International Baccalaureate Organization

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International Baccalaureate Organization
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IB Requirements

• Math, Science, English, Theory of Knowledge, Fine
  Arts/Psychology
• EE- Extended Essay
• CAS- Creativity, Action, Service

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IB Learner Profile

• The aim of all IB programmes is to develop
  internationally minded people who, recognize
  their common humanity and shared guardianship of
  the planet, help to create a better and more
  peaceful world.

• Inquirers
• Knowledgeable
• Thinkers
• Communicators
• Principled
• Open-minded
• Caring
• Risk-takers
• Balanced
• Reflective

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IB Visual Arts Aims

• Investigate past, present, and emerging forms of
  visual arts and engage in producing,
  appreciating, and evaluating these.
• Develop an understanding of visual arts from a
  local, national, and international perspective.
• Build confidence in responding visually and
  creatively to personal and cultural experiences.
• Develop skills in, and sensitivity to, the
  creation of works that reflect active and
  individual involvement.
• Take responsibility for the direction of their
  learning through the acquisition of effective
  working practices.

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Visual Arts Assessment

• Visual Arts students are required to complete
  Investigative Workbooks (IWBs), complete a body
  of studio work, have an art exhibition at the end
  of their final year, and be interviewed and
  graded by an art examiner who will see the
  students show and their workbooks.

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Visual Arts Assessment

• Moderation is achieved by the teacher grading the
  work, the visiting examiner grading their work,
  and having copies of the students candidate
  record booklets (pictures of their studio and IWB
  work) sent off to another country to be reviewed
  and graded again.

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Visual Arts Assessment

• Option A
• Studio Work 60
• Investigative
• Workbooks 40

• Option B
• Investigative
• Workbooks 60
• Studio Work 40

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IWBS

• What are they? They are more than simply
  sketchbooks. They are research books that
  incorporate writing, thoughts, sketches,
  experiments, etc.
• IBO states that the purpose of the investigative
  workbooks is to encourage personal investigation
  into visual arts, which must be closely related
  to the studio work undertaken.

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IWB

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

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IWB

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

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IWB

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

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IWB

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

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IWB

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

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IWB

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

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IWB

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

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IWB

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

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IWB Dogma and Good Practice

• Student name, school name need to be inside your
  IWB. List the book(s) as 1, 2, etc. Student
  name should also be on the outside spine.
• Pages should be numbered.
• Date pages.
• Written content should be in blue or black ink.
• While it is expected that research in the
  beginning of the course may be teacher driven,
  students need to demonstrate personal involvement
  in the research.
• Use appropriate vocabulary and not slang.
• It is insufficient to download information from a
  website. This is not considered research and is a
  passive way of collecting information.
• NO WIKIPEDIA!
• Digital art needs to have the process documented
  in the IWB.
• Student needs to record cultural and historical
  research but also draw some conclusions and
  actually do something with the information found
  (there is no benefit from noting that a certain
  artist painted during the crash and burn of the
  Hindenburg unless it is of major significance and
  that connection is made by the student).
• The most successful students are those that make
  in-depth analysis of their research.

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IWB Dogma and Good Pratice

• Too much reliance on the same well-worn examples
  of artworks, artists, cultures and periods of
  time for research is not advised on a constant
  basis take some chances! Explore things! Have
  fun with it for crying out loud!
• Students will be engaged formally and informally
  in evaluating their own work in written form and
  as part of their thinking process for the studio
  works.
• Students need to do more than just make
  observations for critical analysis. Too few
  students seem to be able to analyze their own
  artwork and the artwork of others using the
  formal elements and principles of design with
  specific and appropriate vocabulary.
• IWB should not be edited but should be kept in
  chronological order.
• Visual research is important criteria, however,
  decorating or attempts to make pages look
  pretty are counterproductive and make the
  research and critical analysis seem frivolous and
  unreadable.
• Research may be recorded by any means such as
  drawing, painting or word processing. However, it
  is preferable for the student to write out the
  information.
• Beginning elements and principles of design
  should be only a minor portion of the IWB.
• Students very early on begin drawing their own
  conclusions and integrating research\with studio
  including their own viewpoints.
• Students who focus on photography will need to
  include test strips, work prints, and contact
  sheets in the IWB. However, this should not take
  up 50 or more of the IWB.

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Getting Started

• Giving the students strict guidelines about what
  you want from the beginning and developing a
  routine early on is very important.
• How you approach the workbook will make all the
  difference to them. What you call it, how
  seriously you take, and how urgent you make it
  sound to get started on one is what makes this
  work. Students LOVE to be challenged and get
  feedback from you.

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Getting Started

• The very first assignment I have my students do
  during the first week of school is write an
  autobiography. It must be a minimum of three
  pages and contain 50 written information and 50
  visual. Visual could mean drawing, painting,
  magazine clippings, photographs, or found objects
  that are taped or glued in to the IWB.

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Getting Started
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Getting Started

• After the autobiography assignment we typically
  begin contour drawing and a few pages are devoted
  to drawing themselves in a mirror at home. I do
  not give them a lot of direction at the beginning
  so that I can see what they do and do not know
  and how confident they are. This opens up
  discussion for what direction they want to go in
  and what they think they need work on. Critique
  is vital. This means that your students may all
  be going in different directions and working on
  different weaknesses and interests.

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Getting Started

• My goal is to get the students out of the school
  art phase and develop more meaningful and
  thoughtful work. I do this by initiating prompts,
  suggestions, and giving them a jumping off point
  rather than having them all do the same rigid
  assignment.

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Other Prompts

• I expect all of my students to research numerous
  artists throughout the course of their studies.
  They generally have freedom in their choices, but
  at some point I do have them randomly assigned to
  a specific, well-known artist. I have them draw
  numbers from a hat. Each number is assigned to an
  artist which I do not reveal. I proceed to give
  students hints about who their particular artist
  is over several weeks. They have to then research
  and investigate those clues in order to discover
  who their artist is. This provides historical and
  personal information about the artists that the
  students find interesting and forces them to
  stumble upon other artists as they search. Once
  their artist has been discovered students must
  research them and their style of art in depth.

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Other PromptsCombine 2 or 3 random phrases and
create a piece of work

• The people
• By the water
• You and I
• He called me.
• What did they say?
• No way
• One or two
• More than the other
• Write your name.
• That dog is big.
• Two of us
• The first word I like him.
• Out of the water
• Its been a long time.
• Give them to me.
• Now is the time.

• How many words?
• This is a good day.
• Sit down.
• But not me
• Not now
• From my room
• Will you be good?
• Then we will go.
• An angry cat
• We were here.
• Could you go?
• We like to write.
• Into the water
• Which way?
• He has it.
• If we were older

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Completion

• Once students are ready for their final exams
  their top workbook pages and their studio work
  are photographed, labeled, and sent away to
  another country to be moderated.

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CRB
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CRB
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CRB
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CRB
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Top IWB Pages
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Top IWB Pages
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Top IWB Pages
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Top IWB Pages
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Top IWB Pages
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Top IWB Pages