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1: The Course Basics

Course Websites/Info

www.ibo.org (you MUST familiarize yourself with the student guide)

ManageBac

REMIND rmd.at/k3h479 or text to: 81010 message: @k3h479

Google Classroom: Use code a9a3id

Website http://teachersites.schoolworld.com/webpages/EBarbieri

USB flash drive, individual supplies for your projects, visual art journal (8.5”x11” paper); see below Supplies:

Course Components

Visual Arts Journal: Formally referred to as the IWB (see section on VAJ for description).

Comparative Study: compares and contrasts at least 3 works of 2 different artists, different techniques for making art and theory behind the rationale for their existence as resolved pieces of art work by their creator(s). This component will be completed by Thanksgiving/Christmas of your senior year. The beginning stages are part of your summer assignment; additional information and lessons will take place during the 1st marking period.

Process Portfolio: a digital presentation which charts your experimentations with art making, your engagement with different media and techniques, your inspiration, and the process involved in making your own body of works. Documentation from your Visual Arts Journal should be used for this component. You should be working on this component throughout the course.

In past years, RESOLVED (finished) work was not permitted in the process portfolio. Minor changes have been made to this rule, but please be careful! You can only include the final work (with proper reference) when you have recorded and described the sequence of creating the work. Leaving the resolved work out of such a sequence would be odd and limit you to your description of your process of development and the iteration of reflections and improvements. Final works in the Process Portfolio are not acceptable when they are not part of a description that illustrates iteration and reflection in their working processes. Brainstorming, research, studies, previous versions of the work, etc. must all be present when you include a final exhibition piece. Be sure to properly document the work to alert the rater that this piece is part of your exhibition requirement.

Exhibition: 4 to 7 pieces of your resolved work (2 media columns from the list) which exhibit a cohesive theme, technical competence, and conceptual qualities. Each piece must include an exhibition text (500 characters maximum). A section in this guide is included with details regarding your text.

Curatorial Rationale: Accompanies your exhibition and explains why you chose these particular pieces, challenges, triumphs, context, etc. Must be less than 400 words.

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Part 1: Comparative Study (20%) Number of slides: 10-15 MUST Include: A separate list of sources (Bibliography) AND correct in-text citing

A - Identification and Analysis of Formal Qualities To what extent does the work demonstrate: informed identification and analysis of the formal qualities of the selected artworks, objects and artifacts?

Mark Descriptor YOUR MARK

0 The work does not reach a standard identified by the descriptors below.

1-2 • The work provides an outline of the formal qualities of the selected pieces from at least two cultural origins.

• This is limited, superficial, or relies heavily on personal opinion.

3-4 • The work provides a largely descriptive account of the identified formal qualities of the selected pieces from at least two cultural origins.

• There is some evidence of informed analysis, but this is underdeveloped.

5-6 • The work provides a consistent, insightful and informed identification and analysis of the formal qualities of the selected pieces.

NOTE Candidates who do not examine and compare at least 3 artworks by at least 2 different artists will not be awarded a mark higher than 2 in this criteria.

B - Analysis and Understanding of Function and Purpose To what extent does the work demonstrate: informed analysis and understanding of the function and purpose of the selected artworks, objects and artifacts within the cultural context in which they were created? Function = meaning/idea/theme of the work (look at imagery, signs and symbols etc). Really break it down. Your own opinion isn’t enough - it has to be supported with informed research. Purpose = why was it created…. Artistic Expression? Ceremonial/ritual? Functional? Narrative? Persuasive?



1-2 • The work provides an outline of the function and purpose of the selected pieces, but this is limited, superficial or relies heavily on personal opinion.

3-4 • The work provides a largely descriptive account of the function and purpose of the selected pieces.

• There is some evidence of informed analysis and understanding, but these are not fully developed.

5-6 • The work provides a consistent, insightful and informed analysis and demonstrates thorough understanding of the function and purpose of the selected pieces.

NOTE Candidates who do not examine and compare at least 3 artworks by at least 2 different artists will not be awarded a mark higher than 2 in this criterion.

C - Analysis and Evaluation of Cultural Significance To what extent does the work demonstrate: informed analysis and evaluation of the cultural significance of the selected artworks, objects and artifacts within the specific context in which they were created (such as the cultural, socio-political and historical significance of the works, with respect to the original audience and purpose, as well as to a contemporary audience)?



1-2 • The work provides an outline of the material, conceptual and cultural significance of the selected pieces, but this is limited, superficial, or relies heavily on personal opinion.

3-4 • The work provides a largely descriptive account of the material, conceptual and cultural significance of the selected pieces.

• There is some evidence of informed analysis and evaluation, but these are not fully developed.

5-6 • The work provides a consistently insightful and informed analysis and thorough evaluation of the material, conceptual and cultural significance of the selected pieces.

NOTE Candidates who do not examine and compare at least 3 artworks by at least 2 different artists will not be awarded a mark higher than 2 in this criterion.

