; characterized by the dramatic use of space and light, exaggerated color, elongation of figures, and distortions of perspective, scale, and proportion. mannequin A wooden or plastic jointed doll capable of very natural poses. These are used by artists instead of live models when study of human movement is necessary. mask An artform designed to cover the face. Masks have a long history and many styles can be indigenous to specific cultural groups mass Three-dimensional form having physical bulk. Also, the illusion of such a form on a twodimensional surface. matte A dull finish or surface, especially in painting, photography, and ceramics. Media/medium The plural form of medium - the material used to create a work of art. Middle Ages The period of European history placed roughly between 1000s and the 1500s. This period is often referred to as the Dark Ages or the Medieval period. middle ground The section of a drawing or painting that exists between the foreground and the background. It is usually found in or near the middle third of a picture. miniature A work of art on a much smaller scale than is typical. Minimalism--A style of art in which the artist reduces the work to a minimum of elements. mixed media A work of art utilizing more than one medium and/or material. mobile A moving sculpture, usually suspended. The shapes and areas are balanced. modeling Shaping or molding a three-dimensional form from a malleable medium such as clay. Modeling can also be used to describe the degrees of tinting and shading used to achieve a threedimensional look on a two-dimensional surface. Modernism Theory and practice in late nineteenth- and twentieth-century art, which holds that each new generation must build on past styles in new ways or break with the past in order to make the next major historical contribution. Characterized by idealism; seen as "high art," as differentiated from popular art. In painting, most clearly seen in the work of the Post-Impressionists, beginning in 1885; in architecture, most evident in the work of Bauhaus and International Style architects, beginning about 1920. monochromatic Different shades and tints of a single color. montage 1. A composition made up of pictures or parts of pictures previously drawn, painted, or photographed. 2. In motion pictures, the combining of separate bits of film to portray the character of a single event through multiple views. mood A feeling inferred by an artist and felt by the viewer. mosaic An artform consisting of patterns of small pieces of tile or glass inlaid in cement or grout. motif A design or designed image that is repeated over and over with little to no differences. movement An illusion created by the artist to convey action in a piece of stationery art. This can be achieved by repetition, adding lines, or careful placement of objects. mural A large painted picture extending over a wall or other monumental surface. museum An organized space devoted to preserving, viewing and studying works of art and other manmade elements.

narrative art Art which visually tells a story or relays information about an important event. naturalism Representational art in which the artist presents a subjective interpretation of visual reality while retaining something of the natural appearance or look of the objects depicted. Naturalism varies greatly from artist to artist, depending on the degree and kind of subjective interpretation. negative space The empty space or seemingly unimportant background space, in an artwork. Neoclassicism New classicism. A revival of classical Greek and Roman forms in art, music, and literature, particularly during the eighteenth and nineteenth centuries in Europe and America. It was part of a reaction to the excesses of Baroque and Rococo art. neutral colors This color category encompasses whites, grays, blacks and browns. non-objective art Art that has no recognizable subject matter. nonrepresentational Art without reference to anything outside itself-without representation. Also called nonobjective-without recognizable objects. objectivity The ability to view something without influence of feelings or emotions. oil paint A medium created in the 1500s. Ground powdered pigment was mixed with linseed oil and compressed into a container (eventually this container became the familiar tube of paint). These paints had a long drying time which meant that the artist could rework the piece over a period of days. one-point perspective A devised drafting technique using straight lines that converge to a single vanishing point on the horizon line. This gave the illusion of three dimensional space on a two dimensional surface. opaque Impenetrable by light; not transparent or translucent. Op Art Optical Art is a style in which visual illusions, usually of vibrational movement, are created by careful placement of lines and colors. optical color mixture Apparent rather than actual color mixture, produced by interspersing brush strokes or dots of color instead of physically mixing them. The implied mixing occurs in the eye of the viewer and produces a lively color sensation. organic An shape having none of the geometric angularity associated with other shapes such as squares, triangles, rectangles, etc.. Organic shapes are fluid and often are associated with things that occur in nature. overlap An important technique to achieving a sense of depth in a flat, two-dimensional work. The objects appear to lie slightly on top of one another object. This layering makes some objects look like they are behind others or placed further back in the picture. painterly Painting characterized by openness of form, in which shapes are defined by loose brushwork in light and dark color areas rather than by outline or contour. palette 1. A wooden or plastic tray, used for mixing colors when making a painting and a tool used by painters which affords them a surface they can hold from which to apply and mix paints before stroking the canvas or painting surface. 2. The choice of colors in a painting i.e. â&#x20AC;&#x2DC;van Gogh uses a pure and vivid palette in his Arles landscapesâ&#x20AC;&#x2122;. panel Traditionally used before the invention of stretched canvas, these flat, wooden surfaces of various sizes where sealed and then used for painting. panorama A sweeping, unbroken view of an expansive scene, usually referring to landscapes. parallel Lines or edges on the same plane that travel equidistant, in the same direction. pastels 1. Sticks of powdered pigment held together with a gum-binding agent. 2. Pale colors or tints. Performance art Art that employs live theatrical performances as an important element of the work. perspective A system for creating an illusion of depth or three-dimensional space on a twodimensional surface. Usually refers to linear perspective, which is based on the fact that parallel lines or edges appear to converge and objects appear smaller as the distance between them and the viewer increases. Atmospheric perspective (aerial perspective) creates the illusion of distance by reducing color saturation, value contrast, and detail in order to imply the hazy effect of atmosphere between the viewer and distant objects. Isometric perspective is not a visual or optical interpretation, but a mechanical means to show space and volume in rectangular forms. Parallel lines remain parallel; there is no convergence. Photography The art of mechanically capturing images on a light sensitive plate. These images can be reproduced over and over from this plate. photorealism A style of painting that became prominent in the 1970s, based on the cool objectivity of photographs as records of subjects. pictorial space In a painting or other two-dimensional art, illusionary space which appears to recede backward into depth from the picture plane.

picture plane The drawing or painting surface of a flat, two dimensional picture. pigment Various minerals and matter ground up and mixed with a fluid medium to create paints and colorants. Pigments can come from mined stones, plants or even from clays. 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. plane A flat and level surface that can stretch out in any direction. Pointillism A painting technique in which pure dots of color are dabbed onto the canvas surface. The viewer's eye, when at a distance, is then expected to see these dots merge as cohesive areas of different colors and color ranges when seen at a distance.The system of painting using tiny dots or "points" of color was developed by French artist Georges Seurat in the 1880s. Seurat systematized the divided brushwork and optical color mixture of the Impressionists and called this technique divisionism. Georges Seuratâ&#x20AC;&#x2122;s work is the most famous example of this almost-scientific technique. Look also at the paintings of his pupil, Paul Signac. point of view The angle from which the viewer's eye is looking at, up or down on an object or setting. polychromatic Having many colors; random or intuitive use of color combinations as opposed to color selection based on a specific color scheme. Pop Art An art movement in which artists frequently incorporated the mass media advertising images into their works. It developed in the late 1950s and early 1960s, in Britain and the United States. portfolio A collection of works done by a single artist. Usually organized in a flat cloth or leather case for protection. These works often display the abilities and range of an artist and are necessary when a student is considering entering an art program in college. portrait A rendering of a person in any medium. positive space The area(s) of a work of art that are filled with meaningful intentions. Often, it is the positive space that contains the image the viewer is expected to recognize. Post-Impressionism An art movement that relied on the impact of the paintings to express feelings and ideas. Post-Modern An attitude or trend of the 1970s, 1980s, and 1990s, in which artists and architects accept all that modernism rejects. Post-Modern is characterized by an acceptance of all periods and styles, including modernism, and a willingness to combine elements of all styles and periods. primary colors The three colors, blue, red and yellow, from which most other colors can be made. Primary colors cannot be mixed from other colors. print (artist's print) A multiple-original impression made from a plate, stone, wood block, or screen by an artist or made under the artist's supervision. Prints are usually made in editions, with each print numbered and signed by the artist. Principles of Design The rules by which an artist organizes the Elements of Art to create a work of art. Printmaking The process by which a work of art can be recreated in great quantity from a single image usually prepared from a plate. profile The side view of an object or person. propaganda Psychological images and rhetoric developed to specifically persuade the masses to a particular point of view. Propaganda is usually seen as a form of political and/or religious advertisement. proportion The size relationship of parts to a whole and to one another. radial balance An organized pattern or design emanating from the center of a circular format. This design usually has some symmetrical properties. Realism An art style popular in the mid 1800's in which artists painted ordinary objects, people and scenes as they actually were. The artists made no attempt to romanticize the figures or add drama to the settings. registration In color printmaking or machine printing, the process of aligning the impressions of blocks or plates on the same sheet of paper. relief printing A printing technique in which the parts of the printing surface that carry ink are left raised, while the remaining areas are cut away. Woodcuts and linoleum prints (linocuts) are relief prints. relief sculpture A sculptural art form in which the top surface of the art work demonstrates some carving or three dimensional qualities.

Renaissance Period in Europe from the late fourteenth through the sixteenth centuries, characterized by a renewed interest in human-centered classical art, literature, and learning. See also humanism. repetition A series of repeated elements. reproduction A mechanically produced copy of an original work of art; not to be confused with an original print or art print. rhythm The regular or ordered repetition of dominant and subordinate elements or units within a design. Romanticism 1. A literary and artistic movement of late eighteenth- and nineteenth-century Europe, aimed at asserting the validity of subjective experience as a countermovement to the often cold formulas of Neoclassicism; characterized by intense emotional excitement and depictions of powerful forces in nature, exotic lifestyles, danger, suffering, and nostalgia. 2. Art of any period based on spontaneity, intuition, and emotion rather than carefully organized rational approaches to form. rhythm A Principle of Design that refers to the visual movement created by repeating specific Elements of Art. right brain A theory in which the two different sides, or hemispheres, of the brain are responsible for different manners of thinking. The right side of the brain is believed to be the creative side, responsible for producing art and making spatial decisions as well as holistic thinking, while the left side is responsible for analyzing verbal tasks and logical thinking. scale The size of an object as compared to other objects or to its environment, or as compared to the human figure. screenprinting (serigraphy) A printmaking technique in which stencils are applied to fabric stretched across a frame. Paint or ink is forced with a squeegee through the unblocked portions of the screen onto paper or other surface beneath. Sculpture A three-dimensional work of art made by carving (cutting in wood, stone, etc.) modeling (a building up of a soft material such as clay or wax), or making a construction or arrangement of material such as an assemblage. Scumbling A thin glaze of paint dragged over a different color, so that both layers of paint can be seen, giving a luminous, glowing effect. Abstract painters like Mark Rothko made use of this technique. secondary colors The colors obtained by mixing equal amounts of two primary colors. The secondary colors are orange, green, and violet. Yellow and red create orange. Yellow and blue create green. Blue and red create violet. self-portrait A portrait an artist makes using himself or herself using a mirror. 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. shade Adding black (or other dark color) to a pure color to darken it. More black creates darker shades. shading Creating a wide range of lights and darks to visually create a modeling effect mimicking three dimensional attributes. shape An object represented in two dimensions. sketch A rough drawing capturing the most important features of a chosen subject and is usually used as a preliminary study, often made in preparation for the ‘final version’. See also ‘plein-aire’. space As an Element of Art, space is created by the emptiness between, around, behind or within a given object or group of objects. Space defines shapes. split complements One color plus the two colors that are on either side of its complement on the color wheel. For example, the complement of orange is blue, and the two colors on either side of blue are blue-green and blue-violet. Therefore the split complements of orange are blue-green and blueviolet. style An artist's personal way of using the Elements of Art and Principles of Design to convey his/her feelings and ideas. Style is also used to classify groups of artists who shared similar artist expressions. stylized Simplified or exaggerated visual form which emphasizes particular or contrived design qualities. still life A grouping of inanimate objects usually in a pleasing composition. Most often we associate still lifes with bowls of fruit, vases of flowers or an arrangement of personal effects on a table top. subdue To make less intense.

subject The image that viewers can easily recognize in a work of art. subtractive sculpture A sculptural form in which material is removed from the whole to achieve a finished product. support The physical material that provides the base for and sustains a two-dimensional work of art. Paper is the usual support for drawings and prints; canvas and panels are supports in painting. Surrealism A movement in literature and the visual arts that developed in the mid1920s and remained strong until the mid1940s, growing out of Dada and automatism. Based upon revealing the unconscious mind in dream images, the irrational, and the fantastic, Surrealism took two directions: representational and abstract. Dali's and Magritte's paintings, with their uses of impossible combinations of objects depicted in realistic detail, typify representational Surrealism. symbol Something that stands for or represents something else. symmetry A special type of formal balance in which a work of art can be mentally or visually divided into two identical halves, a mirror image. tactile Having the ability to be explored with the sense of touch. technique The way in which an artist uses a material to achieve a desired effect. template A pattern or guide used in making a specific design. tessellation A design achieved through the repetition of at least one exact shapes that occupy all existing positive space. texture An element of art which refers to how a surface feels or looks like it would feel. three-quarter view A view of a face which is half-way between full and profile view. tint Adding white to a color to lighten the value of that color. The more white that is added, the lighter the tint. tondo A painting in the shape of a circle. translucent A surface that lets light pass through it, but one cannot see through it. transparent Light passes through the surface and one can see through it as well. trompe l'oeil A type of painting, usually referring to examples painted on wall with such realism that the viewer actually believes the objects in the painting exist. two-dimensional Any object or area having height and width, but no depth; flat. two-point perspective Another perspective guide using two vanishing points as references on the horizon line. three-dimensional Having height, width, and depth. tint A hue with white added. two-dimensional Having the dimensions of height and width only. typography The art and technique of composing printed materials from type. unity The quality of wholeness achieved by such manipulation of the Elements of Art to achieve simplicity and repetition. value The lightness or darkness of tones or colors. White is the lightest value; black is the darkest. The value halfway between these extremes is called middle gray. vanishing point In linear perspective, the point on the horizon line at which lines or edges that are parallel appear to converge. variety A principle of design that refers to the way an artist uses differences and various contrasts to add visual interests to a work. volume 1. Space enclosed or filled by a three-dimensional object or figure. 2. The implied space filled by a painted or drawn object or figure. Synonym: mass. warm colors Colors whose relative visual temperature makes them seem warm. Warm colors or hues include red-violet, red, red-orange, orange, yellow-orange, and yellow. See also cool colors. wash A thin, transparent layer of paint or ink. watercolor Paint that uses water-soluble gum as the binder and water as the vehicle. Characterized by transparency. Also, the resulting painting. weight The psychological or visual importance of an area or element. woodcut A type of relief print made from an image that is left raised on a block of wood.

