UCSI International School

IB Visual Arts DP 2020-2021

COURSE OVERVIEW FOR STUDENTS

VISUAL ARTS COURSE OVERVIEW

As part of the core syllabus students will be expected to:

(in a variety of media selected from the art-making forms table)

Practices Visual arts in context Visual arts methods Communicating visual

Artists and why they Ways of making arts
make art artworks Ways of presenting art

Theoretical Examine and compare Look at different Explore ways of

practice the work of artists from techniques for making communicating through
different times, places art. Investigate and visual and written
and cultures, using a compare how and why means. Make artistic
range of critical different techniques choices about how to
methodologies. have evolved and the most effectively
Consider the cultural processes involved. communicate
contexts (historical, knowledge and
geographical, political, understanding.
social and technological
factors) influencing
their own work and the
work of others.

Art-making Make art through a Experiment with Produce a body of

practice process of diverse media and artwork through a
investigation, thinking explore techniques for process of reflection
critically and making art. Develop and evaluation, showing
experimenting with concepts through a synthesis of skill,
techniques. Apply processes that are media and concept.
identified techniques to informed by skills,
their own developing techniques and media.
work.

Curatorial Develop an informed Evaluate how their Select and present

practice response to work and ongoing work resolved works for
exhibitions they have communicates meaning exhibition. Explain the
seen and experienced. and purpose. Consider ways in which the
Begin to formulate the nature of works are connected.
personal intentions for “exhibition” and think Discuss how artistic
creating and displaying about the process of judgments impact the
their own artworks. selection and the overall presentation.
potential impact of

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 their work on different
audiences.

Visual arts The visual arts journal underpins every aspect of the course. Students will
journal use the journal, which can take many forms, to record all aspects of their
art-making journey, including experiments with media, research,
reflections, observations and personal responses. Although not directly
assessed, elements of this journal will contribute directly to the work
submitted for assessment.

For assessment students will be expected to:

(in a variety of media selected from the art-making forms table)

Combining all they have learned from visual arts in context, visual Externa Weight
arts methods and communicating visual arts core syllabus areas l or
Internal

1. COMPARATIVE STUDY: Students analyse and compare different External 20%

artworks by different artists. This independent critical and
contextual investigation explores artworks, objects and artifacts from
differing cultural contexts. Students compare at least 3 different
artworks, by at least 2 different artists, with commentary over 10–15
screens. HL Students also submit a reflection on the extent to which
their work and practices have been influenced by any of the
art/artists examined (3–5 screens).

2. PROCESS PORTFOLIO: Students submit carefully selected External 40%

materials, which evidence their experimentation, exploration,
manipulation and refinement of a variety of visual arts activities
during the two-year course. Students submit 13–25 screens. The
submitted work should be in at least three different art-making
forms. SL students submit 9–18 screens.

3. EXHIBITION: Students submit for assessment a selection of Internal 40%

resolved artworks from their exhibition. The selected pieces 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. HL Students submit 7–
10 pieces with exhibition text for each, along with a curatorial
rationale (700 words maximum). SL students submit 4–7 pieces with
exhibition text for each, along with a curatorial rationale (400 words
maximum).

ART-MAKING FORMS
For SL students the submitted work must be in at least two art-making forms, each from
separate columns of the table below. For HL students the submitted work must have been

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created in at least three art-making forms, selected from a minimum of two columns of the
art-making forms table below. Students may use another art-making form if relevant.

