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2 Ruamrudee Internatinal Schl IB Visual Arts Syllabus The aim f all IB prgrams is t develp internatinally minded peple wh, recgnizing their cmmn humanity and shared guardianship f the planet, help t create a better and mre peaceful wrld. IB learners strive t be: Inquirers, Knwledgeable, Thinkers, Cmmunicatrs, Principled, Open-Minded, Caring, Risk-Takers, Balanced, Reflective. Curse Descriptin: This studi-based curse emphasizes bth students creative prcess and their final artistic prduct in 2-dimensinal r 3- dimensinal arts frms. As students develp their craft they will cnduct thughtful inquiry int their wn thinking and art making prcesses, recrding this learning in written and visual frmats. All stages f the creative prcess must be thrughly dcumented and evidence f in-depth research int chsen areas f interest and ideas fr wrk must be shwn and explained in detail. Students are expected t be independently mtivated as they research the histry and practice f a chsen art frm and big idea /thesis acrss cultures, time perids and disciplines. They will learn hw t cnnect their research t their wn wrk, creating art that expresses persnal meaning within a cultural, histrical and discipline-based cntext. In additin t learning hw t appreciate and evaluate their wn wrk and that f thers, students will be encuraged t stretch and explre their wn wrk and share it with an audience thrugh mandatry Peer Critical Review sessins, exhibitins and presentatins f research in class. IB ffers tw levels in the arts: 1. Standard Level (150 hurs): Students shuld, ver the curse f the year, try ut many different media, techniques, prcesses and styles t see what interests them. Gradually, they will identify themes in their wn wrk and determine their area f fcus. They will learn hw t use multiple surces t cnduct independent research and t cite surces prperly in the cntent area f the Visual Arts. Thrugh varius teacher-driven assignments, students will gain practice in taking ideas and ways f knwing, frm ther disciplines, as inspiratin fr artistic expressin. 2. High Level (240 hurs): Students shuld cncentrate their wrk in ne r tw media and fcus n develping a strng, chesive prtfli f art that explres a big idea, fcus area r thesis in a way that shws evidence f depth and breadth f research and investigatin int this fcus area. Thematic series are strngly recmmended, and ccur naturally in mst cases. Quality prtflis shuld shw breadth and depth f wrk and als meaningful investigatin int wrld cultures. Visual Arts Assessment Objectives (Frm the IB DP Guide) Accrding t the IB DP Guide, by the end f the Visual Arts curse, a student shuld be able t: 1. Respnd t and analyze critically and cntextually the functin, meaning and artistic qualities f past, present and emerging art, using the specialist vcabulary f visual arts 2. Develp and present independent ideas and practice, and explain the cnnectins between these and the wrk f thers 3. Explre and develp ideas and techniques fr studi wrk thrugh integrated cntextual study and first-hand bservatins 4. Develp and maintain a clse relatinship between investigatin and a purpseful, creative prcess in studi wrk 5. Prduce persnally relevant wrks f art that reveal evidence f explratin f ideas that reflect cultural and histrical awareness 6. Develp and demnstrate technical cmpetence and artistic qualities that challenge and extend persnal bundaries *Nte: The IB Internal Assessments address and fcus n Objectives 1 4. The IB External Assessments address and fcus n Objectives 5 6.

3 During the IB curse yu will prduce: Studi Wrk: 60% (A), 40% (B) Drawings, paintings, prints, ceramics, sculptures, cllages, design wrk, digital artwrk, phtgraphy, architectural mdels, textiles, mixed media wrk.. Yur Studi Wrk must shw yur persnal interests and artistic skills thrugh a range f different media and techniques. Yu will aim t cmplete at least ne piece f Studi Wrk each mnth starting in September f Y11. Therefre by the end f Y11 yu will have 8-9 cmpleted pieces f wrk. In Y12 yu will be able t cmplete at least a further 8 pieces f wrk. This des nt include any wrk dne during the hlidays. Fr yur final exhibitin yu will have at least 18 Studi Wrk pieces. Investigatin Wrkbks (IWBs): 40% (A), 60% (B) IWBs are like sketchbks, but s much mre! Yur IWBs will cntain written ntes, phts, exhibitin leaflets, pstcards, sketches, experiments with different media, written analysis f artwrks, brainstrms, as well as mre finished drawings and paintings. Yu can basically put anything yu want int yur IWB as lng as it supprts the develpment f yur artistic ideas and skills. Yu will need t cmplete arund 3 r mre IWB pages each week. Mst f this will be dne in yur study perids r at hme. By the end f December yu will have ver 30 pages cmpleted! Sme weeks yu will find yu are able t d mre than 3 pages because f yur wnderful ideas. Excellent but that des nt mean the next week yu d nt have t d any! Remember, hlidays are a great pprtunity t cllect infrmatin, sketch, recrd and develp ideas, especially if yu are in anther cuntry. By the end f the curse, yu shuld aim t have at least three thick IWBs cmpleted.