D - Making Comparisons and Connections To what extent does the work demonstrate: effective critical analysis and discussion of the connections, similarities and differences between the selected artworks, objects and artifacts?



1-2 • The work outlines connections, similarities and differences between the selected pieces, with little analysis.

• These connections are largely superficial or inappropriate and demonstrate a basic understanding of how the pieces compare and contrast.

3-4 • The work analyses and describes the connections, similarities and differences between the selected pieces, with some critical analysis.

• The connections are logical and coherent and demonstrate an adequate understanding of how the pieces compare and contrast.

5-6 • The work critically analyses and discusses the connections, similarities and differences between the selected pieces.

• These connections are logical and coherent, showing a thorough understanding of how the pieces compare and contrast.

NOTE Candidates who do not examine and compare at least 3 artworks by at least 2 different artists will not be awarded a mark higher than 3 in this criteria.

E - Presentation and Subject-Specific Language To what extent does the work ensure that information is conveyed clearly and coherently in a visually appropriate and legible manner, supported by the consistent use of appropriate subject-specific language?



1-2 • The work is limited or inconsistent in conveying information clearly or in a visually appropriate manner.

• The work contains some appropriate subject-specific language but this is limited.

3-4 • The work clearly and coherently conveys information, in a visually appropriate and legible manner, with some consistent use of appropriate subject-specific language.

5-6 • The work clearly and coherently conveys information which results in a visually creative and legible study that enhances the impact of the work and the reader’s understanding.

• Subject-specific language is used accurately and appropriately throughout.

SL Grade Boundaries 7 27-30 6 23-26 5 19-22 4 15-18 3 10-14 2 5-9 1 0-4

Part 2: Process Portfolio (40%) 9-18 screens; ALL images, ideas, & inspiration MUST be properly cited on page Images must include title, artist, medium, date (where this information is known) and the source. Your own work Must be identified as such; images of any exhibition piece must be properly declared as final

verison/exhibition piece, etc. (new – 2017) Any found object or image (including from the web) even used as inspiration, must be properly referenced. You may need an additional source page compiled & submitted (new – 2017)

Marking criteria Marks Process Portfolio Demonstrates: Possible evidence

A Skills, techniques and processes

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Sustained experimentation and manipulation of a range of skills, techniques and processes, showing the ability to select and use materials appropriate to your intentions when using the required number of art-making forms from the art-making forms table.

At the highest level of achievement, the work demonstrates assured and sustained experimentation and manipulation of a range of skills, techniques and processes, and a highly appropriate selection of materials, consistent with intentions.

Drawings, sketches and designs

Preliminary paintings and small studies

Photographic contact sheets and test prints

Computer screenshots

Photographic record of sculptural processes

B Critical investigation

6 Critical investigation of artists, artworks and artistic genres, communicating your growing awareness of how this investigation influences and impacts upon your own developing art-making practices and intentions.

At the highest level of achievement, the work shows in-depth critical investigation, clearly communicating a secure and insightful awareness of how this investigation has impacted upon your own developing practices and intentions.

Annotated images of other artists’ works

Experiments with using the style or technique of an artist

Producing copies of works “after” a particular artist

Written reflections on the connections between an investigated artist and your own work

C Communication of ideas and intentions (in both visual and written forms)

6 The ability to clearly articulate how your initial ideas and intentions have been formed and developed, and how you have assimilated technical skills, chosen media and ideas to develop your work further when using the required number of art-making forms from the art-making forms table.

At the highest level of achievement, the work clearly articulates how initial ideas and intentions have been formed and developed. The work effectively communicates how technical skills, media and ideas have been assimilated to develop the work further.

Concept maps of ideas and themes

Planning imagery with annotations considering how meaning might be conveyed through the work

Reflections and evaluations made throughout the progress of a work, resulting in changes in direction or imagery or technique

D Reviewing, refining and reflecting (in both visual and written forms)

6 The ability to review and refine selected ideas, skills, processes and techniques, and to reflect on the acquisition of skills and your development as a visual artist.

At the highest level of achievement, the work demonstrates a highly effective and consistent process of reviewing and refining ideas, skills, processes and techniques. The work presents a meaningful and assured reflection upon the acquisition of skills and analysis of your development as an artist.

Various trials of compositional arrangements

Reworking imagery employing different techniques or media

Reflections and evaluations made throughout the progress of a work, resulting in changes in direction or imagery or technique

Evaluations of completed work generating new ideas

E Presentation and subject-specific language

4 Information that is conveyed clearly and coherently in a visually appropriate and legible manner, supported by the consistent use of appropriate subject-specific language.

At the highest level of achievement, the work clearly and coherently conveys information, which results in visually appropriate, legible and engaging work. Subject-specific language is used accurately and appropriately throughout.

Balance of text and visuals

Writing is legible

Layout is considered

Language is appropriate. Appropriate terminology is used. Artists’ names and movements are spelled correctly.