2D forms 3D forms Lens-based, electronic and

screen-based forms

● Drawing: such as ● Carved sculpture: ● Time-based and

charcoal, pencil, ink, such as carved wood, ● sequential art: such
collage stone, block as stop-motion,
● Painting: such as ● Modelled sculpture: digital animation,
acrylic, oil, such as wax, polymer video art
watercolour, murals clays ● Lens media: such as
● Printmaking: such as ● Constructed analogue (wet)
relief, intaglio, sculpture: such as photography, digital
planographic, chine assemblage, photography,
collé bricolage, wood, montage
● Graphics: such as plastic, paper, glass ● Lens-less media:
illustration and ● Cast sculpture: such such as photogram/
design, graphic novel, as plaster, wax, rayograph,
storyboard bronze, paper, scenography, pinhole
plastic, glass photography,
● Ceramics: such as cyanotype, salted
handbuilt forms, paper
thrown vessels, ● Digital/screen based:
mould-made objects such as vector
● Designed objects: graphics, software
such as fashion, developed painting,
architectural models, design and illustration
interior design,
jewelry
● Site
specific/ephemeral:
such as land art,
installation,
performance art
● Textiles: such as
fibre, weaving,
constructed textiles

CHANGES FOR 2020

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ASSESSMENT
1. COMPARATIVE STUDY

Marking criteria Mark What the examiner is looking for:

A Identification and 6 At the highest level of achievement, the work

analysis of formal provides a consistent, insightful and informed
qualities identification and analysis of the formal qualities of
the selected pieces.

B Analysis and 6 At the highest level of achievement, the work

understanding of provides a consistent, insightful and informed
function and purpose analysis and demonstrates thorough understanding of
the function and purpose of the selected pieces from
at least two contrasting cultural contexts.

C Analysis and 6 At the highest level of achievement, the work

evaluation of cultural provides a consistently insightful and informed
significance analysis and thorough evaluation of the material,
conceptual and cultural significance of the selected
pieces from at least two contrasting cultural
contexts.

D Making comparisons 6 At the highest level of achievement, the work

and connections 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.

E Presentation and 6 At the highest level of achievement, the work clearly

subject-specific and coherently conveys information which results in a
language 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.

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 F Making connections to 12 At the highest level of achievement, the work
own art-making provides a consistent and insightful evaluation on the
practice (HL only) outcomes of the investigation. The student
effectively analyses and evaluates the extent to
which their own art-making and pieces have been
influenced by artworks, objects and artifacts
examined in the comparative study, making informed
and meaningful connections throughout.

Possible structure
Introduction Summarize the scope of your investigation from which the 1
focus artworks, objects and artifacts have been selected, and screen
any thematic or conceptual framework you have used to draw
the investigation together.

The artworks, Summarize your research from a range of different sources 3–5
objects or and present your inquiry into the identification and screens
artifacts and interpretation of the selected artworks, objects and artifacts.
their contexts You also explain how you have applied a range and
combination of critical theories and methodologies to the
works. Areas of investigation might include:
● analysis of the cultural contexts of the selected pieces
● identification 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)
● evaluation of the material, conceptual and cultural
significance of the pieces and the cultural contexts in
which they were created.

Making Present your comparisons of the different pieces, clearly 3–5

comparisons and identifying links between them. These comparisons might screens
connections include:
● comparing the cultural contexts of the selected pieces
● comparing the formal qualities of the selected pieces
● comparing the function and purpose of the selected
pieces
● comparing the material, conceptual and cultural
significance of the pieces.

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Connecting to Reflect on your research outcomes and the extent to which 3–5
own art-making your own art-making practices and pieces have subsequently screens
practice (HL been influenced by artworks, objects, artifacts and their
only) creators examined in the comparative study. These influences
and personal connections, which should be evidenced in both
visual and written forms, might include:
● cultural context
● formal qualities
● function and purpose
● materials, conceptual and cultural significance.
When referring to your own artwork and practices, you must
be sure to identify and acknowledge your own artworks with
the same rigorous attention to detail as with images from
other sources.

Sources Include a reference list of sources used during the study. In- 1
text referencing is required throughout the comparative screen
study. Every image used within the comparative study must be
appropriately referenced to acknowledge the title, artist,
date (where this information is known) and the source,
following the protocol of the referencing style chosen by the
school.