4 IB Art Studi Plicy We have high expectatins fr all ur students in art. In rder fr us t have a safe and prductive learning envirnment students are expected t fllw the IB Art Studi rules, as well as, all schl rules. Students are asked t read and sign the fllwing IB art studi cntract. The art studi can be used nly when there is teacher supervisin available. IB art students may use the studi nly during their IB art class perids and study blcks frm 7:00 a.m. t 3:00 p.m. Expectatins: 1. Only students registered in IB art classes are allwed in the art studi. 2. Students shuld cnduct themselves in a respnsible and curteus manner at all times. 3. Observe gd husekeeping practices. Wrk areas shuld be kept clean and tidy. 4. Take care f art materials and use them prperly. 5. Clean up after yurself. Return materials t where they belng, clean brushes and wipe dwn area befre yu leave. 6. The use f earphnes shuld be used when listening t music. 7. Spray paint shuld nt be used in the art studi. 8. The art materials are fr all art students t use and must remain in the studi at all times. D nt take art materials ut f the art studi unless yu have permissin and the items are checked ut. Cnsequences: 1st vilatin - Verbal warning 2nd vilatin - Restricted use f art studi 3rd vilatin - Prhibited frm use f art studi I agree t the terms f this cntract as set frth abve. (Student signature) (Day and Perid f Study Blcks)

5 5674%8)9139 During the IB curse yu will prduce:!"#$1+:+/,;<= Drawings, paintings, prints, ceramics, sculptures, cllages, textiles, mixed media wrk, etc. Yur studi wrk must shw yur persnal interests and artistic skills thrugh a range f different media and techniques eventually creating a cherent bdy f wrk (2 nd year). Yur IB art experience will start in August f yur Junir year and end in April f yur Senir year. This gives yu 16 schl mnths plus 3 summer mnths t least 18 (HL) r 12 (SL) studi wrk prjects, if nt mre, fr yur final exhibitin. 0&>%9"1?)"1>%:+/,*++,@0:8AB<= Yur end gal fr yur IWB is t summit pages fr HL r fr SL f the mst exceptinal IWB pages that supprt the IB IWB criteria. Yu will need t cmplete 3 (HL) r 2 (SL) r mre independent IWB pages each week. Mst f this will be dne utside f class. Sme weeks yu will find yu are able t d mre than 3/2 pages because f yur wnderful ideas. Hwever, even if yu cmplete mre than 3/2 pages ne week, yu will still need t cmplete 3/2 r mre pages the next week! Remember hlidays are als a great pprtunity t cllect infrmatin, sketch, recrd and develp ideas. IWBs are like sketchbks but SO MUCH MORE! Yur IWB will cntain written ntes, phts, exhibitin leaflets, pstcards, sketches, experiments with materials, written analysis f artwrk, brainstrming, develpment f cncepts and studi wrk as well as finished drawings and paintings. Yu can put anything yu want in yur IWB as lng as it supprts the develpment f yur artistic cncepts and skills. By March f yur senir year yu shuld least three thick IWBs cmpleted t supprt yur final exhibit and dcument yur grwth as a student artist.!%2cde99%99.%&" Yu will be very invlved in assessing yur wn wrk every mnth, referring t the IB assessment criteria in detail. (See pg 11) Yu will als receive cmments frm me which will be useful in shwing bth yur strng pints and reminding yu f areas where imprvements are needed. If I prpse a questin r challenge t yu via a cmment in yur IWB yu must answer r accept by the next IWB turn in date. There will be regular pprtunities fr yu t discuss and explain yur wrk and ideas in grup critiques ne n ne meetings and discussins.

6 F6G%""1&?9")/"%$ E/"9"#$1+ During the schl day yu are invited t use the IB Art Studi facilities and equipment at any time yu have class r free blcks. Hwever much f yur wrk will be dne utside f schl, during evenings, weekends and hlidays. Fr this reasn, yu must cllect a wide range f art materials t help develp and practice yur skills beynd the schl day. Materials, equipment and bks are available fr check ut frm the Art Studi. The IB Studi will be pen every day until 3:30 fr yur use. I wuld suggest getting a vintage suitcase frm yur lcal thrift stre t be used as yur prtable studi. This will allw yu t easily wrk at schl, hme, in the park, n vacatin, etc! H99%&"1)2.)"%/1)296! Hardbund Spiral 9 x12 all media drawing bk! 2B, 4B and 6B sketching pencils! White vinyl eraser! Glue Stick! Black pens! Clr pencils! Water clrs! Acrylic paints If yu expect t d lts f painting at hme, invest in larger tubes f paint and that can be bught individually. Try t get as many f these items as yu can and add t yur supply at art materials when yu are able t. The ESSENTIAL items n this list are urgent purchases thugh- GET THEM BY AUGUST!!!!!%""1&?#IJ+#/9"#$1+(nt essential but very useful) It wuld be t yur advantage t create a mini-studi at hme. This will make yur at hme wrk much easier, as yur materials will be ut and ready t g when inspiratins strikes and wet wrk can be left t dry ver night. In additin t yur art materials, it shuld include: 1. A large flat table surface and cmfy chair. 2. A gd surce f natural light and r a desk lamp. Over head lights tend t cast annying shadws nt yur wrk at night. Yu can even buy daylight bulbs fr yur desk lamp. 3. A mirrr if yu are interested in prducing self prtraits r a full length mirrr wuld be ideal fr figure drawing.