Useful terms when writing about Color Primary colors, Secondary colors, Tertiary colors, Complementary colors, Analogous, Hue, Tones, Tints, Intensity, Palette, Limited palette, Broad palette, Tonal range, Opacity, Transparency.

Useful adjectives when writing about Color Saturated, bright, pure, vivid, strong, harsh, dramatic, vibrant, brilliant, intense, powerful, muted, subtle, gentle, dull, soft, watery, subdued, delicate, gloomy, tertiary, faded, limited, clear, cool, warm, deep, grayed, tawny, matte, glossy, monochrome, multicoloured, parti-coloured, variegated, polychromed, iridescent.

Useful terms when writing about Painting Alla Prima, Brushwork, Gestural, Glaze (or Wash), Impasto, Plein-aire, Pointillist, Palette, Tonal, Scumbling, Sfumato, Sketch, Support.

Useful terms when writing about Sculpture Three-dimensional, Carving, Cast, Mobile, Modelling, Conceptual Art, Construction, Constructivism, Assemblage sculpture, In the round, Relief, Bas-relief, Mould, Plastic art and plastic arts.

Writing about Cultural values attached to the Arts 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 value: 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.

9: The Elements and Principles The elements of art are components of a work of art that can be isolated and defined. They are the building blocks used to create a work of art. The principles of art are combinations of two or more of the elements of art. The elements and principles of art help artists to plan their compositions to have an impact on the expressive content, meaning, and viewer’s reaction to the image. Understanding the elements and principles of art will help you to better understand the purpose of an artist’s choices. Elements of Art Line

is a mark with greater length than width. Lines can be horizontal, vertical, or diagonal, straight or curved, thick or thin.

Shape

is a closed line. Shapes can be geometric, like squares and circles; or organic, like free-form or natural shapes. Shapes are flat and can express length and width.

Form

are three-dimensional shapes, expressing length, width, and depth. Balls, cylinders, boxes, and pyramids are forms.

Space

is the area between and around objects. The space around objects is often called negative space; negative space has shape. Space can also refer to the feeling of depth. Real space is three-dimensional; in visual art, when we can create the feeling or illusion of depth, we call it space.

Color

is light reflected off objects. Color has three main characteristics: hue or its name (red, green, blue, etc.); value (how light or dark it is); and intensity (how bright or dull it is). White is pure light and black is absence of light. Primary colors are the only true colors (red, blue, and yellow). All other colors are mixes of primary colors. A color made up of two primary colors is called a secondary color. The color wheel is a useful tool to help group colors – complementary (opposite pairs: red and green, blue and orange, yellow and purple) and analogous/harmonious (similar colors next to each other on the color wheel eg yellow, orange and red). Colors can be divided into warm (red, orange, yellow) and cool (blue, purple, green).

Texture

is the surface quality that can be seen and felt. Textures can be rough or smooth, soft or hard. Textures do not always feel the way they look; for example, a drawing of a porcupine may look prickly, but if you touch the drawing, the paper is still smooth.

Principles of Design Balance

is the distribution of the visual weight of objects, colors, texture, and space. If the design was a scale, these elements should be balanced to make a design feel stable.

Emphasis

is the part of the design that catches the viewer’s attention. Usually the artist will make one area stand out by contrasting it with other areas. The area will be different in size, color, texture, shape, etc.

Movement

is the path the viewer’s eye takes through the artwork, often to focal areas. Such movement can be directed along lines, edges, shape, and color within the artwork.

Pattern

is the repeating of an object, symbol, or shape all over the artwork.

Repetition

works with pattern to make the artwork seem active. The repetition of elements of design creates unity within the artwork.

Proportion

is the feeling of unity created when all parts (sizes, amounts, or number) relate harmoniously to each other. When drawing the human figure, proportion can refer to the size of the head compared to the rest of the body.

Rhythm

is created when one or more elements of design are used repeatedly to create a feeling of organized movement. Variety is essential to keep rhythm exciting and active and to move the viewer around the artwork. Rhythm creates a mood like music or dancing.

Variety

is the use of several elements of design to hold the viewer’s attention and to guide the viewer’s eye through the artwork.

Unity

is the feeling of harmony between all parts of the artwork, creating a sense of completeness.

Dominance

is the importance of the emphasis of one aspect in relation to all other aspects of a design. Subordination is making an element appear to hold secondary or lesser importance within a design or work of art.

10: Analyzing Artworks

Step by step guide: ONE On the following pages are sample formats for analysing artworks using the description, Analysis, Interpretation and evaluation methods – use all and find the method you prefer or is most appropriate to specific tasks. Your own drawings/copies of the artwork should accompany ALL written analysis. ARTWORK ANALYSIS GUIDE ONE GUIDE ONEONEOPTION ONE:

Information 1. What kind of an artwork is it? 2. What medium is it made from? 3. What is the name of the artwork? 4. When was this artwork created?

Description 5. List all the literal objects you see in the composition (trees, people, animals, shapes, mountains, etc.). 6. Consider the significant art elements that are present in this artwork and describe them: a. Line b. Shape c. Form d. Space e. Texture f. Color g. Value h. Pattern Analysis 7. Discuss how the artist manipulated the art elements to create the following principles: a. Balance b. Harmony c. Unity d. Contrast e. Variety f. Emphasis g. Rhythm h. Movement Interpretation 8. What do you think the artist was trying to say though this art piece? 9. Why do you think the artist created this artwork? 10. Describe any additional meanings you think the artists might have intended. 11. What feelings do you have when looking at this artwork? 12. Do you think there are things in the artwork that represent other things - symbols? Colors? Objects? What? Evaluation - Make sure to justify your opinions. 13. Do you like this artwork? Why? 14. Do you think this artwork is “good” or “bad”? Why? 15. Do think this is an important work? To whom do you think it would be important? Why? 16. Is there something about this work of art that you think should have been done differently? What and Why?

ARTWORK ANALYSIS GUIDE TWO GUIDE ONEONEOPTION ONE: Follow these steps, answering all questions when analyzing artworks. The more you do this the more accomplished at it you will become and eventually you will be able to do it without this guide. 1: First Reaction – Write down your responses to the artwork Do you like it? How does it make you feel? Does it remind you of anything you have seen before? 2: Description – List what you can see in the artwork Figures, colors, shapes, objects, background etc. Imagine you are describing it to a blind person, do this in as much detail as possible. 3: Formal Analysis – Write down observations in detail, looking at specific aspects Colors: Which type of palette has the artist used: bright or dull, strong or weak? Are the colors mostly complementary, primary, secondary or tertiary? Which color(s) are used most/least in this artwork? How have colors been applied? Tones: Is there a use of light/shadow? Where is the light coming from? Where are the shadows? 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: What medium has been used (oil paint, acrylic, charcoal etc)? How has the artist used the medium – i.e. paint applied thick or thin? Was it painted, drawn, sculpted quickly, or slowly and painstakingly? What makes you think this? Composition (organization of shapes): What type of shapes are used in this artwork (i.e. rounded, curved, straight-edged or geometric shapes)? Is there a mixture of different types of shapes or are all the shapes similar? Does the whole composition look full of energy and movement, or does it look still and peaceful? What is the centre of interest in the composition? How does the artist draw your attention to it? Mood / Emotion: What do you think the artist wanted you to feel when you look at this artwork? What has he/she used to create a mood? (think about color, shape, tone etc.) How has he/she succeeded in creating this mood? (For example, strong vivid colors might be used to create a joyful or angry mood in an artwork, depending upon how the artist has used them). 4: Interpretation – Write down your personal thoughts about the work What do you think the artist is trying to say in this artwork? What does it mean? What is the main theme or idea behind this piece? If you were inside this artwork, what would you be feeling / thinking? Does the artwork have a narrative (tell a story)? Is it a religious artwork? Is it abstract? Is it realistic? Why? How would you explain this artwork to someone else? 5: Evaluation – Based on observation write your own opinions of the work You must give reasons to support your opinions. E.g.: “The overall mood of this drawing could 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.” “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.”

ARTWORK ANALYSIS GUIDE THREE GUIDE ONEONEOPTION ONE: FORMAL ART CRITIQUE. This critique must include a picture of the artwork with sources and essential information. DESCRIBE (What do you see?) This stage is like taking inventory.  BASIC INFORMATION: Name of artist, title of work, year, and gallery or location of artwork.  LIST EVERYTHING YOU SEE Stick to the facts. Imagine that you are describing the artwork to someone over the telephone. For Example: It is a still life of five apples on a white cloth in front of a dirty window.  NOTE FIRST IMPRESSION Make a note of your first spontaneous reaction to the artwork. What grabs your attention in the work? Refer to your first impression. By the end of the critique you may understand your first impression better or you may even change you mind. There are no wrong answers. ANALYZE (What do you know?) Try to figure out what the artist has done to achieve certain effects.  VOCABULARY: Use the vocabulary you learned in class/from handouts For example, if looking at a black and white image and you learned about the value scale, you can talk about the shades of light and dark or areas of chiaroscuro.  ELEMENTS/PRINCIPLES: How are the elements of art (color, shape, line, texture, space, form, value) and the principles of design (balance, contrast, emphasis, movement/rhythm, unity, variety) used in this artwork? For example: The colors are monochromatic and create a sense of balance between the objects in the background and foreground.  MATERIALS: For example: The artist used oil paint in thick, textured strokes. INTERPRET (What can you interpret?) Try to figure out what the artwork is about. Your own perspectives, associations and experiences meet with THE ANALYSIS of the work of art. All art works are about something. Some art works are about color, their subject matter, and social or cultural issues. Some art works are very accessible — that is, relatively easy for the viewer to understand what the artist was doing. Other works are highly intellectual, and might not be as easy for us to readily know what the artist was thinking about.  THEME: What is the theme or subject of the work? What mood or emotions does the artwork communicate?  MEANING: What is the work about; what do you think it means?  WHY: Why do you think that artist created this work?  ARTIST'S VIEW: What do you think the artist's view of the world is? EVALUATE (What does this mean to you?) This is a culminating and reflecting activity. You need to come to some conclusions about the artwork based on all the information you have gathered and on your interpretations.  BACK TO YOUR FIRST IMPRESSION: Have your thoughts or feelings about the artwork changed since your first impression? If so, how? What made you change your mind? If not, can you now explain your first reaction to the work?  LEARN: What have you seen or learned from this work that you might apply to your own art work or your own thinking? For example: I realized by using warm colors I can create a sense of energy in my own work. The warm colors are active.