31-34 = 7 26-30 = 6 21-25 = 5 16-20 = 4 11-15 = 3 6-10 = 2 1-5 = 1

Part 3: Exhibition (40%) Number of artworks: SL 4-7, HL 8-11 Must include: 2 Exhibition photos, exhibition text, curatorial rational, & sources cited in rationale & text

A - Coherent body of works Evidence: curatorial rationale, the submitted artworks, exhibition text and exhibition photographs/video To what extent does the submitted work communicate: a coherent collection of works which fulfill stated artistic intentions and communicate clear thematic or stylistic relationships across individual pieces?

Mark Descriptor MARK


1-3 • The work shows little coherence through minimal communication of thematic or stylistic relationships across individual pieces.

• The selection and application of media, processes and techniques and the use of imagery show minimal consideration of intentions.

4-6 • The work shows some coherence through adequate communication of thematic or stylistic relationships across individual pieces.

• Stated intentions are adequately fulfilled through the selection and application of media, processes and techniques and the considered use of imagery.

7-9 • The work forms a coherent body of work through effective communication of thematic or stylistic relationships across individual pieces.

• Stated intentions are consistently and effectively fulfilled through the selection and application of media, processes and techniques and the considered use of imagery.

NOTE: Candidates who fail to submit the minimum number of artworks cannot achieve a mark higher than 6 for this criteria.

B - Technical competence Evidence: curatorial rationale, the submitted artworks, exhibition text and exhibition photographs/video To what extent does the submitted work demonstrate: effective application and manipulation of media and materials; effective application and manipulation of the formal qualities? Mark Descriptor MARK


1-3 • The work demonstrates minimal application and manipulation of media and materials to reach a minimal level of technical competence in the chosen forms,

• and the minimal application and manipulation of the formal qualities.

4-6 • The work demonstrates adequate application and manipulation of media and materials to reach an acceptable level of technical competence in the chosen forms,

• and the adequate application and manipulation of the formal qualities.

7-9 • The work demonstrates effective application and manipulation of media and materials to reach an assured level of technical competence in the chosen forms,

• and the effective application and manipulation of the formal qualities.


C - Conceptual Qualities Evidence: curatorial rationale, the submitted artworks, exhibition text and exhibition photographs/video To what extent does the submitted work demonstrate: effective resolution of imagery, signs and symbols to realize the function, meaning and purpose of the art works, as appropriate to stated intentions?



1-3 • The work demonstrates minimal elaboration of ideas, themes or concepts and demonstrates minimal use of imagery, signs or symbols, or the imagery, signs or symbols used are obvious, contrived or superficial.

• There is minimal communication of artistic intentions.

4-6 • The work visually elaborates ideas, themes or concepts to a point of adequate realization and demonstrates the use of imagery, signs or symbols that result in adequate communication of stated artistic intentions.

7-9 • The work visually elaborates ideas, themes or concepts to a point of effective realization and demonstrates the subtle use of complex imagery, signs or symbols that result in effective communication of stated artistic intentions.


D - Curatorial Practice (SL only) Evidence: curatorial rationale, the submitted artworks, exhibition text and exhibition photographs/video To what extent does the curatorial rationale justify: the selection, arrangement and exhibition of a group of artworks within a designated space?



1 • The curatorial rationale partially justifies the selection and arrangement of the exhibited works or the curatorial rationale may not be an accurate representation of the exhibition.

2 • The curatorial rationale mostly justifies the selection and arrangement of the exhibited works, which are presented and arranged in line with the student’s stated intentions in the space made available to the student.

3 • The curatorial rationale fully justifies the selection and arrangement of the exhibited works, which are presented and arranged clearly, as appropriate to the student’s stated intentions within the space made available to the student.

Exhibition: Grade Boundaries 7 27-30 6 23-26 5 18-22 4 14-17 3 9-13 2 5-8 1 0-4

3: Getting Started Art Equipment During the school day, you will be able to use the Art Gallery and equipment whenever possible. However, much of your work will also be done outside school, during the evenings, weekends, and school breaks/ vacations. For this reason, 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’s list would be: ESSENTIAL: Hardbound sketchbook with good quality paper Quality sketching pencils Good quality eraser Glue Stick

RECOMMENDED: Pack 12+ color pencils (any brand) Black, blue and red ‘gel’ or biro pens Pack 24+ pastels (oil or chalk) Pack 12+ acrylic paints No. 0, No.5, No.9, No. 20 size paintbrushes (to start) Watercolor palette, tubes, or pencils (pack of 12+) Watercolor paper Canvas boards or stretched canvas Charcoal pencils

These items are available locally in stores like Blick, AC Moore, Michael’s, etc. Most may be found online as well. I can suggest brand names or you can experiment with a few here in school.

I will be placing group orders for interested students through Blick; we purchase tax-free and free shipping on most orders over $50. If you expect to be doing lots of painting at home, invest in larger tubes of acrylic paint that can be bought individually. 100ml tubes

of Master Art & Blick brand acrylic are good value. Utrecht, Golden and Winsor & Newton brands are better quality paints, but a little more expensive.