7 These are wrking jurnals f yur life as an artist ver the next 18 mnths!! :4)"19"4%1$%)291K%L Yu will need a 9 x12 all media sketchbk with thick paper (70-90 lbs) s yu can wrk n bth sides f the pages. Make sure yu get a sketchbk that is spiral AND hardbund, NOT gummed (these fall apart). (+M$+09")/"LPut yur name and address (r schl address) inside the frnt cver. A phne number r address is a MUST- yu d nt want t lse it! Als put the date f sketchbk birth n it. Leave the first page blank, it will be used later as a table f cntents. Number each and every page, frnt and back in the bttm utside crner. G-HE7M+/,1&?4)*1"9 Wrk in yur IWB everyday- get int the habit starting tday! Several gd IWB pages spread thrughut the week are always better than hurs f rushed wrk late at night. Date each page in yur IWB as yu wrk. The date shuld be written in the tp left crner. This will help dcument yur grwth thrughut the prgram. Title each page in yur IWB as yu wrk. The title shuld be written by the date. This will allw yu, me and yur examiners easy reference. When yu write in yur IWB always use a black pen and write clearly. Yu will need t select pages that will be pht cpied and sent t the IB art examiners. Make yur IWB a pleasure t lk at and read! D nt use clred pens t write unless it is really apprpriate t yur wrk (i.e. yur main theme is strng clrs ). Never ever cut r tear ut pages frm yur IWB! Dn t stick pages tgether even if yu think yu have made a mistake r a terrible drawing. The IWB has t shw yur prgress s the examiners can see hw much yu have imprved. Remember yu numbered yur pages? This makes it easy t refer back t an idea, thught r technique. Fr example n p.60 yu might sketch an idea and then remember that yu did smething similar befre. Yu culd then write The drawing n page 60 culd becme a blck print, see my ntes n printing page 46. Als remember t crssreference n the ther related pages t. When drawing smething frm bservatin write dwn where yu are and why yu have chsen t draw it. Make ntes n the time f day, weather, lights, sunds etc. Engage yur senses! A phtgraph in additin t yur drawing culd be very helpful if yu chse t develp a painting r sculpture frm yur drawing. Always ask the authrities if yu can use yur camera thugh. If yu have used a bk r the Internet t find an image always write dwn the full reference in yur IWB- yu may need t find the infrmatin again at a later date. The same idea ges fr magazine articles, televisin prgrams and films. Surces f infrmatin must always be acknwledged- even pstcards frm exhibitins that yu stick in yur IWB. Nt t mentin these artists, authrs, etc DESERVE acknwledgement!! MLA Cite the artists name, title, usually underlined, and the institutin r individual wh wns the wrk, and the city. If yu want t indicate the wrks date, include it after the title. Fr a wrk f art yu viewed nline, end yur citatin with yur date f access and the URL. Wrk f art: Duveneck, Frank. Whistling By Cincinnati Art Museum, Cincinnati. Pei, I.M. Rck and Rll Hall f Fame. Cleveland. Wrk f art fund in an image database: Btticelli, Sandr. Birth f Venus. c Galleria degli Uffizi, Flrence. ARTstr. 3 Jan. 2006, < artsr.rg>. Wrk f art fund in a bk: Duveneck, Frank. Whistling By Unsuspected Genius : the Art and Life f FrankDuveneck. By Rbert Neuhaus. San Francisc : Bedfrd Press, Persnal Phtgraph: Luvre Museum, Paris. Persnal phtgraph by authr. 7 Mar Slide in the library: Ggh, Vincent van. The Starry Night Museum f Mdern Art, New Yrk. Visual Resurces Center. Design, Architecture, Art, and Planning Library, University fcincinnati, Cincinnati. Map r Chart: Frmat fr a bibligraphy Ohi. Map. Chicag: Rand, 2004.

