Process Portfolio: Students are expected to fully document their projects, tests, failures, and research in their digital journal daily. I will check students journal entries at the end of each month. Additionally, students will turn-in a minimum of one formal finished screen a month. *Worth 40% of the grade
*IB Process Portfolio Assessment: Students submit carefully selected materials, which evidence their experimentation, exploration, manipulation and refinement of a variety of visual arts activities during the two-year course. Students submit 18–25 screens. The submitted work should be in at least three different art-making forms.
Screen Turn-in Dates:
September 1st - 1 Screen
October 2nd - 2 Screens
November 1st - 2 Screens
December 4th - 2 Screens
February 1st - 2 Screens
March 1st - 2 screens
April 3rd - 2 Screens
(Seniors do not need to turn in screens)
What am I looking for:
Each screen should be a clean well thought-out and created in Photoshop including:
- Screen resolution of 3840 X 2160 @ 300 DPI.
- Process should be typed.
- Refection hand written
Process Portfolio Assessment | SL /HL Marks |
A |
Skills, techniques and processes
| 12 |
B |
Critical investigation
| 6 |
C |
Communication of Ideas and Intentions
| 6 |
D |
Reviewing, Refining and Reflecting
| 6 |
E |
Presentation and Subject-Specific Language
| 4 |
Visual Arts Guide 2017
Process Portfolio (Weighting: 40%)
Students at SL and HL submit carefully selected materials which
demonstrate their experimentation, exploration, manipulation and
refinement of a variety of visual arts activities during the two-year
course. The work, which may be extracted from their visual arts journal
and other sketch books, notebooks, folios and so on, should have led to
the creation of both resolved and unresolved works. The selected process
portfolio work should show evidence of their technical accomplishment
during the visual arts course and an understanding of the use of
materials, ideas and practices appropriate to visual communication. They
should be carefully selected to match the requirements of the
assessment criteria at the highest possible level.
The work selected for submission should show how students have explored and worked with a variety of techniques, effects and processes in order to extend their art-making skills base. This will include focused, experimental, developmental, observational, skill-based, reflective, imaginative and creative experiments which may have led to refined outcomes.
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Formal Requirements
SL
|
HL
|
SL students submit 9–18 screens, which evidence their sustained
experimentation, exploration, manipulation and refinement of a variety
of art-making activities.
The submitted work must be in at least two art-making forms, each from separate columns of the art-making forms table.
The submitted screens must not include any resolved works submitted for part 3: exhibition internal assessment task.
|
HL students submit 13–25 screens, which evidence their sustained
experimentation, exploration, manipulation and refinement of a variety
of art-making activities.
The submitted work must have been created in at least three art-making forms, selected from a minimum of two columns of the art-making forms table.
The submitted screens must not include any resolved works submitted for part 3: exhibition internal assessment task.
|
SCREEN SIZE:
3840 X 2160 @ 300 DPI
|
Process Portfolio Assessment | SL /HL Marks |
A |
Skills, techniques and processes
| 12 |
B |
Critical investigation
| 6 |
C |
Communication of Ideas and Intentions
| 6 |
D |
Reviewing, Refining and Reflecting
| 6 |
E |
Presentation and Subject-Specific Language
| 4 |
A. Skills, techniques and processes
Working across at least the required number of media and forms, 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.
What the examiner is looking for:
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.
Possible Evidence:
-
Drawings, sketches and designs
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Preliminary paintings and small studies
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Photographic contact sheets and test prints
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Computer screenshots
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Photographic record of sculptural processes
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B. Critical investigation
The work shows in-depth critical investigation, clearly communicating a
secure and insightful awareness of how this investigation has impacted
upon the student’s own
developing practices and intentions.
What the examiner is looking for: 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.
Possible Evidence:
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Annotated images of other artists’ works
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Experiments with using the style or technique of an artist
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Producing copies of works “after” a particular artist
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Written reflections on the connections between an investigated artist and your own work
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C. Communication of ideas and intentions (in both visual and written forms)
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.
What the examiner is looking for:
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.
Possible Evidence:
-
Concept maps of ideas and themes
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Planning imagery with annotations considering how meaning might be conveyed through the work
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Reflections and evaluations made throughout the progress of a work, resulting in changes in direction or imagery or technique
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D. Reviewing, refining and reflecting (in both visual and written forms)
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 the student’s development as an artist.
What the examiner is looking for:
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.
Possible Evidence:
-
Various trials of compositional arrangements
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Reworking imagery employing different techniques or media
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Reflections and evaluations made throughout the progress of a work, resulting in changes in direction or imagery or technique
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Evaluations of completed work generating new ideas
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E. Presentation and subject-specific language
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.
What the examiner is looking for:
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.
Possible Evidence:
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Possible structure
Approaches to the process portfolio will be as varied as the art-making
practices that different students undertake. What is essential is that
your process portfolio articulates the artistic journey that you have
undertaken over the two-year course while best representing your
achievement against the marking criteria.
The submission may come from scanned pages from your visual arts
journal, other notebooks or sketchbooks. It might come from photographs
or digital files or a combination. The process portfolio screens may
take a variety of forms, such as sketches, images, digital drawings,
photographs or text.
The selected screens should evidence a sustained inquiry into the
techniques that you have used for making art, the way in which you have
experimented, explored, manipulated and refined materials, technologies
and techniques and how you have applied these to your developing work.
You should show where you have made independent decisions about the
choices of media, form and purpose that are appropriate to your artistic
intentions. The portfolio should communicate your investigation, your
development of ideas and artworks and evidence the synthesis of ideas
and media. Your process will have inevitably resulted in both resolved
and unresolved artworks and you should consider your successes and
failures as equally valuable learning experiences, worthy of including
in your process portfolio.
You must not include work submitted as a part of the exhibition task in your process portfolio.
Further advice for students
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While there is no limit to the number of items you may wish to include
on each screen, overcrowded or illegible materials may result in
examiners being unable to interpret and understand your intentions.
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If scanning pages from your visual arts journal, other notebooks or
sketchbooks for inclusion in your process portfolio, set the scanner to
scan at a resolution of 72 pixels per inch in red, green, blue (RGB)
color mode. This matches the screens of most computers used by examiners
to view works and will keep your submission to a manageable size.
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If using digital photographs or other digital images in your process
portfolio, use image editing software to save the images in RGB color
mode at 72 pixels per inch (use the “save for web and devices” found on
most digital image editing software) with a minimum width of 1,000
pixels to a maximum width of 1,500 pixels.
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Consider adopting a horizontal format for your screens, as this will
best fit the screens used to examine the work and will minimize the need
for scrolling to view each screen.
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If you compile your screens for the process portfolio using a slide presentation software such as Microsoft’s PowerPoint®, Apple’s Keynote® or Prezi Pro™,
avoid using animations within slides and animated transitions between
slides that may be lost when the file is converted, or may be missed if a
moderator advances through your presentation prematurely.
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Check your grammar and spelling, paying particular attention to the
spelling of artists’ names and subject-specific terminology.
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