PAINTING ANALYSIS GUIDE ONE GUIDE ONEONEOPTION ONE: If you follow the order and aspects given on this sheet you will have comprehensively analysed a painting. Note that not all the aspects are suitable to comment on for every painting. Select the aspects that seem most appropriate. Recording the painting details (your notes should always state artist, title and date) Name of Painter: (e.g. Monet) Title of the Work: (e.g. Rouen Cathedral in Full Sunlight) Date it was painted: (e.g. 1874) Size : (e.g. 84 x 63 cm) Medium : (e.g. oil on canvas) Stylistic Period: (e.g. Impressionism) Subject and Theme Describe the subject: (e.g. the artist Courbet meets his patron Monsieur Bruyas) and/or Describe the content: (e.g. the stone facade of a Gothic Cathedral) and/or Explain any ideas that the painting is expressing (political, social, personal) :(e.g.Courbet depicts himself as of equal status to his wealthy patron) Identify underlying themes: (e.g. self-sacrifice, loyalty to nation) Explain any background known about the work (using research to find out): (e.g. the format derives from a popular print called The Wandering Jew) Composition (means the organisation of objects and/or figures within the painting) (select only the most relevant of these) Main organisational features: Focal Point: Geometrical shapes: Symmetry?/Asymmetry?: Methods used to lead the eye around the work: Effects created by compositional devices: (e.g. stability, order, randomness, effect of drawing attention to particular parts of the work) Space/Depth (how is the illusion of depth created?) Linear perspective: (e.g. Pissarro uses a row of trees which recede and lead the eye into the distance. The trees vanish at a point on the horizon) Aerial perspective: (the gradual lightening, haziness and bluish tinge that appears towards the horizon) Overlapping of objects: Distance from the picture plane : (sense of distance from the actual surface of the painting) Effects created: (e.g. to create a sense of naturalism, to give an illusion of great distance, to limit picture space - in cases where recession is restricted) Colour Main Colors used : Cool and Warm Colors: Effects colour creates: Range of the palette : (means the number of colors used - a wide range or a limited palette) Light Direction of the Light : Atmospheric Light (to create mood): Chiaroscuro (contrasts of light and shadow) or Even Lighting : Form and Effects Use of outline to define form: Static or moving forms:

Use of tonal modelling to create 3-d forms:

Technique Smooth finish or Thickly applied paint (impasto): Effects: (e.g. implies texture of objects and garments such as marble, satin, creates energetic effects) Context (known through research and knowledge of style) Social/Historical: Geographical/Cultural: Ideological: Artistic: Fits the artistsâ&#x20AC;&#x2122; personal style: Fits the style of the art period: Subject and/or style are dependent on the commission:

PAINTING ANALYSIS GUIDE TWO GUIDE ONEONEOPTION ONE: 1. Identification - Who is the artist? What is the subject or title? Where and when was the work painted? 2. Subject Matter  What type of painting is it? a. religious, b. historical, c. allegorical, d. genre (scene of everyday life), e. still life, f. portrait, g. landscape, h. architectural view  If the painting seems to belong to two categories, does one dominate? 3. Frame and Pictorial Area  What is the actual size of the picture (height precedes width)?  What is the relationship of the shapes to the frame? Are they harmonious or discordant? 4. Technique  What materials are used for support: wood, canvas, cardboard, paper?  What kinds of colors are used: oil, tempura, watercolor, pastel?  How is the paint applied: thickly or thinly, with a fine or coarse brush, or by other means?  Are colors transparent or opaque?  Have other materials been used, as in a collage? 5. Composition (arrangement of the parts that form the whole)  Organization: Is it simple or complex? Geometrically ordered or free and seemingly accidental? Do some forms dominate others? Is there symmetry? Is the painting crowded or spacious? Do the shapes vary or do they repeat?  Individual units: Are there many or few? Are they large or small (in relation to both the outside world and to the picture area)? What kinds of patterns do they form? What are the proportions of solid and broken areas? Is the emphasis on central or marginal areas? Are forms multi-dimensional or flat?  Lines: Are lines clear or obscure? Angular or curved?  Colors: Are they bright or subdued (‘saturated’ or ‘low-key’)? Are there many colors or few (is the palette ‘wide’ or ‘limited’)? Are the dominant colors warm or cool? Are there moderate or extreme contrasts? Large areas or small patches? Repetitions or echoes?  Light: Is there a consistent source? Is the source inside or outside the picture? Is light used to emphasize parts of the picture, to create mood?  Space: Is the space shallow or deep, open or screened? Is the emphasis on solids or voids (intervals)? What kind of perspective is used (linear or aerial)? Is the main interest near or far? Is space suggested by in-depth or recessed planes? Is there any overlap? What is the degree of illusion? 5. Function  Is the painting an altar piece, a devotional image, a cabinet picture, etc? How might function affect form?

Considerations for different types of subject matter :

1. Portraits  How much of the figure is shown?  How much pictorial space does the figure occupy?  What is the background or setting?  Is the figure in action?  Is there any indication of the figure’s trade, profession, class, etc?  What is the figure’s relationship to the spectator (intimate, aloof, etc.)?  What kind of clothing is the figure wearing: tight or loose fitting, formal or casual etc?  What is the proportion of face to figure? 2. Figural Scenes  What kind of story is depicted (religious, mythological, historical, allegorical, scene from everyday life)?  Is the action calm or dramatic?  Are there many figures or few?  Are the figures small or large in relation to the size of the picture?  What is the setting (indoors or outdoors)?  What role does the setting play? 3. Landscape  What is the size of the area shown?  What is the spectator’s viewpoint?  How far can we see into the picture?  What kind of place is shown: cultivated fields, woods, riverbank?  Can the season or time of day be determined?  What kind of human activity is shown, if any?  What kind of architectural elements appear and what are their thematic and spatial relationships to the site?  What is the proportion of cloud to sky? Plane to elevation? Water to land?  What is the general character of the scene: attractive, forbidding, calm, turbulent, spectacular, intimate? What elements determine the effect: lighting, color scheme, spatial organization? 4. General Observations  Does the work seem spontaneous or calculated?  How do the formal elements convey theme, mood, visual interest?  What was the original function of the picture? Was it done for a public or private place?  Is it possible to make a reasoned statement about the artist’s aim? Does the artist wish to elevate the spirit, instruct, moralize, entertain, or satisfy her/his own need for expression? 36

SCULPTURE ANALYSIS GUIDE GUIDE ONEONEOPTION ONE: 1. Identification  What is the title or subject?  When and where was it made?  What medium was used? 2. Subject Matter  What is shown?  Does the subject come from Old or New Testament, classical literature, the lives of the saints, Renaissance literature, everyday life? 3. Formal Analysis  Technical means: Carved from stone (what kind?), wood? Modeled in clay and then cast in bronze or glazed? Welded metal? Other?  Volumes: What kind of three-dimensional forms are basic to the sculpture: geometric (conic, cubic, pyramidal), irregular (jagged, smooth, organic)? How are these forms organized?  Line: Are the dominant linear elements seen in the forms themselves, or are they incised onto the surfaces of the forms? What is the relationship between linear and volumetric elements?  Space: To what degree does the figure displace space? Do the forms and space interpenetrate? Is the piece a relief that creates the illusion of space within it? Is the sculpture frontal? Does it turn in space? Was it meant to be seen from one point of view only, or from many?  Color: Is color or gilding added to the sculpture? Is the color of the material of special importance? Does the color have a thematic significance? Does it have a descriptive or expressive function?  Light: Has the artist considered the effect of light upon his work? Are the forms arranged so that a particular effect of light and shade will be attained? 4. Iconographic Analysis  Is the subject treated the same way in several contemporary works?  Is the figure or pose traditional? Has the tradition been constant or varied over time?  Is the subject new or is there a new treatment of an old subject? 5. Function  Was the work part of a larger decorative program, such as a facade?  Was it intended for public or private viewing?  How might function have affected the form? 6. Content  How do the subject, theme, and/or form convey ideas, values, sentiments, perceptions?  What does the work of art say about the period and culture in which it was created? 37

ARCHITECTURE ANALYSIS GUIDE GUIDE ONEONEOPTION ONE: 1. Identification  Name of building? Location? Date built? (Many buildings are built over a long period of time; what parts were built at what dates?) Name of architect? 2. Purpose  Temple, church, tomb, house, palace, meeting hall, office building?  Further distinctions: cathedral, chapel, etc.? 3. Importance of the Building  Who uses the building? Is the site important? 4. Structure  What forms help hold the building up?  What materials were used? Were they easily available?  How is the building lit?  What is the size of the windows and doors?  Does the shape of the site affect the building?  What is the form of the ceiling?  Are there columns? Where? What kind? What is their function?  Is there sculpture on the building?  How is exterior related to interior?  Are different sections of the building meant for different functions? 5. History and Geography  Are the forms of the building similar to those of other buildings?  What elements reflect local tradition?  Are traditional elements practical or customary?  Are forms related to foreign models? Why?  Are forms related to older, historical models? Why? 6. Meaning  What statement does the building make about human values, ideas, beliefs, sentiments?

GALLERY ANALYSIS GUIDE ONE GUIDE ONEONEOPTION ONE: Viewing a visual image should be more than just looking and reacting without much thought. Viewing is an interaction between the viewer and the art object. Although most art works are constant, the interaction varies with each viewer because of the viewer's own varied perspectives and associations. NOTE: Complete each section in order and answer in paragraph form. Use the questions provided as a guide to provide information for your paragraph. 1. Preparation - list name of artist, title of work, and gallery visited or location of artwork. 2. First Impression - record your first spontaneous reaction to the artwork.  What is your immediate reaction to the work?  List any words that come to mind 3. Description – List and describe everything you can see in the artwork. Imagine you are describing it to a blind person, do this in as much detail as possible. Refer to the elements of art and use specific art vocabulary. 4. Analysis - Figure out what the artist has done to achieve certain effects. You should refer to your first impressions and try to explain how the artwork achieves that reaction.  How are the Elements of Art (color, shape, line, texture, space, form, value) and the Principles of Design (balance, contrast, emphasis, movement/rhythm, unity, variety) used in this artwork?  What do you notice about the artist's choice of materials?  What grabs your attention in the work?  At what do you think this artist worked particularly hard at while he/she did this work?  Do you see any relationship between the things you listed during the description stage?  What mood or feeling do you get when you look at this work of art?  What "qualities" do you see in this work? 5. Interpretation – Try to figure out what the artwork is about. Your own perspectives, associations and experiences meet with "the evidence" found in the work of art.  What is the theme or subject of the work?  What is the work about; what so you think it means?  Why do you think that artist created this work?  What do you think the artist's view of the world is? 6. Background Information - find out as much about the work and the artist as you can. It is important to complete this stage after having completed the other five. Research information in the library about the artist. Art Galleries and gallery educators are good sources of information about art and artists. 7. Informed Judgment - this is a culminating and reflecting activity. You need to come to some conclusions about the artwork based on all the information you have gathered and on your interpretations.  Have your thoughts or feelings about the artwork changed since your first impression? If so, how? What made you change your mind?  If not, can you now explain your first reaction to the work?  What have you seen or learned from this work that you might apply to your own art work or your own thinking? 8. Visual Research – Complete visual research – take photographs and make sketches of the work. Demonstrate your understanding visually.

Descriptive words to use in an analysis of art: ONEONEOPTION ONE: ELEMENTS Value Space OF ART: dark ambiguous Line light deep blurred medium flat broken negative/positive controlled Shape/Form open curved amorphous shallow diagonal biomorphic freehand closed ART horizontal distorted PRINCIPLES interrupted flat balance geometric free-form contrast meandering full of spaces emphasis ruled geometric harmony short heavy pattern straight light repetition thick linear rhythm thin massive unity vertical nebulous variety wide open organic THEMES IN Texture ART actual Colors adoration bumpy bright children corrugated calm circus flat clear cityscape furry cool earth, air, fire, gooey dull water leathery exciting farming festivals prickly garish gardens rough grayed grief sandy multicolored history shiny muted hunting simulated pale landscape smooth poly-chromed love soft primary music sticky secondary mythology tacky subdued of historic velvet sweet occasions warm portraiture

processions religion seascape storytelling theater war MEDIA (MATERIALS) 2D: chalk colored pencil conte egg tempera found materials gouache ink oil pastel pencil photograph print tempera vine charcoal watercolor 3D: bronze clay fibers found materials marble metal mixed media papier-mâché plaster stone wood

TECHNIQUE/ FORM architecture batik carving ceramics collage crafts glassblowing jewelry making metalwork modeling mosaics painting photography printmaking repousse sculpture weaving STYLE OR PERIOD abstract classical genre historical literary naïve narrative nonobjective primitive realistic romantic Renaissance

11: How do I do…. dodo..toWorkbooks Idea/Development pages: ONEONEOPTION ONE: Using a systematic investigation as described below, develop ideas into well designed pages. Annotate (write notes) for all images. 1. Conceptual – Brainstorm initial ideas with words: a web diagram/mindmap, starting wide then narrowing down. Define your idea with one word, expand into a sentence and then a paragraph clearly explaining your idea (this can be added to towards the end of the project to include artist, materials etc) 2. Critical – Initial Artist research: research a range of artist that have possible links to your work, this could be a similar theme, idea, style or technique. Paste images of the artists work and brief overview of why you have selected their work to research and brief notes on the artwork. Artist reference: stick in one picture of selected artist work with details, dates and, in your own words, noting your sources, write your analysis and comments using art related vocabulary. Include:  what you think the work is about,  why you chose it  how/why the medium is used in the way it is.  Visual analysis (what you see in the picture, elements and principles). Analyse and draw conclusions rather than just describing the work. 3. Depth - Broaden your final idea by gaining as much information about it as possible. A fish might be beautiful, stimulating, ugly, frightening. Feel its texture and weight, know in detail how it looks, feels, smells, tastes. 4. Breadth – Expand your ideas beyond the obvious. How do the scales protect, move, reflect light? What other meanings? (eg. Christianity) 5. Personal Expression – Use subject related images from direct observation where possible (primary sources). Write notes to say how the image inspired you or how you will use this idea/image in your work. Be original, don’t just copy work. Always quote the source (not a search engine) 6. Technical - Test images or techniques (including color choices, media, etc.). For example, if it's graphic design, test different typefaces, opacity levels etc. If you decide to do a watercolor you should have pages investigating watercolor techniques and trials with the medium. 7. Aesthetic - present several ideas, annotate and decide on the best using thumbnail sketches to explore the final composition. 8. Review, modify and refine – produce a detailed annotated sketch (whole image approximately A5 or a select only a portion of the final piece to allow room for annotation) of the final using the actual medium. Write an analysis of strengths and weaknesses to inform your final work. (This is not as extensive as required and is intended as a small sample of the process only)