8 (HNOP:4)"94+#2$0M/1"%)*+#"1&.J0:8L There shuld be written cmments n every page f yur IWB. Yu shuld make cmments n yur feelings, hw yur wrk is prgressing and what successes yu have had. Yu shuld als write abut any research r technical prblems yu have encuntered and what yu learned frm them. Yu shuld make cmments n yur attitudes abut life, scial, cultural and plitical cncerns. Think abut the wrld utside f schl and IB! The IWB is yurs, s it shuld reflect yur beliefs. These cmments can be related t art yu are researching r artwrk yu are prducing. Yu shuld write abut any cnnectins yu might see between art and yur ther IB subjects. Fr example, the study f bld cells in Bilgy might inspire sme prints f tiny natural bjects, the cntur lines r grids in maps frm Gegraphy might be cmbined int landscape drawings, the descriptin f characters in a nvel might inspire a series f imaginative prtraits, etc. Make ntes n which materials yu have used in yur studi wrk experiments. The type f paper, medium, what types f glue gave the best results, which clay yu used and hw wet it was, which glaze and what temperature it was fired t, etc. This will save yu a lt f time when yu need certain results later! (+M%>%/Q When yu are writing in yur IWB, dn t frget that the IWB is an academic curse and that yur written ntes shuld reflect that. Describe yur thughts and feelings, successes and failures, cmment n yur wn prgress and yur ideas abut life and the wrld but DO NOT use slang r infrmal English (unless is apprpriate fr a certain prject). Remember that this is yur IWB, but it is nt being written fr yur friends an IB examiner will be reading it!!! Always use the crrect art vcabulary in yur IWB. Lk at fr a great example f an art dictinary nline. There are pages explaining art vcabulary later in this bklet.!"#$1+:+/, This is all the larger scale finished artwrk that yu will prduce utside f yur IWB but must be directly related t yur research, thughts, feelings and experiments in yur IWB. Yu will chse ne theme fr all yur studi wrks. (see theme handut) Each mnth yu will apprach yur theme thrugh a filter. (see filter handut) Experiment with cncepts and materials in yur IWB then shw that yu have refined these skills in yur studi wrk. Yu will prduce this wrk aligned with the IB Art Descriptrs. See belw. -.!/0&1+%2,3+&!456789:! Understanding exhibits excellent understanding f the cnceptual and technical underpinnings f artistic expressin Relevance cnsistently demnstrates the prductin f persnally relevant artwrks that shw excellent explratin f ideas reflecting cultural and histrical awareness and artistic qualities Develpment shws thughtful develpment f ideas and strategies fr expressin Sensitivity t materials displays sensitivity t materials and their use. The cherent bdy f wrk has been reviewed, mdified and refined as it has prgressed, resulting in an accmplished reslutin f cncepts and medium Technical displays excellent technical cmpetence Cnfidence demnstrates cnfidence and inventiveness Independence shws an infrmed, reflective judgment that challenges and extends persnal bundaries.!!!

9 ;.!<0&1+%2,3+&!456789:! Understanding/Tech exhibits very gd understanding f the cnceptual and technical underpinnings f artistic expressin Relevance cnsistently demnstrates the prductin f persnally relevant artwrks that shw very gd explratin f ideas reflecting cultural and histrical awareness and artistic qualities Develpment shws thughtful develpment f ideas and strategies fr expressin Sensitivity t materials displays sensitivity t materials and their use. The cllectin f wrk has been reviewed, mdified and refined as it has prgressed, resulting in an infrmed reslutin f cncepts and medium Technical displays very gd technical cmpetence Cnfidence demnstrates cnfidence and inventiveness Independence shws self-directin and independent judgment

10 Integrating Studi and Research Wrk Befre yu begin yur studi wrk yu shuld thrughly prepare yur ideas in yur Investigatin Wrk Bk. These ideas will help: 1. Design the pages in yur bk t give them visual impact. Each page shuld be a clear recrd f yur thughts in prgress. Wrk quickly but thrughly. It shuld nt lk like a scrapbk r a finished piece f wrk. Dn t waste time n elabrate decratin r layut. Headings can be in clr but avid flurescent markers. Writing shuld be in blue r black pen and in nte frm (nt an essay). All pages shuld be dated and numbered. 2. Chse a Theme. What will yur wrk be abut? Use a web wrd diagram t brainstrm. Think widely t start, then narrw dwn. Think f nt just hw t shw a scene, but als what yu want t say abut it. Hw can yu persnalize yur theme? Hw des it relate t yur life? What scial r cultural aspects are yu cnsidering? Think f alternatives t yur riginal idea, and write ntes n why ne wrks better than anther. 3. Discuss yur ideas and experiments with yur peers and the teacher after yu have made yur initial respnse (similar t a rugh draft in writing). 4. D sme artist research. Hw have ther artists tackled this prblem? Chse relevant cntemprary r histrical artwrks f any medium. Hw will these influence yur wrk? Analyze the wrk cmmenting n the frmal elements and principles f design. Interpret and evaluate the wrk saying what yu think it s abut and why yu think the artist made it. Cnsider when and where the artist prduced the wrk and the scial, plitical r cultural circumstances, which may have influenced it. Use quality surces. If yu can t find the name f the artist with date and medium, lk elsewhere ( ggle is nt an artist name r an acceptable website t qute as final surce!) 5. Chse an apprach t yur art: perhaps ne yu want t explre in mre depth r ne that is new t yu: realistic, impressinist, abstract, expressinist, cubist, pp art, graphic, etc. 6. Find r make subject related images. Primary surces are always the best (yur wn bservatinal sketches r phtgraphs). If yu use the wrk f thers yu must state the surce. Avid cpying and using cliché (ver used) images. Make yur wrk yur wn! 7. D sme media tests. Dn t limit yurself: as well as traditinal drawing and painting, als think abut using phtgraphy, cmputer graphics, printmaking, textiles, fashin, mixed media, sculpture, etc. What are the limitatins and ptential f each? Which medium will be mst effective in expressing yur ideas? 8. Explre different techniques and tls. Give reasns fr yur chices. 9. Experiment with surface, scale, frmat, cmpsitin (thumbnail sketches), viewpint, tnal and clr schemes. Write abut why yu chse these. 10. What will yu d next? Des this artwrk lead smewhere? Culd it be part f a series? Hw can yur ideas be develped further?