Try to get as many of these items as you can, and add to your supply of art materials when you are able to. It would be a real advantage if you have enough space to create a ‘mini-studio’ at home. This will mean that it is much easier for

you to work, as your art equipment will always be out and ready for you when inspiration strikes and any wet work can be left to dry overnight etc. In addition to all your art equipment, it should include:

1. A large flat table surface and comfortable chair. 2. A good source of natural light and/or a bright desk lamp (overhead lights tend to cast annoying shadows onto your work at night). You can even buy ‘daylight’ bulbs for desk lamps! 3. A 12” mirror, if you’re interested in producing self-portraits. A full-length mirror would be ideal for figure drawing. Visual Art Journal (VAJ) These are working journals of your life and process as an artist throughout your IB journey. What is the size of an ideal journal? You will need to get at least an 8.5”x11”sketchbook with reasonably thick white paper. Make sure you get a spiral or hardbound, NOT gummed (these fall apart). You will be working on both sides of the paper, so there should be at least 80 - 100 pages in it. You should aim to fill at least 1 - 3 of these sketchbooks during the IB course! How do I start? Put your name and address (or school address) inside the front cover. A phone number or email address is essential – you don’t want to lose it! Also, put the date/schoolyear. You may leave the first page blank; this can be used as a table of contents later. Some suggestions for good working habits:

Work in your VISUAL ART JOURNAL every day – get into the habit, starting today. Several good ART JOURNAL sessions spread throughout the week are always better than hours of rushed work late at night! Remember that drawing and designing your VAJ pages will be an excellent creative break from other types of academic study.

Pencil-in the date (including the year) for each entry. This is so that your progress can be clearly seen. Write clearly. Pages may need to be scanned and sent to the IB art examiners. Don’t worry about showing mistakes. This exercise is about your development as an artist over a period of

time – if you hide your weaker work, how can you/the examiner see how much you have improved?

When drawing something from observation write down where you are and why you have chosen to draw it. Make notes on the weather or light if appropriate. A photograph of the subject can be very useful if you are going to develop the sketch into a painting or sculpture.

If you have used a book or the Internet to find an image or info always write down the full reference in your VAJ – you may need to find the information again at a later date. The same idea goes for magazine articles, tv shows and films. Sources of information must always be acknowledged – even postcards from exhibitions that you stick in your VAJ.

***Begin scanning pages you are considering for use in your PP and CS. Save your files in .jpeg or .pdf format and use an organized filing system. Create a folder called “Visual Arts Journal Scans”. Then, save each file with your last name, V, and the date or page number (ex: Barbieri_V091015 or Barbieri_Vpg85).***

Help! What should I write about in my ART JOURNAL?

You should make comments on your feelings, how your work is progressing and what successes you have had. You should also write about any research or technical problems you have encountered (e.g. how to create a realistic 3D ‘space’ in a drawing) and how you have solved these.

You should make comments on your attitudes about life, social, cultural and political concerns. Think about the big world outside school and IB! The ART JOURNAL is yours, so it should reflect your beliefs! These comments can be related to art you are researching or artwork that you are producing.

You should write about any connections you might see between Art and your other subjects. Make links across the curriculum and follow up your ideas! For instance, the study of cells in Biology might inspire some prints of tiny natural objects, the contour lines or grids in maps from Geography might be combined into landscape drawings, the description of characters in a novel might inspire a series of imaginative portraits etc….

You should 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, etc. This will save you a lot of time when later you need a specific result! When trying out any new medium (inks, graphite, chalk pastel, oil bars etc.) experiment with it, find out what you can do with it (by drawing in your VAJ) and make notes about what you discover. Imagine that you are carrying out a scientific experiment and recording your results.

Make connections between your work and the work of other artists. Document gallery/museum trips and reflect on them. Include correspondence between you and living artists you have contacted. See “Writing About Art” for information on making notes, annotating, and how to use your VAJ to write about artists.

Don’t forget that the IB is an ACADEMIC COURSE and that your written notes should reflect that. Describe your feelings, successes and failures, comment upon your own progress, and your ideas about life but be mindful of slang or informal English! Remember that this is your ART JOURNAL, but it’s being written for many audiences and is 40% of your class grade – an IB examiner and I will be reading it. If this becomes difficult, you might consider also having a separate, personal sketchbook.

Always try to use the correct art vocabulary in your VAJ. Look at www.artlex.com for a great example of an Art-specific dictionary online. There are many pages explaining art vocabulary in the Resources section on the class website or in this handbook.

Studio Work This is all the larger scale ‘finished’ artwork that you will produce outside your Visual Art Journal studies. Your “resolved” or finished studio work may be chosen for your exhibition. More to come about this as the course progresses!