IWB Sample pages: Idea Development

IWB Sample pages: Subject Research

IWB Sample pages: Artist Research

IWB Sample pages: Technique Research

IWB Sample pages: Trials and planning

IWB Sample pages: Process pages

Reflections/analysis of final studio pieces: SAMPLE ONE â&#x20AC;&#x201C; VERSION ONE REFLECTION: Studio piece # 4 Title:

Dreams # 3

Medium:

Photographic/Graphic Design (3 of series of 5)

Size of original: Month of completion:

420 x 297

Year:

Brief explanation of the piece: Dreams # 3 is part of a series of 5 photographic and digital manipulations. I used Photoshop to manipulate images of a dream catcher created in a previous project. The dream catcher created many interesting shadows in light and when relating to the theme of dreams the shadows become mysterious looking and more abstract which, to me, is very dream like. My aim was to visually show the capture of dreams through color. I wanted to visually show the capturing of dreams through color and possible symbolism through color association. What were the artistic and/or cultural influences for this project? Who/what influenced either the composition and/or the style. Color symbolism and abstract photographs influenced me for this pieces as well as Native American dream catchers, that were continued from previous pieces. What materials/media/processes did you use and or experiment with, and how? I used digital photographs and Photoshop to manipulate my images. I combined multiple layers of the same image and varied the levels of opacity to create a soft layered effect so that the image has more depth. How do you think you have responded to advice and criticism during the semester, both from fellow students and the teacher. Did you seek any? If so, was it useful? When making this piece I trialed coloring in the net and investigation pattern, after advice I decided not too as this was taking it too far away from my original intentions. I intended to keep it soft and dreamy and abstract and coloring it in was too flat. I think that I was more successful in my final pieces by not coloring in the image, but I could consider this for a further piece. Clearly explain the weaknesses/areas for improvement I think that the colors are soft and help give it an abstract feel however they could have been more obvious. I could have made them even softer pastel colors or extremely bright vivid colors. One of the series does not really fit in, it is too different because it is too focused on the dream catcher, I should have reshot this. I have not focused on a particular artist model other than a group of photographers. Clearly explain the strengths of the piece â&#x20AC;&#x201C; The soft abstract nature is strength because it is soft and unclear and resembles a dream. I liked the layers because it added depth and made it more 3D. What could you take through to the next project and develop further? This could be anything, ranging from a technique to an idea, not just the Theme itself. I would like to continue this into a second series of photographs. I could possibly take the colors and manipulate them more to make them more varied and hazy, a little more random like a dream. I could also enhance them and try pastel or vibrant colors. Dreams are not always happy and positive, I could research dreams and symbolism and try to add more research into dreams and dream images. Text could be a good idea to add, to explain the meaning of colors.

SAMPLE ONE â&#x20AC;&#x201C; VERSION TWO

REFLECTION: Studio piece # 4 â&#x20AC;&#x201C; Dreams # 3 is part of a series of 5 photographic and digital manipulations. I used Photoshop to manipulate images of a dream catcher created in a previous project. The dream catcher created many interesting shadows in light and when relating to the theme of dreams the shadows become mysterious looking and more abstract which, to me, is very dream like. My aim was to visually show the capture of dreams through color. I wanted to visually show the capturing of dreams through color and possible symbolism through color association. INFLUENCES: Color symbolism and abstract photographs influenced me for this pieces as well as Native American dream catchers, that were continued from previous pieces. MEDIA/PROCESSES: I used digital photographs and Photoshop to manipulate my images. I combined multiple layers of the same image and varied the levels of opacity to create a soft layered effect so that the image has more depth.

STRENGTH: The soft abstract nature is strength because it is soft and unclear and resembles a dream. I liked the layers because it added depth and made it more 3D.

Title: Dreams # 3 Media: Photography/Photoshop Size: Date:

DEVELOPMENT FOR NEXT PIECE: I would like to continue this into a second series of photographs. I could possibly take the colors and manipulate them more to make them more varied and hazy, a little more random like a dream. I could also enhance them and try pastel or vibrant colors. Dreams are not always happy and positive, I could research dreams and symbolism and try to add more research into dreams and dream images. Text could be a good idea to add, to explain the meaning of colors.

CRITIQUE: When making this piece I trialed coloring in the net and investigation pattern, after advice I decided not too as this was taking it too far away from my original intentions. I intended to keep it soft and dreamy and abstract and coloring it in was too flat. I think that I was more successful in my final pieces by not coloring in the image, but I could consider this for a further piece. WEAKNESS: I think that the colors are soft and help give it an abstract feel however they could have been more obvious. I could have made them even softer pastel colors or extremely bright vivid colors. One of the series does not really fit in, it is too different because it is too focused on the dream catcher, I should have reshot this. I have not focused on a particular artist model other than a group of photographers.

INITIAL IDEAS: (small sketches/thumbnails etc)

SAMPLE TWO â&#x20AC;&#x201C; VERSION ONE REFLECTION: Studio piece # 7 Title:

The Red Flower

Medium:

Batik

Size of original: Month of completion:

cm Year:

Brief explanation of the piece: "The Red Flower" is the first batik piece that I have created. I created an image of a flower using a batik method based on batik techniques and styles of South East Asia. I have planned my composition of this piece and the color based on some of the batik pieces which I found interesting. The idea behind the piece is a continuation of investigations into flowers and focusing on color. What were the artistic and/or cultural influences for this project? Who/what influenced either the composition and/or the style. I originally started this project because I was interested in Japanese Batik, but since I could not find many examples of Japanese Batik, even in public Japanese libraries. I started looking into Indonesian Batik and the techniques involved. My composition and choice of colors was highly influenced by Indonesian Batik. I was particularly interested in the bright pure colors used and the flat areas of color as opposed to some modern printed fabrics having elements of line drawing. What materials/media/processes did you use and or experiment with, and how? I used paint brushes to apply wax to cloth, even though I was facing issues with this as it was difficult to in the detailed small areas. This has frustrated me since it was hard to apply the wax when I came across detailed parts since the tip of the brush would go over thin lines. Towards the end of the due date of this project, I have started to use tjantings, a tool that is commonly used in batik in countries like Indonesia. I realized the need of experimenting with different tools earlier in the research and trial stage of the project. How do you think you have responded to advice and criticism during the semester, both from fellow students and the teacher. Did you seek any? If so, was it useful? I did not seek for any advice when I was working on this project. It is not included in the final piece, but I have invested quite a fair amount of time on a wooden frame which I was planning to use of my final piece. When I had finished the frame, I was aware of the fact that the quality of the frame fairly low and it lowered the overall presentation of my piece. I have learned how I should have talked to the teacher earlier about my piece so that I had not have to invest time on something that I am not even going to include in my final piece. Clearly explain the weaknesses/areas for improvement The details are not as precise as I believe they need to be. The edges of the flowers are not a fine point and this takes away from the overall technical skill in the whole image. Changing tools helped with this but more practice is needed. Clearly explain the strengths of the piece â&#x20AC;&#x201C; The bright colors and the contrast of the red and yellow is a strength of the piece. It is bright and reflects Indonesian batik. What could you take through to the next project and develop further? This could be anything, ranging from a technique to an idea, not just the Theme itself. I liked how this piece has turned out, and since I have received positive comments from my teacher and peers I have decided to carry out using the batik method further and create more pieces using it. I am thinking of working on different kinds of patterns, which is most likely to be Indonesian Batik is patterns of flowers. I am also considering looking into a specific pattern designer in order to be able to focus on a specific type of pattern.

SAMPLE TWO – VERSION TWO

REFLECTION: Studio piece # 7 – “The Red Flower" is the first batik piece that I have created. I created an image of a flower using a batik method based on batik techniques and styles of South East Asia. I have planned my composition of this piece and the color based on some of the batik pieces which I found interesting. The idea behind the piece is a continuation of investigations into flowers and focusing on color. INFLUENCES: I originally started this project because I was interested in Japanese Batik, but since I could not find many examples of Japanese Batik, even in public Japanese libraries. I started looking into Indonesian Batik and the techniques involved. My composition and choice of colors was highly influenced by Indonesian Batik. I was particularly interested in the bright pure colors used and the flat areas of color as opposed to some modern printed fabrics having elements of line drawing specifically outlines. MEDIA/PROCESSES: I used paint brushes to apply wax to cloth, even though I was facing issues with this as it was difficult to in the detailed small areas. This has frustrated me since it was hard to apply the wax when I came across detailed parts since the tip of the brush would go over thin lines. Towards the end of the due date of this project, I have started to use tjantings, a tool that is commonly used in batik in countries like Indonesia. I realized the need of experimenting with different tools earlier in the research and trial stage of the project.

STRENGTH: The bright colors and the contrast of the red and yellow is strength of the piece. It is bright and reflects Indonesian batik. Red and green complementary colors create contrast but the green should have been stronger.

Title: The Red Flow Media: Batik Size: Date:

CRITIQUE: I did not seek for any advice when I was working on this project. It is not included in the final piece, but I have invested quite a fair amount of time on a wooden frame which I was planning to use of my final piece. When I had finished the frame, I was aware of the fact that the quality of the frame fairly low and it lowered the overall presentation of my piece. I have learned how I should have talked to the teacher earlier about my piece so that I had not have to invest time on something that I am not even going to include in my final piece. WEAKNESS: The details are not as precise as I believe they need to be. The edges of the flowers are not a fine point and this takes away from the overall technical skill in the whole image. Changing tools helped with this but more practice is needed.

DEVELOPMENT FOR NEXT PIECE: I liked how this piece has turned out, and since I have received positive comments from my teacher and peers I have decided to carry out using the batik method further and create more pieces using it. I am thinking of working on different kinds of patterns, which is most likely to be Indonesian Batik is patterns of flowers. I am also considering looking into a specific pattern designer in order to be able to focus on a specific type of pattern. 54

12: IB Art Subject Report dodo..toWorkbooks Introduction

November 2011:

This report is for the November 2011 examination session and includes reference to the performance of candidates in HLA, SLA, HLB, and SLB courses. The report sets out to provide information about the examination session as well as to provide some advice to assist in improving the achievement of candidates in future examination sessions. Although the two components for each of the four visual arts courses are separately examined and so reported upon, it can be difficult to separate these components when discussing the outcomes of the session due to the integrated nature of the tasks that candidates undertake in developing and creating their work. Consequently the information contained throughout the report may be relevant to either or both components.

Overall grade boundaries HL &SL - Opt A Grade: Mark range:

1 0 – 13

2 14 – 28

3 29 – 43

4 44 – 58

5 59 – 70

6 71 – 85

7 86 – 100

1 0 – 12

2 13 – 27

3 28 – 42

4 43 – 57

5 58 – 67

6 68 – 82

7 83 – 100

1 0–3

2 4–6

3 7–9

4 10 – 12

5 13 – 14

6 15 – 17

7 18 – 20

HL &SL - Opt B Grade: Mark range:

Studio Work HL &SL – Opt A & B Grade: Mark range:

The range and suitability of the work submitted Examiners reported that the work submitted for assessment was predominantly two-dimensional this session. It was often commented that the work was produced using a narrow range of media and forms with painting tending to dominate the portfolios of candidates. Drawing, mixed-media, printmaking, sculpture and fashion design followed in descending order of frequency. Figurative work ranked a very popular genre with some still life and landscapes/cityscapes also popular. Again there was an over-reliance on teacher directed art making activities, and a lack of integration between studio work and investigation. Where photography and digital media forms were selected, examiners felt they were often done as an "easy option" for candidates whose other work suggested they lacked drawing or other art-making skills. Some candidates who labeled digital photographs as examples of „digital manipulation‟ appeared to be confused about the medium they were working with. It was commented that the terms seem to be wrongly interchangeable in the minds of some candidates, as many of the concepts and techniques that relate to photography are different to those of digital manipulation. Some candidates continued to rely heavily on sources such as internet and print imagery to create artworks rather than developing their own original compositions. Apart from this being an easy and/or lazy option there is the serious academic honesty issue of plagiarism. Examiners reported that some candidates who worked in installation or other time-based works failed to provide sufficient evidence of the development of the works in their investigation workbooks. At the top end of the mark range, many candidates explored a wide range of media and forms, and used these opportunities to develop skills in using the materials. They often found that a theme, ideas or concepts emerged from their work, leading to a coherent body of work (rather than imposing a theme and then trying to „fit‟ work into it). This work was supported by thorough, individual and integrated investigation into ideas, artists, artworks and their contexts. Weaker candidates tended to exhibit a more limited range of work demonstrating an approach that was frequently completely candidate directed with little evidence of any teacher guidance. This work tended to lack the depth of inquiry that could have led to an improvement in skills. Examiners commented that the lack of teacher involvement also meant that the studio work produced was often predictable and, for example, an expression of emotions, rather than conceptually challenging ideas. Echoing the comments of many previous visual arts subject reports, it was commented that candidates need to

develop greater technical skills. Examiners stated that they rarely observed work where the candidate‟s technical skills were stronger than the intended conceptual content of their work. Throughout the mark range it seemed that no matter where the work fell this was true. Examiners were again concerned at the number of candidates who appeared to have been left to their own devices without any positive teacher direction, feeling their frustration at being unaware of how to expand and develop their work. Conversely at schools where candidates were able to access the higher markbands, examiners noted that it was very often clear where the teacher had offered guidance and/or direction.