11 R6:/1"1&?)*+#")/" STUV7 Write an essay n the artist s life and histry (date f birth, favrite ftball team, etc. ) Anyne culd d this. A few bigraphical details are useful but nt essential. Phtgraph lads f artwrks and stick them int yur IWB with n written analysis r ther infrmatin. and frget t write the titles dwn! Treat yur IWB like an exercise bk Dn t prduce blcks f writing, underlined, with n visual cnsideratin r interest. Write withut checking the facts Make sure that yu are accurate abut dates, media used and especially the gender f yur chsen artist. Plagiarize (include qutatins frm ther writers as if they are yur wn wrds) This is always bvius t the reader. :/1"1&?"%/.9)&$"%34&1W#%9Q")9,9J+#M122*%)9,%$"+3+.I2%"%6 STQ Make ntes n why yu re lking at this artist What yu admire, what yu dn t hw this artist s wrk relates t yur studi wrk. Make yur research persnal t yur particular prject. Chse ne r tw gd artwrks anntate them and make cpies f them t practice brush techniques, clr mixing r smething similar. Think abut yur research in a visual way Use f clr, headings and images t cmplement yur ntes. Cmpse the page s it lks interesting and varied. Use the crrect vcabulary i.e. tne is mre accurate then light and shadw. Remember that at the IB level, yu will be assessed n the quality f yur written wrk! Dn t be afraid t use adjectives, especially when evaluating an artwrk (giving yur pinin). Include ne r tw relevant qutatins Such as the artist writing abut his r her ideas OR a well-knwn critic and always use qutatins marks. Include the name f the persn wh yu are quting and write dwn where yu fund it. T anntate- T make shrt ntes explaining r clarifying a pint r drawing the viewer s attentin t smething f relevance (e.g. the wide range f tnes here adds drama and interest) T analyze- T lk clsely and in detail at an artwrk, nting as many pints as yu can abut the piece. These pints might cver thinks like: Cmpsitin (rganizatin f shapes within the wrk) Use f clr/tne Medium used (il paint, phtgraphy, etc) Md r emtin created Cntent/narrative (what s happening in this artwrk? Is there a stry?) Issues cvered (i.e. plitical, scial, religius issues) T cmpare and cntrast- T analyze tw r mre artwrks at nce, fcusing n the similarities and differences between them. This is ften easier than analyzing a single artwrk. T evaluate- T make persnal judgment abut the artwrk and t give yur reasn i.e. D yu like the artwrk? Why? What is gd abut it? What is nt s gd? The reasn fr this will, f curse, cme frm yur analysis.

12 E&)2JK1&?E/"M+/,6A Step-by-Step Guide! Fllw these steps; answer all the questins and yu can t g wrng!! Remember that yur wn drawing/cpies f the artwrk shuld accmpany ALL written analysis. 56X1/9"-%)3"1+& Write dwn yur first respnse t the artwrk. D yu like it? Hw des it make yu feel? Des it remind yu f anything yu have seen befre? F6S%93/1I"1+& List what yu can see in this artwrk. Figures, clrs, shapes, bjects, backgrund, etc. Imagine yu are describing it t a blind persn. D this in as much detail as pssible and use art terms. R6X+/.)2E&)2J919 Write dwn yur bservatins in mre detail, lking at these aspects f the artwrk: Clrs Which type f palette has the artist used: is it bright r dull, strng r weak? Are the clrs mstly cmplementary, primary r secndary? Which clrs are used mst in this artwrk? Which clrs are used least in this artwrk? Are the clrs used different ways in different parts f the artwrk? Have the clrs been applies flat, straight frm the tube r have different clrs been mixed? Tnes Is there a use f light/shadw in this artwrk? Where is the light cming frm? Where are the shadws? Are the frms in the artwrk realistically mdeled (des it lk 3-D)? Is there a wide range f tnal cntrast (very light highlights and very dark shadws) r is there tnal range quite narrw (i.e. mstly similar tnes)? Use f media What medium has been used (il paint, acrylic, charcal, clay, etc)? Hw has the artist used the medium i.e. is the paint applied thick r thin? Hw can yu tell? Can yu see brushstrkes, mark making r texture? Describe the shape and directin f the brushstrkes / marks. What size f brush/ pencil was used? Was it painted, drawn r sculpted quickly, r slwly and painstakingly? What makes yu think this? Cmpsitin (rganizatin f shapes) What types f shapes are used in this artwrk (i.e. runded, curved, straight-edged r gemetric shapes)? Is there a mixture f different types f shapes r are all the shapes similar? Are sme parts f the cmpsitin full f shapes and sme parts empty, r are the shapes spread evenly acrss the artwrk? Are sme shapes repeated r eched in ther parts f the artwrk? Des the whle cmpsitin lk full f energy and mvement, r des it lk still and peaceful? Hw did the artist create this mvement/stillness? What is the center f interest in the cmpsitin? Hw des the artist draw yur attentin t it? B60&"%/I/%")"1+& Nw write dwn yur persnal thughts abut the wrk: there are n right r wrng answers here! What d yu think the artist is trying t say in this artwrk? What des it mean? What is the main theme r idea behind this piece? If yu were inside this artwrk, what wuld yu be feeling/ thinking? Des the artwrk have a narrative (tell a stry)? Is it a religius artwrk? Is it abstract? Is it realistic? Why? Hw wuld yu explain this artwrk t smene else? Y6H>)2#)"1+& Based upn what yu have bserved already, give yur pinin f the artwrk. Yu MUST give reasn. Franz Marc has created an effective expressive painting, because the ht clrs and lively brush marks he has used add t the verall feeling f energy and excitement his is trying t create. The verall md f this drawing wuld be imprved if Kathe Kllwitz had used strng, dramatic shadws, instead f pale tnes. Dark tnes wuld develp the feeling f fear and lneliness in this image.