4: Writing About Art Writing about Artworks – Do’s and Don’ts Don’t… Write essays on the artist’s life history… (date of birth, favorite football team etc..) Anyone with Wikipedia could do this. A few biographical details are useful, but are not essential. Photocopy loads of artworks … … and stick them into your VAJ with no written analysis or other information. … and forget to write the titles down! Write without checking the facts! … Make sure that you are accurate about dates, media used and especially the gender of your chosen artist! Don’t produce blocks of writing…underlined, with no visual consideration or interest. Plagiarize… (include quotations from other writers as if they are your own words). This is always obvious to the reader. You MUST cite all photo references and even sources of inspiration. Do… 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. 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 the artwork, year, medium and where you found it (web address or book title and page). Treat your VAJ like an exercise book … Think about your research in a visual way… …use color, headings and images to complement your notes. Compose the pages so that they look interesting and varied. 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). Include one or two relevant quotations… …(e.g. the artist writing about his / her ideas OR a well-known critic) and always use quotation marks. Include the name of the person who you are quoting and write down where you found it.

Writing terms and techniques… tasks you will be asked to complete: To annotate To make short notes explaining or clarifying a point or drawing the viewer’s attention to something of relevance (e.g. ‘the wide range of tones here adds drama and interest’). Tip: Check out ART-O-MATIC http://mountains.brianreverman.com/AOM.html for help creating visual annotations. To analyze (see next page) 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: o Composition (the organization of shapes within the work) o Use of color / tone o Medium used (oil paint, photography, pastel) o Mood or emotion created o Content / narrative (what’s happening in this artwork? Is there a story?) o Issues covered (i.e. political, social, religious issues?) To compare and contrast To analyze 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.

Analyzing Artworks: A Step-by-Step Guide Follow these steps, answer all the questions and you can’t go wrong! Remember that your own drawings/copies of the artwork should accompany ALL written analysis.

1. What Do You See? Describe… Write down your first response to the artwork. Do you like it? How does it make you feel? Does it remind you of anything you have seen before? 2. List what you can see in this 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. Analyze the Formal Qualities… To look closely and in detail at an artwork, noting down as many elements as you can about the piece.

To annotate is to make short notes explaining/clarifying a point or drawing the viewer’s attention to something of

relevance (ex: “the wide range of tones here adds drama and interest”). Write down your observations in more detail,

looking at these specific aspects of the artwork:

Colors:

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

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

o Which color(s) are used most in this artwork?

o Which color(s) are used least in this artwork?

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

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

Tones:

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

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

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

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

(i.e. mostly similar tones)?

Use of media:

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

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

o Can you see brushstrokes, mark making or texture? Describe the shape and direction of the brushstrokes / marks.

What size of brush / pencil was used?

o Was it painted, drawn, sculpted quickly, or slowly and painstakingly? What makes you think this?

Composition (organization of shapes):

o What type of shapes is used in this artwork (i.e. rounded, curved, straight-edged or geometric shapes)?

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

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

artwork?

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

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

create this movement/stillness?

o What is the center of interest in the composition?

o How does the artist draw your attention to it?

Mood / Emotion:

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

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

o 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).

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

4. Respond…

Interpret/Evaluate: Now write down your personal thoughts about the work: there are no ‘right’ or ‘wrong’ answers here, if you provide a valid reason based on your observations and/or knowledge of the artist. To evaluate is to make personal judgments about the artwork and to give your reasons. You MUST give reasons. Ex: o “Franz Marc has created an effective expressive painting because the hot colors and lively brush marks he has used add to the overall feeling of energy and excitement he is trying to create.” o “Picasso 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.”

Based upon what you have observed already, give your opinion of the artwork. The reasons for this will, of course,

come from your analysis. These questions will guide your interpretation/evaluation, but remember to provide evidence/

reasons for your answers!

Do you like the artwork? Why?

What is good about it?

What is not so good?

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/political/cultural artwork?

Is it abstract? Is it realistic? Why?

How would you explain this artwork to someone else?

Writing about Color – A glossary of useful terms

Primary colors: red, yellow and blue. Primary colors can be used to mix a wide range of colors. There are cool and

warm primary colors. (i.e. warm cadmium red and cool vermilion red OR warm primary yellow and cool lemon yellow.

Secondary colors: orange, green and purple. Secondary colors are mixed by combining two primary colors.

Complementary colors: pairs of opposite colors on the color wheel: green-red, blue-orange and yellow-purple.

Complementary colors are as contrasting as possible (i.e. there is no yellow at all in the color purple). Painters like

Andre Derain and van Gogh often made use of the contrasts of complementary colors in their paintings.

Tertiary colors: A wide range of natural or neutral colors. Tertiary colors are created by mixing two complementary

colors. Tertiary colors are the colors of nature: skin, plants, wood, stone etc.

Tones: are created by adding black to any color. (i.e. maroon is a tone of red). o Tints: are created by adding white to

any color. (i.e. pink is a tint of red).