Candidate performance against markband descriptors Candidate performance against the holistic markband descriptors reflected the diversity of the candidature. Comments from examiners in relation to some specific bullet points follow: This session it was usually the case that the weakest candidate performance aligned to their development and strategies for expression, and ideas reflecting cultural awareness. Examiners commented that there was a surprising lack of awareness of their own culture amongst some candidates in some schools. It was stated by some examiners that the candidates‟ understanding of the ideas and techniques that underpinned their own work was sometimes superficial or limited, with their analysis tending to be subjective, emotional and descriptive rather than objective and analytical. Comments included that candidates were weakest in understanding, relevance and investigation of the conceptual underpinnings of artistic expression; even when technical competence was satisfactory, inventiveness tended to be lacking. The significant difference that the approach of the individual art teacher made on the candidates‟ ability to access the bullet points in the markband descriptors was noted by examiners this session. It was observed that where greater emphasis was placed on technical ability, candidates predictably scored higher on technical competence, sensitivity to materials and the like, whereas candidates performed better with the more conceptual and idea criteria in schools that placed greater emphasis upon ideas that underpin artistic expression. With regard to developing ideas and strategies for expression, some candidates had little supporting evidence by way of investigation, media practice and/or the development of ideas. There was sometimes insufficient focus. There were some examples of very successful digital art that showed an excellent understanding of the ideas and techniques that underpin artistic expression, and demonstrated an excellent exploration of ideas reflecting cultural and historical awareness and artistic qualities. There were, however, also disappointing examples of digital and new media artworks that did not show such an accomplished resolution of ideas and medium. Simply working with digital and contemporary/new media technologies does not guarantee access to the higher markband descriptors. Some of this digital and new media work did not demonstrate sufficient knowledge or understanding of the requirements of the visual arts assessment criteria markband descriptors.

Recommendations for the teaching of future candidates Some examiners noted that although resources and equipment can be an issue for some schools, three-dimensional work does not have to made out of expensive materials and there should/could be more emphasis made of its importance in contemporary visual works. Resources and equipment are sometimes an issue. Candidate record booklets from some schools did not include photos of the overall exhibitions and examiners recommended that teachers should continue to encourage candidates to include these exhibition overview photographs. Other teaching-related recommendations included to encourage candidates to:  explore different media and experiment with techniques that extend their skills with drawing and painting 

explore and identify their own local cultural context as a starting point in their art making



visit galleries and, where possible, first-hand contact with artists



use first-hand stimuli rather than incorporate and/or rely on images simply found and copied from the Internet



have access to at least a basic range of art-making materials across a range of forms.

Investigation workbooks HL &SL - Option A Grade: Mark range:

1 0–2

2 3–5

3 6–8

4 9 – 11

5 12 – 14

6 15 – 17

7 18 – 20

1 0–2

2 3–5

3 6–8

4 9 – 11

5 12 – 13

6 14 – 16

7 17 – 20

HL &SL - Option B Grade: Mark range:

The range and suitability of the work submitted A wide diversity of work was submitted, most of which was appropriate and in line with requirements. The strongest submissions showed depth of study and a sustained development and realization of ideas, often across different fields of practice and demonstrating strong, purposeful exploration of ideas reflecting candidates‟ personal concerns and interests. The best work was thoroughly supported by investigation into relevant artists, movements, theories and art from other cultures: documentation was thorough and the pages showed intelligent and considered reflection about the work produced and how it related to and was influenced by candidates‟ investigative studies. The strongest candidates developed a range of strategies, techniques and investigative processes which integrated well with their studio work. These candidates tended to have a personal connection to their investigation and explored an idea or theme from multiple perspectives through a variety of media and by connecting to different artists throughout the course, which deepened the investigation. Their work reflected a good understanding of the procedures supporting the art-making process. In many cases an understanding of relationships, continuity of thought processes, links and on-going dialogue between the IWB and studio work was demonstrated. A broad range of concepts and ideas, the use of a variety of different media, individual investigative strategies and the support of appropriate source material were evident in these more successful candidates‟ submissions. Weaker candidates lacked depth and insight into the production of personally relevant artworks, thus tending to produce limited submissions that demonstrated a very low level of skill and understanding. Some of the weaker submissions did not reflect the quality and depth of study expected at this level, and showed a lack of an analytical approach or logical development. This resulted in work lacking substance, which although at times aesthetically pleasing, presented a mediocre or poor development of ideas. Some candidates developed few effective skills, techniques and processes in investigative pages. They explained the processes purely through written language, instead of incorporating visual explorations. Weaker candidates had often locked themselves into superficial themes that did not allow for growth. Some of these candidates focused on the perceived easy option of presenting random photographs with superficial investigation and limited cultural context. This contrasted greatly with those candidates who used the photographic and digital medium to its best potential. Where schools seemed to offer only photography, both practice and investigation were very limited, especially for the weakest candidates. Film/digital photography and digitally-manipulated imagery all require in-depth documentation of the processes used, with associated investigation and explanation of the hardware, tools and software involved and some step by step documentation of the processes. Photography and digital work can be viewed as easy options without substantiating evidence and teachers and candidates are urged to follow the requirements as detailed on page 6 of the CRB. A number of examiners were concerned that even some very good candidates did not adequately explain the choice of concept, and its significance to themselves or on a broader scale. Weaker candidates showed a limited understanding of the complete process, beginning with very limited investigation into art from different times/cultures that was more descriptive than analytical. Generally there was too much reliance on random images sourced from the internet with no apparent relation to candidates‟ own work. Examiners found submissions from quite different regions to be very similar. Some felt that there are still schools who have not grasped the full implications of the current criteria and descriptors, with continuing reference to „Research Workbooks‟, as opposed to „Investigation Workbooks‟, on occasion. Overall the sample material reflected very high standards of creative production in some cases and some very limited submissions in others, which is to be expected. The majority of submissions were well-presented, easy to read and examine, with carefully selected and representative pages which aided marking and gave candidates the best possible opportunity to perform well. Others were more difficult to follow and some were weak in the selection of work

Candidate performance against each criterion Candidate performance against the holistic markband descriptors reflected the diversity of the candidature. Comments from examiners in relation to some specific bullet points follow:

Examiners reported that the analysis and comparison of art from different cultures and times and the consideration of its function and significance was again the most challenging for candidates. Culture was not obviously addressed in many candidates‟ IWB pages and when it was, it tended to be dealt with almost in passing. It seemed the main difficulty lay in the interpretation of what is meant by „culture‟. Art from different cultures and/or times often consisted of a couple of short descriptions of another culture, usually with little relevance to the candidate‟s own artwork. Some of the better candidates showed thoughtful analysis and comparison between arts, design and architecture from different cultures and time and analysis in depth of some contemporary human issues. They connected their ideas with social and cultural aspects and with the work of different artists and showed selfdirection. This descriptor was sometimes addressed by weaker candidates, but rarely linked with “different cultures and times”. Overall this was the area needing most improvement with a considerable number of candidates lacking breadth and depth when investigating art from different times and cultures and some submissions presenting no material relating to art from other cultures and times. Function and significance were often only addressed by candidates achieving against the highest markbands. Many examiners observed that candidates often took a social studies approach in investigating other cultures, without considering the art aspects. The area of "function and significance" appeared to be challenging for many candidates as artists and artworks were not placed in context, therefore the importance or significance within any given society or on a global level was not fully understood. Most candidates demonstrated some effective skills, techniques and processes leading to interesting studio works, but the approach and development of ideas were sometimes basic or mediocre. Often there was only token influence from other art on the candidate's art-making, with a good deal of work submitted which was close to copying. The highest achieving candidates demonstrated excellent skills, techniques and processes whereas weaker candidates presented predictable work showing limited ability and little variation in media use. Analysis and comparison were poor in some cases. Too many candidates‟ submitted pages that contained descriptions of their own work, recounting the physical process of making an image in a medium. Many candidate‟s pages showed sketches and media experimentation or images with no annotation that explained their relevancy. Generally the submitted material demonstrated the development of effective skills and techniques, resulting in the production of some very interesting and resolved artworks. The demonstration of the actual process was often neglected. In many cases only end products were presented and at times only text was used to describe the process, with no visual support material relating to the development of the process and in turn the work under investigation. This was often the case when producing lino cuts, other forms of printing, digital manipulation and the making of clay and sculptural images. Most candidates demonstrated some level of organization and focus in investigating visual qualities, although this investigation was somewhat limited at times. In those cases, it was obvious that teachers had not pushed the parameters and guided candidates towards alternatives to pursue. Stronger candidates demonstrated clear strategies with more than one approach. Weaker candidates showed limited investigation, usually with just one approach and work was therefore limited and one-dimensional. Sometimes candidates went off at a tangent with their investigation, which seemed to lack any real connection with their studio work and not to lead anywhere in particular. In these cases they read more like teacher-driven exercises produced in an effort to cover the criteria. Some submissions evidenced as many as twenty artists or art movements studied, which showed breadth of investigation, but not necessarily depth nor relevance. Weaker candidates made random choices, with little investigation into ideas, related artworks or variations in media and often copied random images with little or no justification. At times a random image was selected and directly copied and presented as artwork, without any further development and without any acknowledgement of the source, other than that it was accessed from the internet or a magazine. This method resulted in very little evidence of depth and breadth in the development of concepts and investigation into related visual qualities. It should be stressed that all candidates must consider more than one approach and go beyond a simple copy. Some candidates did not investigate their topics soundly and developed a repetitive pattern of work. They didn´t take risks and kept in something of a „safe‟ zone: in consequence, the development of ideas seemed at times a little unadventurous. The use of specialist visual arts language was often mediocre at best. „I liked this piece‟ was too often as far as it went. Weaker candidates simply scattered around the 'elements and principles' terms without much real thought. Top candidates demonstrated very sophisticated and articulate use of specialist vocabulary indicative of an in-depth understanding of their subject and related processes. Less focused candidates presented a casual approach using slang and at times, even inappropriate language that could be termed as offensive. Quite often a generally satisfactory use of the specialist vocabulary of the visual arts was demonstrated. A range of appropriate primary and secondary sources were included in the stronger candidates‟ pages, with material fully referenced and acknowledged. In weaker submissions, the range of sources used was limited and poorly acknowledged, if at all. There were few connections with the work and few opportunities to use primary sources were demonstrated in these cases. Some candidates searched information from the Internet that showed interest and focus but they did not demonstrate that they could process or apply this information. Top candidates

selected appropriate resource material directly related to their area of investigation from the internet, books and other sources. More limited candidates used borrowed material, at times randomly chosen or lacking significance/relevance. There was general, continuing concern among examiners at the lack of properlyacknowledged source material and persistent, widespread over-reliance on the Internet. Some candidates were happy to use search engines or collections of images like google.com or flickr.com, almost exclusively, which naturally limited their potential and was not in the spirit of genuine inquiry. Critical observations were sometimes few and far between; subjective responses were more usual. The majority of the work was creatively and effectively presented. At the top level, unique, inspired and exciting presentations were made, with satisfactory critical observation and reflection demonstrated. Conversely, there were some full, uninspired presentations in the lower mark ranges. In most cases there was evidence of some reflection and simple critical observation, albeit limited at the lower level. The poor quality of handwriting made some submissions difficult to read, as did dark-coloured and patterned backgrounds, writing without headings, sub-titles or dates and writing with light coloured pens, pencils or even charcoal, which smudged. Better submissions presented pages with a good balance between visuals and text. Bad photocopying resulting in faded writing in some cases, and reduced pages often rendered the writing too small to read or cut off vital words from the page. Examinersâ&#x20AC;&#x; impressions of the relationship between investigation workbooks and studio work varied from â&#x20AC;&#x17E;most work submitted supported the studio workâ&#x20AC;&#x;, to comments on a lack of connection between the two facets of the course. Stronger submissions demonstrated clear relationships; weaker presentations were superficial, lacking in-depth investigation into the process of the accompanying art-making. These candidates lacked a focused relationship between investigation and studio work with few explaining connections between their work and others.