13 :/1"1&?)*+#"I)1&"1&?D)?2+99)/J+C#9%C#2"%/.96 Gestural- A lse, energetic applicatin f paint which relies n the artist s mvement t make expressive marks n the canvas. This is a suppsed t be a very persnal and unique way f wrking- almst like handwriting. Lk at artist like Cy Twmbly r Antni Tapies fr examples. Glaze- (r wash)- a semi-transparent layer f thinned paint. Many traditinal painters like Michelangel made use f this technique t create the subtle tnes f skin fr fabric. Fr a mdern use f the glazing techniques, lk at the abstract, gestural paintings f Helen Frankenthaler. Impast- a thick layer f paint, ften applied in several layers with a brush r palette knife. Lk at the dense, textual brushwrk f paintings by artist like Gillian Ayres r Frank Auerbach. Plein-aire- a painting which has been made utside, ften quite quickly, t cpe with changing weather, light effects etc. The Impressinist were the first artists t paint utdrs, rather than in their studis. Befre this, hwever, many artists had sketched utdrs in preparatin fr painting, the il sketched f Cnstable are an excellent example. Pintillist- the use f many tiny dts f pure clr which seems t blend when seen at a distance. Gerges Seurat s wrk is the mst famus example f this almst- scientific technique. Lk at the wrk f Chuck Clse and cmpare and cntrast them t Seurat. Scumbling- a thin glaze f paint dragged ver a different clr, s that bth layers f paint can be seen, giving a luminus, glwering effect. Abstract painters like Mark Rthk made use f this technique. Sfumat- literally means smked in Italian; the use f heavy, dark tnes t suggest mystery and atmsphere. Rembrandt s late self-prtraits are a superb example f this technique in practice. Sketch- A quick painting, ften made in preparatin f the final versin. Brushwrk- the way in which the artist used the brush t apply paint. Brushwrk can be lse, energetic, cntrlled, tight, bsessive, repetitive, randm etc. Palette- 1. A tray used fr mixing clrs when painting. 2. The chice f in a painting i.e. van Ggh uses a pure and vivid palette in his Arles landscapes. Tne r tnal- 1. The elements f lights and shadw in an artwrk i.e. Kathe Kllwitz s etchings use strng, dense tnes t create an intense, srrwful md. 2. The range f tnes within an artwrk ie Rembrandt s later prtraits use a very dark tnal range. Supprt- The surface that a painting r drawing is prduced n. Supprt can be paper, card, wd, canvas, metal etc i.e. Antni Tapies s paintings smetimes lk as if they have been attacked. The supprt is ften vilently trn, ripped and stabbed int.

14 :/1"1&?)*+#"Z+2+/DE?2+99)/J+C#9%C#2"%/.96 Primary clrs: red, yellw and blue. Primary clrs can be used t mix a wide range f clr. These are cl and warm primary clrs. Secndary clrs: range, green and purple. Secndary clrs are mixed by cmbining tw primary clrs. Cmplementary clrs: pairs f ppsite clrs n the clr wheel: green-red, blue-range, and yellw-purple. Cmplementary clrs are as cntrasting as pssible (i.e. there is n yellw in the clr purple). Painters like Andre Derain and van Ggh ften made use f the cntrast f cmplementary clrs in their paintings. Tertiary clrs: A range f natural r neutral clrs. Tertiary clrs are created by mixing tw cmplementary clrs tgether. Tertiary clrs are the clrs f nature: skin, plants, wd, etc. Tnes: are created by adding black t any clr (i.e. marn is a tne f red). Tints: are created by adding white t any clr (i.e. pink is a tint f red). Palette: the chice f clrs an artist makes. Limited palette: the selectin f nly a few clrs within an artwrk; i.e. In this drawing, Matisse has used a limited palette f ultramarine blues and purples t create a mdy, subdued atmsphere. Brad palette: the use f a wide range f different clrs within an artwrk; i.e. Kandinsky s paintings are instantly recgnizable fr their use f gemetric shapes, but als fr the brad palette f clrs he emplys. Tnal range: the range f tnes in an artwrk frm light t dark. A wide tnal range wuld include all tnes frm white t black. A narrw tnal range wuld include nly pale tnes, nly mid tnes r nly dark tnes; i.e. Kathe Kllwitz s etching make a pwerful use f a narrw tnal range t create ppressive, dark images. Opacity: the density r thickness f a clr used; if the clr is strng and nthing can be seen beneath it, the clr is said t be paque. Acrylic and il are ften paque. Transparency: thin, transparent clr, with perhaps ther clrs, shapes and lines visible beneath it. Waterclr painting typically uses transparent clr. " Useful adjectives yu might use when describing COLOR: Saturated, bright, pure, vivid, strng, harsh, dramatic, vibrant, brilliant, intense, pwerful, muted, subtle, gentle, dull, sft, watery, subdues, delicate, glmy, tertiary, faded, limited "#$%!$#!&%()!