Palette: the choice of colors an artist makes; i.e. ‘Van Gogh uses a vivid palette to paint his Arles landscapes’.

Limited palette: the selection of only a few colors within an artwork; i.e. ‘In this drawing, Matisse has used a limited

palette of ultramarine blues and purples to create a moody, subdued atmosphere.’

Broad palette: the use of a wide range of different colors within an artwork; i.e. ‘Kandinsky’s paintings are instantly

recognizable for their use of geometric shapes, but also for the broad palette of colors he employs.’

Tonal range: the range of tones in an artwork from light to dark. A wide tonal range would include all tones from white

to black. A narrow tonal range would include only pale tones, only mid tones or only dark tones; i.e. ‘Kathe Kollowitz’s

etchings make powerful use of a narrow tonal range to create oppressive, dark images.’

Opacity: the density or thickness of the color used; if the color is strong and nothing can be seen beneath it, the color is

said to be opaque. Acrylic and oil colors are often opaque.

Transparency: thin, transparent color, with perhaps other colors, shapes and lines visible beneath it. Watercolor

paintings typically use transparent color.

Useful adjectives you might use when describing COLOR: Saturated, bright, pure, vivid, strong, harsh, dramatic,

vibrant, brilliant, intense, and powerful. Muted, subtle, gentle, dull, soft, watery, subdued, delicate, gloomy, tertiary,

faded, limited.

Useful Terminology Six Words to Critique Line In art a line can be described in several things. The words used to describe line in the form of art are everyday type of words, nothing fancy.

Flowing Delicate

Simple Bold

Thick Thin

Four Words to Critique Tone When it comes to tone in art there are four words that can help you when critiquing. None of the words are fancy; however they may not all be use in your everyday conversations with friends.

Subtle Contrasting

Muted Dramatic

Five Words to Critique Texture Texture is a very common element with and often used when referring to clothing, furniture and hair. Also, if you have ever painted a wall in your home you are most likely familiar with the following words.

Rough Fine

Smooth Coarse

Uneven

Five Words to Critique Shape Art comes in various shapes whether it is a painting or a sculpture. Therefore, there are specific words to describe each piece of art.

Organic Curvaceous

Geometric Angular

Elongated

Three Words to Critique Movement Movement is seen in every piece of art. Movement helps to create or define a piece of art.

Swirling Flowing Dramatic Five Words to Critique Scale Scale is basically the size of the art. The words used to critique scale are common words that are already in our vocabulary.

Large Small

Intimate Miniature

Monumental

Three Words to Critique Contrast Two out of the three words for contrast have already been used to critique other elements of art. Therefore, it should not be hard to remember these words on a list of descriptive words to critique art. The only other word you need to remember here is the word strong and that is a pretty common word.

Dramatic Subtle Strong Six Words to Critique Color In art color is very important. This is what helps each piece of art stand out. The color, no matter what type of artwork helps define the piece and the artist. A lot of artwork can be determined on who did the work just by looking at the colors, because certain artists use specific colors in every piece of their work.

Bold Vibrant

Subtle Pale

Earthy Naturalistic

Writing about Painting – A glossary of useful terms

Alla Prima: the paint is applied in one layer only; there are no under-layers or over-working. The work of the Fauves was

often alla-prima; their energetic, spontaneous style suited this method of working.

Gestural: A loose, energetic application of paint which relies on the artist’s movements to make expressive marks on the

canvas. This is supposed to be a very personal and unique way of working - almost like handwriting. Look at artists like Cy

Twombly or Antoni Tapies for examples.

Glaze (or Wash): a semi-transparent layer of thinned paint. Many traditional painters like Michelangelo 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.

Impasto: a thick layer of paint, often applied in several layers with a brush or palette knife. Look at the dense, textural

brushwork of paintings by artists like Gillian Ayres or Frank Auerbach.

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.

Pointillist: the use of many tiny dots of pure color which seem to ‘blend’ when seen at a distance. Georges Seurat’s work is

the most famous example of this almost-scientific technique. Look also at the paintings of his pupil, Paul Signac.

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.

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.

Sketch: A quick painting, often made in preparation for the ‘final version’. See also ‘plein-aire’.

Brushwork: The way in which the artist uses the brush to apply paint. Brushwork can be loose, energetic, controlled, tight,

obsessive, repetitive, random etc.

Palette: 1. A wooden or plastic tray, used for mixing colors when making a painting. 2. The choice of colors in a painting

i.e. “van Gogh uses a pure and vivid palette in his Arles landscapes.”

Tone or tonal: 1. The elements of light and shadow in an artwork i.e. ‘Kathe Kollowitz’s etchings use strong, dense tones to

create an intense, sorrowful mood. 2. The range of tones within an artwork i.e. “Rembrandt’s later portraits use a very dark

tonal range.”

Support: The surface that a painting or drawing is produced on. Supports can be paper, card, wood, canvas, metal etc. i.e.