Recommendations for the teaching of future candidates The balance between guidance to produce individual creative responses from candidates as opposed to producing formulaic class responses is a delicate one for weaker candidates, but a learning structure has to be in place and this was not evident in some submissions. Teachers are encouraged to initially guide candidates, demonstrating the process of art-making from initial concept through the assessment criteria markband descriptors, concluding with the production of studio work. As candidates become more confident, teachers should allow them more independence to plan and investigate without defined boundaries. An appropriate language of visual arts needs to be fostered. This should include the elements and principles of art, and a 'template' of how to discuss, compare and contrast art works. There must be some teaching of skills in media and techniques in the studio but also in how to investigate so that the investigation is relevant to the studio work and the candidate. Guiding candidates to choose appropriate art to investigate would help some candidates who clearly have little knowledge of art history or current artistic trends. Discussion about the nature of developing a real investigative approach in the workbooks, as opposed to a sketchbook or diary format would also help some candidates. Candidates should be encouraged to explain visuals in terms of both concept and technical processes. Formulaic, class approaches to investigation and practices are to be discouraged. Candidates should be encouraged to produce individual responses, investigate media and images of their choice, to solve problems experienced as well as incorporating media and techniques presented within the learning process. There are a considerable number of candidates writing about themselves, their lives and evaluations of their artwork which are highly personal and not based on an understanding of accepted art practice. Teachers need to help them realise that much more than their own personal opinion and likes and dislikes is expected in their IWB pages. As this subject is based on the production of visual images, candidates must be encouraged to utilize sufficient visual material in relation to their investigation. Investigation should not be only in text but accompanied by supportive visual material. This may range from analysis of an artwork, with appropriate accompanying visuals, to the description of a process with apt visual support. Examiners commented on the additional responsibilities required for visual arts teachers when teaching candidates whose mother tongue is not English. Candidates should be aware of and informed about the requirements of the markband descriptors from the start of their course. Teachers should continually remind their candidates about the importance of addressing all the requirements, highlighting the importance of relevant investigation into art from different cultures and times, and the scope and importance of art-making within a global context. At all times candidates should be encouraged to investigate areas of investigation that personally interest or concern them, which in turn gives more depth and individuality to the production and presentation of their artworks. Some works lacked links between the ideas. It is necessary make clear connections to keep the coherence and the focus of the purpose of the work. Schools should provide a good cross section of materials and not just limit their candidates to one specialist area of

study. Art history and other artists‟ work should be studied and investigated in conjunction with each candidate‟s chosen interest and not in isolation. When visits to museums take place candidates should learn to relate the experience to their work. Other teaching related recommendations included to encourage candidates to: 

learn to apply clear guidelines for investigation to their analytical thinking in order to be relevant to their own work



cite sources and art terms in their selected investigation workbook pages

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explore ideas, issues, artists and artworks in greater depth and breadth to develop conceptual awareness in art-making in the studio

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look beyond the aesthetic qualities of artworks for inspiration and investigate the cultural context of the work, avoiding tokenistic studies (for example African masks, aboriginal „dot painting‟, cave painting) if it is not relevant to their own investigation

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present enough examples of all aspects of the markband descriptors, choosing the pages for assessment wisely

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ensure that the pages submitted are captured at the highest quality

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be creative in their presentation of pages and information and to present relevant work that reflects or supports their work in the studio and addresses the markband descriptors

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work from primary sources, visit local galleries, and analyse public art within their own environment, avoiding too much reliance on random internet source material, seeking a variety of relevant material including wellknown contemporary and historical artists and artwork as well as little-known examples

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document processes from conception to conclusion visually and in text rather than describe the process on a superficial level. Problems encountered should be discussed and visually documented

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fully document all photography and digital manipulation work as per the requirements stated in the candidate record booklet.

May 2010: Introduction: General comments: Candidates presented works for examination from a variety of media, including painting, drawing, printmaking, collage, digital and black and white photography, digital media, animation, three-dimensional and installation works, glass, fashion design and production, jewellery design and production, metalwork and casting, and ceramics. . Many examiners reported that the exhibited work lacked technical skills, particularly when drawing and/or painting. Many candidates worked with personally relevant ideas, but showed poor levels of technical competence which then hindered an informed resolution of ideas and medium. One examiner commented: "There were fewer candidates exhibiting good/excellent technical competencies … for both traditional and contemporary art making tools". Many candidates had good plans, but lacked the skills and techniques to be able to realize them. Some candidates struggled to produce work reflecting a real understanding of formal elements and visual qualities, and some examiners expressed concern that the traditional route to understanding how to approach and solve technical and formal issues – observational drawing – was being ignored or given too little emphasis. (One examiner wrote,"there were virtually no examples of work developed from observation and rather an overreliance on working directly on canvas from the imagination with little preparation or development of ideas.") Even when candidates worked principally in other media, examiners felt they should understand and be experienced in the skills of composition and design with drawing skills a foundation for developing imagery and thinking in visual terms. Some candidates without developed drawing skills worked unsuccessfully with 3-D media, and some weaker candidates resorted to using installation art as an easy way out. The paradoxical lack of drawing - but its perceived importance - was an issue raised by many examiners, as there appeared to be a drop in the amount of drawings presented as a way of thinking in the workbooks, or as an end in itself in studio work. Examiners recommended as early a start as possible to develop observational skills and introduce many different media and techniques to go with them. Examiners expressed concerns over a lack of evidence of development, with insufficient emphasis being placed on the vital process of experimenting with ideas, imagery, exploring alternative techniques etc. Some candidates started studio work without any preliminary investigation and planning either in their workbooks or as larger studio-work explorations, resulting in unresolved work which lacked intent and purpose. Although the focus of this section of the report is studio work, the integrated nature of the course makes it difficult to comment on one component alone. Successful studio work does not usually happen without sustained investigation. There should be a balance, and a clear relationship, between investigation and studio: findings in investigation feed studio work, and problems in studio work lead to further investigation in order for these problems to be resolved. Candidates who consistently recorded their ideas, investigations and thoughts in their investigation workbooks when developing studio works were able to achieve higher markbands than those who attempted studio works without having done so. Examiners reported that where candidates had undertaken systematic investigation in preparing to develop a piece of studio work, their ideas were often more complex and well thought through and lead to a more successful studio piece. At the higher level of achievement candidates showed a very close relationship between investigation and studio work, and investigations into artwork from different cultures and times helped inform candidates’ work when working with contemporary issues. Process involves experimentation, and this implies risk-taking, but there was also evidence of an unwillingness to take risks. Examiners reported that some candidates suggested that they had not tried something because they did not want to take the risk of having it not work out for them. They also admitted to not trying other forms of work, such as sculpture, because they were not good at it. In some centres there was too much dabbling: some candidates explored too many different media, and this experimentation with many media, perhaps to show diversity, meant that candidates did not then achieve highly in any one medium. Some candidates had problems in responding successfully to the studio work descriptor "show excellent exploration of ideas reflecting cultural and historical awareness". In some centres too few candidates had advanced their cultural and historical awareness, and examiners commented that some candidates misunderstood the purpose of cultural investigation or addressing cultural connections, or making and communicating these connections between their own artwork and their culture. Candidates who achieved marks in the higher markbands were able to reflect cultural awareness and relate their own ideas to their culture, or the culture of others. A further area of weakness was the approach to culture. The descriptor wording, “exploration of ideas reflecting cultural and historical awareness and artistic qualities”, appears to be confusing to some. One examiner said there was not enough about culture of any kind, and in the interview many candidates struggled to answer cultural questions regarding their work.

Some were unable to identify other cultures such as centre groups, activities, or other communities of people that create their own cultures. There were instances of simplistic and superficial 'culture' pieces. (The definition of culture in relation to the Diploma Programme visual arts course is to be found on page 14 of the guide: “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”.) Examiners commented that some centres had misunderstood the idea of a theme, which is not required. Although working around an idea, theme or issue may help to generate a cohesive and coherent exhibition, these may arise naturally, from the process of working, and be a connecting thread throughout the course and exhibition rather than candidates first choosing a theme and then imposing it upon their work. Quantity of studio works was sometimes an issue. One examiner wrote, "There were more candidates unable to provide evidence of a reasonable quantity of work for the time available at both HLA and SLA levels". Where candidates have not undertaken sufficient work, or been allocated sufficient time to do so, the work produced is often self-limiting and unable to achieve marks in the higher markbands. With regard to the candidate record booklet (CRB), some teachers did not appear to be advising candidates to ensure their statements were appropriate to the studio work and investigation workbook (IWB) pages within the CRB. There were also a few candidates who failed to exhibit or show studio work that was photographed in their CRB, and some displayed excellent studio work that was not recorded in the CRB - this work could not, therefore, be included in the assessment and was not allocated marks. The choice of studio works to be presented for examination, and included photographically in the candidate record booklet, should be carefully made by candidates after discussion with their teacher. Some candidates were less successful when talking about the cultural and historical context, and had problems with synthesizing conclusions and explaining the development of ideas. The weaker candidates tended to cite "life's experiences" or "personal experiences" in referring to an artist(s) that influenced/inspired their work. One examiner commented, “Some poorer performing candidates attribute a depth of thinking and/or feeling that was not apparent in the work itself”.

General strengths and weaknesses identified: The most common strengths identified by examiners were:  Information technology and digital imagery: there was some evidence that the use of manipulation and art and design software was becoming more integrated into artwork; there were more mixed media pieces and more experimentation and movement/overlapping between media.  The strongest work resulted from risk taking, where candidates had grown in their understanding of art and were able to explore important and/or personally relevant issues. At the higher level of achievement, candidates showed self-direction and inventiveness in their focus and use of media.  When candidates used first hand resources and the local environment, the resulting work often yielded dividends.  Most candidates were comfortable discussing their work and answering questions from a personal perspective, and some were able to articulate the influences upon their work and reflect upon historical, cultural and artistic qualities although some had issues with placing their work in the larger context. The most common weaknesses identified by examiners were:       

A lack of technical skill, particularly with drawing, and a perceived drop in the number of drawings presented as a way of thinking in the workbooks, or as an end in itself in studio work. The need for a theme was sometimes misunderstood with too much time spent trying to find a suitable one, or worrying about changing one. A theme is not necessary and should not be a limitation or an obstacle to creativity. There was too much reliance on the internet, both for images and text: candidates should find other sources as well as the internet to get their information. Primary sources are necessary. A number of examiners felt that time management was an issue, with some candidates resorting to rushed last-minute studio work that limited their success. It was evident that connections between investigation and studio work were sometimes limited. Although candidates had examined the work of artists and cultural artifacts, during the interview they found it hard to provide convincing explanations of how their investigations had influenced the development of studio work. Some candidates had difficulty in expressing the concepts behind some of their studio work; not all candidates used appropriate language or vocabulary during their interview. Teachers and candidates should read the requirements of the CRB carefully with regard to the statement, the number of studio examples and IWB pages to include. One examiner commented, “there remains the need for

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teachers to provide guidance and a critical eye when advising candidates in their choice of works for inclusion in the CRB and exhibition/examination”. Some candidate statements were confusing and many did not really explain the artist’s intention or provide a critical analysis of the candidate’s work. Often the statements were merely descriptive and listed the artistic processes or materials used. Poor documentation in CRBs was sometimes a problem, with poor quality photographs and photocopies falling to accurately represent candidate work.

Investigation Workbooks: For all courses, the investigation workbook (IWB) is a vital part of all candidates’ studies in visual arts. Observations made by examiners of the investigation workbooks were often very similar to those made by examiners of studio work, due to the integrated nature both of the course and the approach required of candidates when developing their work. As always a high level of analysis, reflection and synthesis were to be found in the very best examples. Candidates meeting the requirements of the higher markbands demonstrated excellent knowledge and understanding, which was referenced well and appropriate to intentions. These candidates usually presented eloquently written pages, well illustrated, in order to demonstrate the candidates’ journey, charting their creativity, personal exploration and growth. It was clear this session that many candidates’ had a good level of understanding of the course and its requirements. Candidates achieving high marks generally understood the requirements and detail of what was expected of them. Weaker work often seemed to reflect on a lack of understanding of the application of the requirements. Examiners noted that candidates who had little or no art history background before embarking on a visual arts course were often less successful in their investigation, with the level and use of art terminology and appropriate vocabulary less well displayed. The dedication of many candidates toward their investigation was admirable. There was an overall drive toward personally relevant work, but a shortfall in the investigation of how other artists, past and present, had dealt with the same ideas or themes. In the case of weaker candidates, the IWB often consisted of a series of descriptions of work seen on the internet, with little evidence of any investigative strategy, visual analysis or development of ideas in relation to things seen. Here too there was often inadequate reflection and discussion about the nature and function of art and a lack of evidence of process, purpose and planning, all of which should be represented in focused and successful IWBs. The purposes of the IWB are not always well understood, in particular with respect to critical discrimination. Descriptions of artists’ lives (often with bullet-pointed, apparently directly copypasted biographies) or write-ups of practical processes predominate, rather than a more analytical approach which would enable candidates to develop a deeper understanding. Some candidates again found it difficult to make comparisons or analyse art from different cultures and times and to consider it for its function and significance. Other candidates only mentioned these contexts superficially and were not able to integrate them into their work. Some candidates did not investigate or consider art in any real depth or breadth, thus not allowing themselves the opportunity to make connections with their own work. Some investigation tended to be disconnected and not linked to final outcomes. Few candidates registered for the HLB course, which requires clear visual thinking and a focused line and depth of inquiry, rather than merely written commentary, although some teachers had guided their more purposeful candidates towards this option. Candidates who choose HLB or SLB should have a clear direction and follow it to a coherent conclusion. In some cases, the choice of HLB/SLB appears to be a pragmatic one, sometimes to offset weak studio work, rather than as a positive response for a candidate whose approach is more focused on the analytical aspect of art than the practical. This is a great shame, as the course offers a unique opportunity for a combination of creative work with critical and contextual responses. Examiners reported that a few HLB/SLB candidates tended to focus on their display of work rather than their IWBs at their interview. Some candidates taking this option found it difficult to pursue a considered line of investigation, although others did so very successfully and some outstanding HLB candidates were identified during this session. Commonly, the use of second hand source material led to superficial responses. Equally, the gathering and acknowledgement of resources continued to be an issue which is clearly not always fully understood, particularly in the crediting of photography and of downloaded graphic imagery and written material. It is not always easy for a candidate to ensure clarity in this respect, but at times it was difficult for examiners to distinguish between original and adapted material. It is important for examiners to see candidates making connections between their own and other artists' work without merely copying. Examiners recommend using primary sources whenever possible, rather than relying totally on second-hand internet sources for investigation, which remains an issue of concern. The failure to provide satisfactory acknowledgement of the words, ideas and images of others could in part be explained through not ensuring sources were acknowledged on the correct page, references may have been made on other, non-selected pages. Visual arts teachers should promote the centre’s academic honesty policy prior to and during teaching of the course (please see Visual arts assessment clarification, June 2010, pages 10 – 12).