15 :/1"1&?)*+#"3#2"#/)2>)2#%9)"")34%$"+"4%)/"9 Useful terms t cnsider: When the arts f the past are seen in museums, they are effectively detached frm the life f the culture frm where they riginated. If yu nly see these art bjects in bks r phtgraphs, it is very difficult t see them as a real part f a living culture. T begin t understand the meanings f varius arts had fr the scieties they came frm, cnsider the fllwing values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n Example: Medieval cathedrals integrated mst f the values abve. The cathedrals were the fcus f the religius life f the cmmunity even as there was being built by hundreds f rdinary peple and skilled craftsmen ver lng perids f time. The twers symblically rse high abve the twn and within the walls, the sculpture and stained glass windws stirred the emtinal f the faithful. Prcessins with banners, chants and the mass, with its music, petry and drama, integrated the arts and values f the culture. All f this gave meaning and cntinuity t the therwise impverished lives f the cmmn peple.

16 B6E99%99.%&" 3%"345)&67#6"*#563)+367#&"*4/)6"*+"89) EF!*GGHGGIH"J!KLEJHLE*! UNDERSTANDING The examiner is lking fr an excellent understanding f the cnceptual and technical underpinnings f artistic expressin. Questins t ask yurself: Did I shw that I understand the ideas and techniques that frm the basis f artistic expressin? RELEVANCE The examiner is lking fr studi wrk that cnsistently demnstrates the prductin f persnally relevant artwrk that shws excellent explratin f ideas reflecting culture and histrical awareness and artistic qualities. DEVELOPMENT The examiner is lking fr wrk that shws thughtful develpment f ideas and strategies fr expressin. SENSITIVITY TO MATERIAL The examiner is lking fr wrk that displays sensitivity t materials and their use. The cherent bdy f wrk that has been reviewed, mdified and refined as it has prgressed, resulting in an accmplished reslutin f cncepts and medium. TECHNICAL The examiner is lking fr studi wrk that shws excellent technical cmpetence. CONFIDENCE The examiner is lking fr studi wrk that demnstrates cnfidence and inventiveness. INDEPENDENCE The examiner is lking fr wrk that shws an infrmed, reflective judgment that challenges and extends persnal bundaries. Did I prduce persnally relevant artwrks that shw I am aware f cultural and histrical cntext and artistic qualities? Did I develp my ideas and strategies thughtfully? Was I sensitive t materials, reviewing, mdifying and refining my wrk as it prgresses? Did I practice and imprve my technical skills while using different media? Did I demnstrate cnfidence, independence and inventiveness? Did I take risks?!