“Antoni Tapies’s paintings sometimes look as if they have been attacked. The support is often violently torn, ripped and

stabbed into.”

Writing About Cultural Values Attached To The Arts

(Useful terms to consider)

When the arts of the past are seen in museums, they are effectively detached from the life of the culture within which they

originated. If you only see these art objects in books or photographs, it is very difficult to see them as a ‘real’ part of a living

culture. To begin to understand the meanings various arts had for the societies they came from, consider the following

values:

RELIGIOUS VALUES: Arts were often essential to the belief systems of many cultures. For example: statues of gods/deities,

temples, icons, altarpieces, masks, music, dances etc.

SOCIAL VALUES: Arts often symbolized group identity and pride; for example: banners, headdresses, tattooing, flags,

chants, anthems etc.

PSYCHO-EMOTIONAL: Arts sometimes provided assurance of the continuity of life; for example: portraits, epic poetry,

mythological tales, hymns etc.

USEFUL or PRACTICAL VALUES: Art was often an integral aspect of functional objects, both in shape and decoration. For

example: knives, pottery, lamps, buildings etc.

SENSUAL VALUES: Arts provided a direct source of sensual pleasure and perhaps an intrinsically aesthetic response; for

example: textiles, clothing, sculpture, music etc.

EDUCATIONAL VALUES: Arts were frequently a means of transmitting the values, attitudes and history of a culture. For

example: cave painting, frescoes, illuminated manuscripts, epic poetry, historic drama, tribal dance etc.

DECORATIVE VALUES: Arts were used to enhance people’s appearance or to beautify the environment; for example:

jewelry, 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.

Comparative Study

Writing about art is critical because of the CS component required by IB. This is typically due around Thanksgiving break. It is broken-down into smaller tasks, and then you are asked to compile your information into digital layouts. Be sure to document all of your sources along the way!

The following is a new outline (finally) provided by the 2017 IB Visual Art Guide:

Introduction

Students summarize the scope of the investigation from which the focus artworks, objects and artifacts have been

selected, and any thematic or conceptual framework used to draw the investigation together.

The artworks, objects or artifacts and their contexts

Students summarize their research from a range of different sources and present their inquiry into the

identification and interpretation of selected artworks, objects and artifacts. They also explain how they have

applied a range and combination of critical theories and methodologies to the works. Areas of investigation

might include:

• identification of the cultural contexts of the selected pieces

• identification and analysis of the formal qualities of the selected pieces (elements such as shape/ form, space,

tone, colour, line, texture and principles such as balance, rhythm, proportion, emphasis, pattern, variety)

• analysis and understanding of the function and purpose of the selected pieces (such as the meanings of

motifs, signs and symbols used in the work)

• analysis and evaluation of the material, conceptual and cultural significance of the pieces and the cultural

contexts in which they were created.

Making connections

Students present their comparisons of the different pieces, clearly identifying links between them.

These comparisons might include:

• comparing and contrasting the cultural contexts of the selected pieces

• comparing and contrasting the formal qualities of the selected pieces

• comparing and contrasting the function and purpose of the selected pieces

• comparing and contrasting the material, conceptual and cultural significance of the pieces.

Sources

Students must cite any source at point of use and include a list of sources used during the study.

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Are the techniques and materials you used appropriate and effective? Explain why.

What skills have you used before?

Where/who did your inspiration/ideas for this project come from? (provide details)

What visual images and formal elements have been used to communicate your ideas? (Be sure to use

subject-specific terminology) [Formal elements ie: line, shape, color, texture, composition…]

What is the feeling, mood, or message of this piece? What idea/message were you trying to convey?

What do you think is the strongest element of this artwork? Or What part of this artwork are you most

confident about? (Explain; be sure to use subject-specific terminology)

What problems/difficulties did you encounter during this process? How did you solve them?

Looking at your final piece, what would you change if you could?

Do you consider this artwork a success? Why or why not?

How has this piece of artwork changed you, or your thinking?

What questions are you left with?

Additional questions to consider:

Does any part of this project leave you: Confused? Intrigued? Frustrated? Surprised? [answer one,

some, or all of this question]

Does your artwork resemble anything you have seen before? Explain. Include sourced images.

Discuss…

What does this artwork mean to you?

5: Talking About Art Critiques As in all art classes, critiques are a way to give and receive valuable feedback on our ideas, works-in-progress, and resolved artwork. Keep in mind, a critique is not an exam; it is a conversation that aims to shed new light on the work and to be helpful to each artist’s growth. By now (unless you are a new transfer), you have worked closely with all of your classmates for quite some time. You should be familiar with one another’s artistic styles and preferences. However, like the art that is created, artists have many layers; don’t make assumptions about an artwork until you have heard from the artist. During critiques, try to keep your questions open ended and flexible. Do your best to provide positive comments and if necessary, offer supportive suggestions on how to improve rather than an unsupported negative comment. Here are a few questions to consider during a critique: • What do you feel is working well? Why?