The work of some candidates was not shown to best effect when pages were clumsily photocopied, with cropped or blurred text. Other candidates disadvantaged themselves by producing text that was illegible. Examiners also noted that IWB pages which were photographed, rather than photocopied, were often difficult to decipher. The usage of IWBs as working journals with personal experimentation, meaningful analysis and evaluation of a wide range of artworks and sources was evident for candidates achieving in the higher markbands. Weaker candidates found it difficult to fruitfully connect their visual experiences with their own investigation. Some information was not developed or analysed to allow candidates to make their own conclusions, although higher-achieving candidates managed this well. There was often a lack of personal consideration, comment and reflection upon the material used, implying that candidates lacked appropriate investigation skills or neglected to use those transferable skills acquired in other subjects, which might have advantaged them in their visual arts IWBs. Examiners appreciated that centres have different access to art and artists in the outside world and that primary and secondary resources are diverse and sometimes limited. Some IWBs were visually skilled and attractive, but lacked a sound written content, whereas others were notational with little or no visual investigation. The candidates achieving the highest marks presented work containing an appropriate balance of written and visual content. It is the candidate who has the final decision in selecting the IWB pages for assessment, but teachers should advise candidates in this respect. It is vital that pages are included that directly relate to the development processes of studio work submitted for examination. It is equally important that pages included show the proper acknowledgement of sources used for the investigation.

Investigation Workbook - Strengths and weaknesses identified: The most common strengths identified by examiners were: 

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Strong links between studio work and IWBs in HLA/SLA and HLB/SLB candidates’ submissions. The interdependence of these two components, with wisely chosen pages documenting the evolution and development of studio works, was clear in the case of the strongest candidates, who had successfully used their IWBs as a base for visual and written exploration and integrated all aspects of studio and investigation practice throughout. Creative presentation was noted in many cases, including those HLB/SLB candidates who included small-scale artistic experiments within their IWBs HLA/SLA candidates sometimes achieved a very successful visual quality in the initial stages of their IWB practical experimentation, preparation and studio development. Critical thinking was apparent in the best submissions, where candidates had thoughtfully analysed their own work and that of others, especially where candidates were encouraged to explore their own interests and to consider cultural and contextual issues. Candidates who used a sufficient range of sources and cited them appropriately and correctly. IWBs that read very well, using a narrative that touched on the salient points and evidenced knowledge and understanding. Some candidates showed real breadth and diversity, with evidence of bold experimentation, investigating new and exciting ways of working.

The most common weaknesses identified by examiners were: 

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   

Weaker candidates were found to be limited in considering, describing and particularly in analysing work from other cultures and/or times. Examiners again noted that culture and context appear to remain difficult areas for some candidates, with the function and significance of culture and the role of art in different cultures rarely being explored. Weaker candidates omitted to effectively investigate the processes which enabled the production of studio works. Few candidates demonstrated that they had developed the ability to understand and discuss the methodologies of other artists. Examiners confirmed that many candidates working in digital media and photography were still not documenting their practical work effectively, in line with CRB requirements. Inaccurate and inadequate use of subject specific vocabulary for the evaluation and critical analysis of candidates’ own works and that of others. Appropriate page selection for CRBs remained a weakness, with candidates not selecting IWB pages to document their creative process and to best match the requirements of the markband descriptors. Weak links between investigation and studio work were identified and a lack of connections noted between candidates’ own work and that of other artists, with some difficulty in considering and reflecting upon these connections and little development of candidates’ own ideas. Many examiners reported a real over-reliance on the internet for investigation, contributing to superficial responses. Candidates who achieved in the lower markbands had often presented information directly from web sources and text books, frequently verbatim, without the thorough examination of the information to gain understanding, which would have led to informed investigation.

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Many candidates failed to acknowledge their sources sufficiently or correctly, thus not complying with IB requirements for academic honesty. It is important that pages selected for assessment include appropriate acknowledgements.

Issues relating to the examination process: Examiners reported that some candidates had changed photographs or altered the pages submitted in the CRB after adding their signature to its front cover. The only change to the CRB that is permitted after the candidate has signed its cover is the addition of one or two photographs of the candidate’s overall exhibition. Some examiners reported that candidates had continued to work on pieces photographed or pages photocopied for the candidate record booklet after their signature had been added so declaring that the works contained were final versions. Once this signature has been added to the candidate record booklet no changes or development of any piece of studio work or any investigation workbook page to be presented for examination may take place. The candidate signature must be added prior to the candidate record booklet being dispatched to the visiting examiner, or by the deadline for submission of the teacher’s internal assessment marks and predicted grades, whichever is the earliest. No more work may take place on work to be assessed from that point. Whereas it is advised that candidates be accompanied by a chaperone during the examination, this person must be a silent observer and take no part in the interview whatsoever. The completion of the CRB was mentioned in feedback from several examiners during the moderation phase. CRBs may be inspected by several examiners during the process of moderation. Photographs must be securely attached and information regarding artworks properly completed, including the size and title of the work. This information, along with the candidate statement, supports the work of the moderator in ensuring the correct mark has been awarded to candidates. The following recommendations are made in order that candidates present photographs of their work in the best way for the moderation process:     

Photographs of SW are of the best quality possible, taken with care and produced on photographic paper. Photographs are securely attached and information regarding artworks is properly completed in the CRB, including the size and title of the work. Candidates take advantage of the quantity of photographs permitted (only one per allowed space) for their course and option, using spaces to the maximum allowed to show complete studio works and detailed views of large or complex works. Wherever possible one or two photographs of the candidate’s own exhibition are attached to the later blank pages of the candidate record booklet in order to provide an overview and context for the studio pieces during the moderation process. Candidates who submit more than the required quantity of studio work (including photographs) and/or investigation workbook pages for their option and level put themselves at risk of not fulfilling all requirements of the markband descriptors for the component, as the additional material will not be considered during moderation. When advising candidates regarding the selection of material for submission, candidates should be made fully aware of this requirement. Page 19 of the Visual arts guide indicates how many A4 or letter-sized investigation workbook pages are required to be presented for examination. An A4 or lettersized page means one investigation workbook page. If a candidate reduces an A3 investigation workbook page to A4 it is counted as one A4 or letter-sized page; if an A3 page is presented it will count as two A4 pages from the total allowance.

 The following recommendations are made in order that candidates present investigation workbook pages in the best way for the moderation process:   

The quality of the investigation workbook page copies should be of the best possible, produced with care to ensure whole pages and in colour when concepts or media experiments dealing with colour are undertaken (note – photocopies are preferable to photographic prints, which are often illegible, when used for workbook pages). Selection of investigation workbook pages should ensure that pages related to the development process of studio works are included, including the critical and contextual study of influences on that work. All investigation workbook pages should be numbered and pages selected for examination must be annotated with the candidate number, see page 14 of the Visual arts guide.

Examiners who commented on the candidate statement generally acknowledged its value in providing an insight throughout moderation into the candidate’s critical analysis of their work in visual arts over their course. Some examiners commented that candidates responded to each of the key words, which are intended only as triggers for writing the statement rather than points for response. Excellent candidate statements explained what the candidate set out to do, how they went about it, and how they felt about their achievements, enhancing the totality of their submission.

13: Handouts and templates Compare and contrast: Looking at Art Work of Art 1

Work of Art 2

Title Date Artist Nationality of Artist Medium What do you see? List all the items you see in the art work.

What is the main subject of the art work?

Where is the subject located? How can you tell?

Describe the composition of the art work.

Describe the elements of art present in the work. Line, color, texture, space, etc.

Describe the principles of art present in the work. Balance, emphasis, proportion, pattern, etc.

What materials did the artist use to create the art work?

What is the mood of the art work?

Add your own comparisons

Drawing from Observation Drawing from observation, having your subject directly in front of you, is the best way to improve art skills. We engage more of our senses when viewing the real thing and this translates into better art pieces. Cameras do have a place in art, but IB students should not rely on photos as their main source for inspiration. Photos in themselves are 2-dimensional flat representations of 3-dimensional subject matter, so working from them puts an artist at a disadvantage right from the start. Seeing the real thing in 3-D provides the artist with more information about depth of space, form, texture, shadows and highlights, and the supporting area around your subject. Another advantage to working from observation is that it forces the artist to think about composition. Most people working from photos simply copy what they see in the photo without thinking about how or why things are arranged as they are, and this robs the artist of learning how to compose art pieces. A huge bonus of drawing from observation is that the finished art piece is uniquely original. It is 100 % yours, and a representation of the time you have given to the piece. Working from observation can also be a dynamic activity as things change and move you into unexpected directions in creativity. While sketching the lilies for drawing on the left, a grasshopper landed on a leaf, remaining there for most of the sketch. The artist decided the grasshopper was more interesting than the flowers, and it then became the focal point of the drawing. Pencil types Harder graphite Softer graphite 4H 2H HB 2B 4B 6B Produce light lines Produce dark lines Pencil drawings range from sketches to complete drawings that are art pieces in themselves. How far you take your drawing is up to you. For your workbook include drawings that work towards the development of your finished art pieces. Things to consider when drawing from observation 1. Approach drawing as a way to develop and improve art skills. Your first attempts may not be as successful as you would like, but do not give up. Your drawings will improve with practice, and as they do, so will your art making. 2. Find subjects and locations that interest you. 3. Allot enough time to fully relax and enjoy what you are doing. 4. Think about composition. 5. Understanding the use of lighting is extremely important for creating great images. Artists should take advantage of the sun whenever possible during outdoor drawing exercises. By all means draw whenever the mood strikes you but the best lighting for conveying form, shadows and highlights is early morning or late afternoon when the sun is low in the sky. Actual hours vary depending on summer and winter seasons.

Thumbnail sketches

Thumbnail sketches, are small practice drawings done during the planning stage of developing an art piece. You are probably more familiar with thumbnails as small pictures/icons in the world of computers. Once clicked they expand to larger images. Artists have used thumbnails for centuries as a way to work through ideas before creating large art pieces. Thumbnails are extremely useful when creating art. They allow the artist to practice in the small before working in large and this can save time and money in wasted supplies. Things to consider when drawing thumbnails 1.Thumbnails are usually drawn in minutes and no larger than 2 or 3 inches...how much time, size and detail is up to you. 2. Thumbnail sketches are used to learn about your subject before starting your art piece. 3. Artists experiment with composition by making more than one thumbnail and then choose the one they like for the enlarged art piece. 4. Thumbnails are also used to establish values, shadows and highlights - pencil drawings. 5. Thumbnails can also be created in colour (pencil crayons) ...great for abstract art pieces.

14: Candidate Record Booklet Your Candidate Record Booklet (CRB) is the tool by which the IB Office will evaluate your recommended exam marks and, eventually, award you a grade for your efforts in this course. It is very important that it is filled out correctly, that it contains as much accurate information as allowable and that it looks good! Well not just good but GREAT! You will work on mock CRBs as the course progresses and shortly before the end of your second year, before your interview/exam, you will produce your final CRB. You will produce THREE IDENTICAL copies of your completed CRB

The Candidate Statement: At the completion of your second year, you will produce a final candidate statement, after multiple drafts throughout the 2 year course. You must keep to the 300 word limit (IB is rigid about this). Read over your statement and ask the seven questions below:       

What are you trying to achieve in your work? What strengths do you see in your work? What problems have you faced? How have you attempted to overcome perceived weaknesses? Who/what has influenced you and why? How have you researched your work? How have you experimented with media and techniques?