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18 Studi Wrk Analysis: Yu are t write a descriptin f the cmpleted piece f Studi Wrk. Fr each cmpleted piece f Studi wrk yu are t write an analysis. Each piece f wrk MUST have: Phtgraph f cmplete Studi Wrk Title, Media (what materials yu used t create the piece),size (in Centimeters.)Mnth f Cmpletin (Mnth and year) Descriptin: (This will be a paragraph explaining yur wrk. Yu will include yur intentins, research, artist inspiratin, histrical/cultural cntext, media and prcesses etc.) Inspired by Rbert Rauschenberg s newspaper-and-transfer technique, Audacity is the first f the Geisha series. It is meant t prtray the audacity f the Japanese culture in cntrast t Western and even Egyptian culture. The Japanese are nt afraid t depict nudity. Using a transfer technique, a steretypical image f Japan the Japanese ht spring baths, r nsen was placed nt the newspaper and then painted ver with acrylic paint. The same transfer technique was used t place the Japanese female. Hwever, due t restrictins frm my wn cultures, I culd nt prtray a nude bdy. In a sense, this painting is a cmbinatin f my wn cultures and my interest in ne (Japan) that is a cmplete cntrast t them. The pattern n the kimn begins the recurring pattern in the Geisha series. Emphasis was als placed n particular subject areas using the cntrasting technique f clr versus mntne and transparency versus pacity (seen in the think applicatin f paque paint in sme parts and thin transparent glazes in ther parts). Analysis: What were the artistic and/r cultural influences fr this prject? Wh/what influenced either the cmpsitin and/r the style. Cultural influences fr this piece were Japanese culture and t a lesser extend Egyptian and American culture (in terms f the perceptins f nudity in these cultures, in cntrast t the perceptin and acceptance f nudity in Japan). I was influenced by the technique f Rauschenberg, hwever visually I have nt been influenced by specific artists. I shuld have researched artists, either in terms f paint applicatin r cmpsitin. What materials/media/prcesses did yu use and r experiment with, and hw? I experimented with Rauschenberg s transfer techniques, t transfer my image nt the newspaper, and traditinal painting appraches, experimenting with paque layers, vs. transparent glazes. Hw d yu think yu have respnded t advice and criticism during this prject (and during the term), bth frm fellw students and the teacher. Did yu actively seek advice? If s, was it useful? When making this piece I trialed the transfer prcess and did a few quick trials n the arrangement f images - the figure in relatin t the backgrund. I asked my teacher fr advice in the painting f the face as I had difficulty with the realism required in this. The size f the image and my weakness in painting realistically at this stage made this part difficult. I think I shuld have asked fr advice earlier, r created and analyzed thumbnail sketches, as I made sme decisins n placement f the figure that I wuld change - and after seeking advice my peers agreed with me. In future I will ask fr advice earlier s that I can incrprate this int my wrk, and I need t d mre trials and cmpsitin planning befre I start the final wrk. Clearly explain the weaknesses/areas fr imprvement - I think that the face still needs wrk, this des nt lk Japanese enugh - which I think is really due t the fact that I had t use an image frm the internet and it was a Chinese wman rather than Japanese. The nse des nt lk accurate, it des nt lk like a typical Japanese nse and I need t be an bviusly Japanese figure in rder t clearly cmmunicate my idea. I needed t d mre trials f painting faces befre I tried it n the final piece. I have tried t rewrk this and imprve it but it is still nt as detailed and accurate as it culd be. Other things that have cntributed t weaknesses in this piece are - relying n Ggle images, nt finding an image with apprpriate kimn patterns (r practicing drawing my wn), and the scale f the figure in relatin t the green fliage at the back f the nsen. The kimn needs t cme in frnt f this - this will be edited and I will als rewrk the face again t try t make it mre realistic and bviusly Japanese. Clearly explain the strengths f the piece I think that fr my first acrylic painting it is realistic and this is a strength. The research and ideas behind the piece are strng and I believe that my wrk cmmunicates this clearly. If I rewrked areas I weakness I have identified I believe this will be a successful piece f studi wrk. What culd yu take thrugh t the next prject and develp further? This culd be anything, frm a technique t an idea, nt necessarily just the theme. I wuld like t cntinue with the image f a Geisha int a series as I find this a visually interesting image that has a lt f ptential. I have becme interested in the Geisha and the patterns n the kimn. I wish t prduce a realistic painting and culd d this with an image f a Geisha. Including text in my wrk culd als be smething I cntinue in future pieces - but I have nt brainstrmed this fully.

19 CJ/4->CKB>CDJ)3)LFG) 3))!"#$%&#!,:/;#$%&#.&/)#/0%1#)06)#$%&#36"# +"<4/)+86)4#6#6"84#%=#+*46/#6"*#3%"345)/#2%)0#<+/&677$#6"*#+"#1+)+"8>##?%&#.&/)#67/%#/0%1#)06)#$%&#36"#&"*4/)6"*#6"*#.6-4#3%""43)+%"/#1+)0#)04#1%-#%=#%)04#6)+/)/>) EF!*GGHGGIH"J!KLEJHLE*! Culture/Cntext Research The teacher is lking fr IWBs that analyzes and cmpares art frm different cultures and times, and cnsiders it fr its functin and significance. Technical/Prcess Research The teacher is lking fr IWBs that develp a range f skills, techniques and prcesses when making and analyzing images and artifacts. Investigatin Research The teacher is lking fr IWBs that demnstrate cherent, fcused and individual investigative strategies int visual qualities, ideas and their cntext, a range f different appraches twards their study and infrmed cnnectins between them. Depth and Breadth Research The teacher is lking fr wrkbks that shw a thrugh, wide-ranging and experimental investigatin f visual qualities and expressive frms. Vcabulary The teacher is lking fr IWBs that demnstrate effective and accurate use f the specialist vcabulary f the visual arts. Acknwledgement f Surces The teacher is lking fr IWBs that use a range f surces and acknwledges them prperly. Integratin Fr this criterin, the teacher is lking fr a clse relatinship between the IWBs and the studi wrk, in which reflectin and research supprt experimentatin and successful artistic prductin. # Questins t ask yurself: Have I researched, analyzes and cmpared the scial / histrical backgrund f art frm mre than ne culture and have shwn that I understand it fr its functin, meaning and significance? Have I researched apprpriate examples f artwrks which are related t my artistic ideas? Have I been able t analyze and discuss the visual qualities f these artwrks? Have I demnstrated that I can investigate a wide range f different ideas and their cntexts in depth while experimenting with visual qualities and expressive frms? Have I made cnnectins between visual qualities, ideas and cntext? Have I shwn a thrugh visual explratin f ideas thrugh sketching, drawing, experimenting with different media and practicing different techniques? Have I have recrded my ideas in a wide range f ways? (r have I just prduced pencil sketches?) Have I gne beynd what I learned in the classrm?? Have I demnstrated in my writing, experimentatin and executin that I understand the elements and principles f art alng with ther specialist vcabulary f visual arts? Have I used a wide range f resurces such as bks, peridicals, museums etc. and cited them apprpriately using the MLA frmat? Des my IWB shw the lng hand f my studi wrk?

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his handbk has been adapted frm The Regent s Schl, Nrthern Hemisphere fr Des Mines Public Schls Central Academy by Dara Green, 2009.!!