• What are you experiencing difficulty with? Why?

• What sort of challenges are you setting for yourself?

• What have you discovered about working with these materials?

• How did that happen?

• Where did you get that idea?

• What does this mean to you?

• Where do you think this is going next?

• What ideas are you thinking about?

• What artists are you looking at?

• What interests you in this work?

• What aspect of this work do you want to emphasize?

If there is time, review the IB Exhibition Rubric and discuss each piece in relation to the various mark-

bands. Discuss why you feel the artwork is deserving of specific marks and how to make possible

improvements.

Critique feedback should always be documented in your visual art journal.

ART TERMS Abstract art Art containing shapes that simplify shapes of real objects to emphasize form Additive sculpture 3D work made by putting pieces of materials together to build up a form Aesthetic judgement Values used in judging a work of art involving reasons for finding art beautiful Allegorical Characters and events are understood as representing other things Ambiguous Having more than one possible meaning Analogous colors Colors that contain a common hue and are next to each other on color wheel Armature A simple inner skeleton that provides support for modeling with pliable materials such as clay or wax Asymmetrical balance Another name for informal imbalance; When unlike objects have equal visual weight Balance The distribution of visual weight in a work of art Beater Roller with a handle used to apply ink to a surface Block Piece of engraved wood, linoleum or other material inked to make a print Brayer Ink roller Chiaroscuro Arrange light and shadow in 2-D art Color Depends on light , has 3 properties Color scheme Plan for organizing colors (monochromatic, analogous, complementary... ) Color triad 3 colors spaced an equal distance apart on the color wheel Complementary colors Two colors opposite one another on the color wheel Composition The arrangement of elements using the principles within a defined space Conceptual art Works or events in which idea is more important than outer form Content The message the artist is trying to communicate in a work of art Contrast Created visual excitement and add interest to the work of art Cool colors Blue, green, and violet; suggests coolness Defiant Tending to confront/ challenge

Depth The illusion of space Distorted A shape that is changed and no longer looks proportioned Elements of art Basic visual symbols artist use to create works works of visual art (Line, shape, form, value, space, color and texture) Emphasis Used to create dominance and focus in their work Ephemeral Lasting only for a short period of time Eternal Seeming to go on forever Ethereal Very delicate or highly refined Fabrication Assembling of rigid materials into units by techniques such as welding, bolting, or lamination Flat Matte; not shiny Focal point Area of work of art that attracts the viewer’s attention first / stands out Form Refers to 3d and describes volume and mass of objects that take up space Freestanding Work of art surrounded by negative space Golden mean Perfect ratio Half round 3D works in which only 180 degrees of a full circle is presented as being of aesthetic interest Installation pieces Designed environments installed in museums Intermediate color A color made by mixing a primary color with a secondary color Intermediate pieces Designed environments installed in museums , galleries, or public places Ironic Involving a surprising or contradictory fact Kitsch tastelessness or ostentation in art Line An edge, a border between one thing and another also known as a moving dot Luminous Enlightened and inspiring Lyrical Wildly enthusiastic and emotional about something Maquette A small scale model of a work usually developed to aid the planning process Medium Material such as paint , glass , metal, or fibers used to make an art object

Monochromatic colors One color and all its values Monumental works Very large, imposing works of art that may or may not serve memorial purpose Motif A repeated design, shape, or pattern Narrative art Pieces that tell a visual story Negative spaces Empty spaces surrounding shapes and forms Neutral colors Black, white, and gray Nonobjective art Works that have no apparent relationship to objects from our three dimensional world Pattern Two dimensional decorative visual repetition Point of view Angle from which the viewer sees an object Positive spaces Shapes or forms in two and three dimensional art Principles of design Rule of using the elements of art to produce certain effects based on how viewers react to visual images Print Impression created by an artist made on paper or fabric from a printing plate Printing plate Surface containing the impression transferred to paper or fabric to make a print Printmaking Art form of making prints Proportion Principle of design concerned with the size relationship of one part to the whole and one part to the other Relief Three dimensional form raised from a flat surface Rhythm and movement The repetition and or variation of an element that moves the eye through a composition Rule of thirds A compositional rule of thumb (divided into 9 equal parts by two equally spaced lines...) Saturation Refers to the brightness of a color Shade Dark value of a hue made by adding black to it Shape An area that is contained within an implied line Space The distance around, between, above, below and within an object Split complementary One hue and the hues on each side of it on the color wheel Subject What is represented in a work of art

Subtractive sculpture Creation of a work of art by carving away the excess from a larger piece of material Symmetrical balance Type of formal balance in which two halves or sides of a design are identical Texture Refers to the surface quality, both simulated and actual, of an art work Three dimensional Having height, width, and depth Tint Light value of a hue made by mixing the hue with white Two dimensional Having height and width but not depth Unity Provides the cohesive quality that makes an artwork feel complete and finished Value Refers to dark and light; creates a focal area or center of interest Warm colors Red, orange, and yellow

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