Your Candidate Statement should address some, if not all, of these questions. It should also be very well written – poorly written statements suggest sloppiness, apathy or worse. Your statement is your only chance to speak directly to the people who are actually giving you a final grade for your work and your final version will be reviewed and amendments suggested by teachers. The photos of your work: The photographs of your work are crucial because they are the only visual examples of your studio efforts that can be checked by the IB Office to see if your exam marks are accurate. They have to be clear, focused, neatly cropped, with good contrast and accurate colors to convey an accurate sense of what your work actually looks like. 69

You may submit up to 18 photos in total. Some of the 18 photos may be different images of the same studio work (or detail/extract images of one studio work). When photographing your work you must make certain that your work is well lit, that the photo is cropped to show only the artwork (no background, or at least minimal background, in the case of 3D works) and that the contrast and brightness of your photos are well adjusted to give a clear and well defined image of your work. Any substandard photos that you make will not be acceptable and you will have to do them again. The photos should be arranged in the booklet in order in which the studio works they represent were executed. Investigation Pages: Your pages need to be scanned and printed out. Scanning allows you to manipulate (contrast and color) your images before printing them out, so make certain your images look good before printing them. The IB asks for A4-sized pages. This means that a certain number of single-sided A4 sheets of paper are to be inserted in the CRB. At AIS we do not do double-sided copies - Each printed sheet is one page of your book only! Signing off your CRB: The IBO asks you to sign off on your completed CRB. Once you have signed this you can no longer make any changes (with the exception of adding 2 photos of your exhibition on the blank pages). Sample CRB pages: On the following pages are samples of relevant sections of the CRB. Look over these and familiarize yourself with requirements and dimensions.

Section 3: Candidate statement (300 words maximum) Write below a short critical analysis of your visual art works in option A or option B. Consider some or all of the following key words to help you with your statement. Concerns Skills Purpose

Sources Techniques Process

Influences Media Achievements

Context Scale Focus

Studio Work The photographic prints in this booklet will serve as a record of part of your final exhibition or presentation. Discuss with your teacher the selection for the booklet. It is important that the selected photographs show your work as well as possible. 

Prepare photographic color prints of the works selected. Please provide prints of good quality.

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Glue the prints in the space provide. Please indicate the top on the back of each print (incase the print comes unstuck from the booklet).

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If you have opted for photography as part or all of your studio exhibition or presentation, you must provide evidence in the record booklet of the total amount of work undertaken. This may be achieved by such means as: - A carefully worded candidate statement that outlines the darkroom experiments. - The inclusion of two to three contact sheets - The inclusion of photographs that reflect the totality of your exhibition. - The inclusion of appropriate evidence in the investigation workbooks.

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It is essential that works in digital media, animations or installations are thoroughly documented to show how they reflect your own efforts. In the case of digital artwork for example, print-outs showing stages between the starting points and final products must be included.

Section 4: Studio â&#x20AC;&#x201C; photographic record Size of original:

Title: Medium:

Month of completion:

Year:

Size of original:

Title: Medium:

Month of completion:

cm Year:

Section 5: Investigation Workbook The photocopied pages attached to this booklet will serve as a record of part of your visual arts investigation. Discuss with your teacher the selection of pages from your investigation workbook. The selection must give some evidence of:  All the assessment criteria  The development of some of the studio works presented in the booklet. Make sure copies are:  Legible  Of good quality  Show each page in its entirety  A4/Letter-size Put your candidate session number on the top right-hand corner of every page, number the pages, and attach the photocopied pages to this document.

15: Galleries Gallery visits: Gallery visits are required each term. In your first year you are required to visit at least 4 – one per term, with the additional visit taking place in the term of your choice. In your second year you will be required to visit 4 galleries – two in Term One and two in Term 2. This is the absolute minimum however more often is encouraged. Gallery visits will be graded and additional visits will be for extra credit. You must document each visit to an actual gallery or museum (on-line galleries are NOT acceptable). If you plan to travel, take advantage of visiting a gallery or museum outside of Busan or Korea. In your Investigation Workbook you will reflect on what you have seen in the gallery. Include the following information:  Name of gallery, location/address, and date of visit.  The name of the artist or the title of the show and overview of the exhibition e.g. solo or group show, theme etc.  Media of artwork.  Your impressions of the exhibition (artworks as a group/series).  Focused study of one piece of artwork, title, media, a description of the piece and analysis – your personal thoughts, impressions and interpretations.  What the artwork make you think about or feel.  Potential influence on your work.  Sketch of the artwork (as realistic as possible and done onsite), plus additional photos of the exhibition and any collected images/material (flyers, postcards etc). Gallery visits should take up 2 pages in your IWB. More is ok, less is unacceptable. There may not be a lot of contextual information to gather on a piece, so just include what you can. Ask someone at the gallery if they have further information, such as an artist statement on the selected artist. When analyzing the work, use proper art terms (see handbook for guidance) and focus on the physical elements. When discussing your personal thoughts on each piece be honest and offer your own interpretation

Galleries in Busan:

16: Ethics, Plagiarism & Copyright in Art IBO Ethics The Diploma Programme requires academic rigour and active student involvement in all aspects of the curriculum. It places a strong emphasis on the ideals of international understanding and responsible citizenship. The aim of all IB programmes is to develop internationally minded people who, recognizing their common humanity and shared guardianship of the planet, help to create a better and more peaceful world. Behaving and learning in an ethical way means students will observe the following practices. These are examples only and teachers will be able to add further examples of their own.  Students will exercise academic honesty in all aspects of their work. They will acknowledge the work of others, including material taken from other sources. They will not claim as their own the work of others. They will not give their work to others to pass off as their own. They will observe the integrity of the examination room.  Laboratory or field experiments and investigations will be undertaken in an ethical way.  No experiments involving other people will be undertaken without their written consent and their understanding of the nature of the experiment.  No experiment will be undertaken that inflicts pain on humans or live animals.  No experiment or fieldwork will be undertaken that damages the environment.  No artwork, performance or film will be undertaken that damages the environment.  No artwork, performance or film will include excessive or gratuitous violence or explicit sexual activity.  All presentations will respect the personal, political and spiritual values of others and will contain no intention to offend in remarks about race, gender or religious beliefs. The role of the teacher All teachers must provide the following support to students.  Give students clear guidance about the nature of ethical practice in the Diploma Programme.  Prevent students from undertaking any unethical practice for any work that is going to be assessed (for example, for internal assessment, the extended essay or a TOK presentation).  Ensure that no work containing any unethical practice is presented for assessment in the diploma programme © International Baccalaureate - IBO On Line Curriculum Centre. 77

Street artist Mr Brainwash sued over “copied” image Photographer goes to court over image of rap band; more cases expected as “underground” art becomes ever more mainstream By Anny Shaw | From issue 222, March 2011 - Published online 9 Mar 11 (News)

Original Image

Something borrowed: a Run DMC work by Mr Brainwash in the artist’s 2008 debut exhibition, “Life is Beautiful”, in Los Angeles

LOS ANGELES. Street artist Thierry Guetta, better known as Mr Brainwash, is being sued by a photographer for copyright in-fringement over a well-known image of rap group Run DMC. Lawyers acting for photographer Glen Friedman say Guetta reproduced his 1985 photograph without authorisation and used it in unique works of art, prints and promotional material, including postcards for his 2008 debut exhibition in Los Angeles, “Life Is Beautiful”. Friedman’s lawyer, Douglas Linde, says they are entitled to a share of “indirect profits” from the exhibition. Linde is seeking unspecified damages for “damage to [Friedman’s] business in the form of diversion of trade, loss of income and profits, and a dilution of the value of its rights”. Guetta, who denies the copyright infringement allegations, is claiming “fair use”, which under US law allows for the limited reproduction of copyrighted works for the purpose of parody or other creative ends. Copyright disputes have, until now, had little impact on the relatively new phenomenon of street art, however, the appropriation of pre-existing images has been a thorny issue in the wider art world for decades. Jeff Koons, no stranger to copyright litigation having been successfully sued three times for copying other peoples’ work, recently threatened San Francisco gallery Park Life and Canadian company Imm-Living with legal action for allegedly copying his metallic balloon dog sculptures and selling them as $30 plastic bookends. Koons backed down last month after lawyers representing Park Life called for a judgement on the matter and filed a legal document which began: “As virtually any clown can attest, no one owns the idea of making a balloon dog, and the shape created by twisting a balloon into a dog-like form is part of the public domain.” 78

Koons’ large-scale metallic sculptures typically sell for upwards of $20m; with such sums on the line it is little surprise that perceived copyright infringements attract legal disputes. And as street art moves into the mainstream and works begin to attract hefty price tags—Banksy can command prices of up to £300,000 for a painting—the use of popular imagery by street artists is being called into question. Linde says it is likely more copyright infringement cases will be brought against street artists. “There should be more cases like [Friedman’s],” he says. “It definitely will go that way because of all the money [street artists] are making.” Pop art, too, has seen its fair share of litigation. Its cut and paste culture and a reliance on photography and mass media imagery frequently exposed pop artists to copyright infringement cases—Warhol was sued by several photographers, including Patricia Caulfield after he used her image in his 1964 “Flowers” series (all disputes were settled out of court), while Robert Rauschenberg agreed to an out-of-court settlement with photographer Morton Beebe after a case was brought against him over his 1974 work, Pull. While street art’s predisposition towards copying, sampling and riffing on pre-existing imagery may have an art historical precedent in pop art, its underground status has, until now, largely protected it from litigation. “Most street artists follow in the footsteps of Warhol by taking popular images as the basis of their work,” says street artist Ben Eine, whose work, TwentyFirst-Century City, 2008, was presented to President Obama by David Cameron on his first trip to Washington, DC as Prime Minister last summer. “Street art is a culture of taking other works of art; appropriation feeds underground culture,” said Eine. The ease with which photographs can be copied was seized upon in the mid-1970s by the Pictures Generation—a group of US artists including Robert Longo, Sherrie Levine, Cindy Sherman and Richard Prince—who borrowed from television, films, magazines and popular art forms. Levine in particular became known for her photographs of other photographers’ work, including that of Edward Weston and Walker Evans. Prince, too, turned to other peoples’ photographs for the basis of his work, for example re-photographing Marlboro adverts for his “Cowboy” series. While cigarette maker Philip Morris never sued Prince over the series (the adverts were out of circulation by the time he started to make the works in 1980), the artist, and his dealer Larry Gagosian, are currently the subject of a copyright infringement case brought against him by photographer Patrick Cariou, who claims Prince lifted his photographs of Rastafarian culture for a series of paintings entitled “Canal Zone”. The series was exhibited at Gagosian gallery in New York in November 2008, where, according to Gagosian’s court filing, eight of the 22 paintings were sold for between $1.5m and $3m. Prince, who claims his use of Cariou’s photographs are protected by “fair use”, said that the photographs are not “‘strikingly original’ or ‘distinctive’ in nature”, and that his “transformative” uses of the photographs were “done in good faith and reflect established artistic practices”.

Suggested "best practices" for using the graphic artwork of others Lincoln Cushing, Docs Populi, 11/30/2007 "Don't contribute to our own historical amnesia." When is it appropriate to "recycle" artwork from other artists, times, and places? Mark Vallen's article on street artist Shepard Fairey on his Art for a Change site www.art-for-achange.com/Obey/index.htm calls the question on one graphic artist for his free usage of work from Cuban, Chinese, WPA, and other sources. Aside from legal issues of plagiarizing work (as would be the case with living artists or those with active legal estates), the broader ethical questions of appropriate methods for using such source material are rarely discussed among artists. Note that parody is a protected practice, but that otherwise copying art is unethical and illegal regardless of whether or not the image is copyrighted. Note that the U.S. Copyright Law allows for certain exceptions, the most notable being Fair Use (for more, see the excellent summaries and links from Stanford University Library http://fairuse.stanford.edu/Copyright_and_Fair_Use_Overview/index.html ). There are many situations, however, when using preexisting art makes sense. Many political posters recycle vibrant images form the past and make them current. Such homages are common, but alas, credit is rarely given. Below are some suggestions for using other art. 1. Admit that you are using preexisting art. This happens when you trace, scan, Web grab, or otherwise use someone else's distinctive or substantial design element into your own art. This is often rationalized, and can be a matter of interpretation and judgment. It's one thing to copy a few of Posada's skulls to embellish a border, it's another to wholesale lift an entire illustration and use it as your main image. When you do copy something, note where you found it - which URL or magazine article gave it up for you. One easy way to keep track of this information is to drop your citation into Photoshop's "File info." 2. Anticipate the exposure of the piece. Even if you are just making a neighborhood flyer or obscure blog entry, images can spread like wildfire these days. It's always the right thing to give credit when due. 3. Do your research. Where did the image come from? Determining this can often be quite difficult, and many artists (wrongly) assume that it's unknowable. But a little research can go a long way. Start with a few Google Image searches, using various terms that might bring up identical or related pictures. If that fails, turn to other design peers. A final step is to check with art historians - this can include art librarians, authors, and academics who are versed in the subject. An e-mailed attachment query to the right person will reveal who did it, when, and where. 4. Ask for permission. This is probably the hardest step, for many reasons - deadline, difficulty in reaching people, ego, legal concerns - but do it if possible. If what you are doing is respectful and appropriate, you will often find the other artist more than accommodating. Remember, we're a community.

5. Give specific credit on the final piece. This is important for all items, including ones that have drifted into that giant grab-bag we call the "public domain." Don't contribute to our own historical amnesia and cultural imperialism. Say something about where it's from. This can be as simple as a credit line at the bottom in small type. Note the examples below:

Credit text for Red Pepper Posters (Barbara Morgan) and original artist in small type along bottom of poster

Walter Crane's logo and publication date on left, revision artist's name (Jos Sances) and date on right

This article written in the spirit of encouraging respectful image use. Comments and suggestions should be directed to author lcushing "at" igc.org

17: Notes