2. PROCESS PORTFOLIO

Marking criteria summary

Marking criteria M What the examiner is Possible evidence
a looking for:
r
k

A Skills, techniques 12 At the highest level, ● Drawings, sketches and

and processes working across at least the designs
required minimum number ● Preliminary paintings
of media and forms, the and small studies
portfolio demonstrates ● Photographic contact
assured and sustained sheets and test prints
experimentation and ● Computer screenshots
manipulation of a range of ● Photographic record of
skills, techniques and sculptural processes
processes, and a highly
appropriate selection of
materials, consistent with
intentions.

B Critical 6 At the highest level of ● Annotated images of

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 investigation achievement, the portfolio other artists’ works
shows in-depth critical ● Experiments with using
investigation into other the style or technique of
artist's art-making an artist
practices, clearly ● Producing copies of
communicating a secure works “after” a
and insightful awareness of particular artist
how this investigation has ● Written reflections on
impacted upon your own the connections between
developing practices and an investigated artist
intentions. and your own work

C Communication of 6 At the highest level of ● Concept maps of ideas

ideas and achievement, the portfolio and themes
intentions (in both clearly articulates how ● Planning imagery with
visual and written initial ideas and intentions annotations considering
forms) have been formed and how meaning might be
developed. The portfolio conveyed through the
effectively communicates work
how technical skills, media ● Reflections and
and ideas have been evaluations made
assimilated to develop the throughout the progress
portfolio further. of a work, resulting in
changes in direction or
imagery or technique

D Reviewing, refining 6 At the highest level of ● Various trials of

and reflecting (in achievement, the portfolio compositional
both visual and demonstrates an effective arrangements
written forms) and consistent process of ● Reworking imagery
reviewing and refining employing different
ideas, skills, processes and techniques or media
techniques. The portfolio ● Reflections and
presents a meaningful and evaluations made
assured reflection upon the throughout the progress
acquisition of skills and of a work, resulting in
analysis of your changes in direction or
development as an artist. imagery or technique
● Evaluations of completed
work generating new
ideas

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E Presentation and 4 At the highest level of ● Balance of text and
subject-specific achievement, the portfolio visuals
language conveys evidence clearly, ● Writing is legible
coherently and in an ● Layout is considered
engaging manner. There is ● Language is appropriate.
an excellent range of visual Appropriate terminology
evidence and consistent is used. Artists’ names
use of appropriate subject- and movements are
specific language used to spelled correctly.
document the art-making
process.

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3. EXHIBITION

Marking criteria summary

Marking criteria Marks What the marker is looking for:

A Coherent body 9 At the highest level of achievement, the work forms a

of works 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.

B Technical 9 At the highest level of achievement, the work demonstrates

competence 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 9 At the highest level of achievement, the work visually

qualities elaborates ideas, themes or concepts to a point of effective
realization and demonstrates the subtle use of complex
imagery, signs and/or symbols that result in effective
communication of stated artistic intentions.

D Curatorial 3 At the highest level of achievement, the curatorial rationale

practice (SL fully justifies the selection and arrangement of the exhibited
only) works, which are presented and arranged clearly, as
appropriate to your stated intentions within the space made
available to you.

D Curatorial 3 At the highest level of achievement, the curatorial rationale

practice (HL fully justifies the selection and arrangement of the exhibited
only) works and effectively articulates the relationship between the
artworks and the viewer within the space made available to
you.

IB upload requirements
Component Upload files Format How many Date

Comparative Comparative Study PPT document All 3

study List of sources PPT document
Form: 6/VACAF Document

Process Process portfolio PPT document 1

portfolio

Exhibition Curatorial rationale PPT document Minimum 9

Exhibition photo Image 23 optional

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 Exhibition photo Image
Artwork: 7 files Images
uploaded separately
(must include: Title,
medium, size of
original cm, text,
topic, work focus)
Artwork: 3 files
uploaded separately
(optional)

RESOURCES
Inthinking DP Visual Arts resource
The Met Timeline of Art History of art timeline
Reliable sources of information for Visual Arts
www.theartstory.com

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