Process Portfolio
(External Assessment)
Embedded Files
Process Portfolio:
"Students submit carefully selected materials which evidence their experimentation,
exploration, manipulation and refinement of a variety of visual arts activities during the
course.." - The IB Visual Arts Guide
REQUIREMENTS
SL
9–18 screens in Google Slides
In at least 2 different art-making forms.
Totals 34 points in the assessment
HL
13–25 screens in Google Slides
In at least 3 different art-making forms.
Totals 34 points in the assessment
TASK DETAILS
Students at both SL and HL should:
• explore and work with a variety of techniques, technologies, effects and processes in order to extend their skills base, making
independent decisions about the choices of media, form and purpose that are appropriate to their intentions
• reflect on their own processes as well as learning about the processes of experimenting, exploring, manipulating and refining the
use of media in a variety of ways
• develop a body of work that evidences investigation, development of ideas and artworks and demonstrates a synthesis of ideas
and media.
The VISUAL JOURNAL
You are required to maintain a Visual Journal during your time in IB Visual Art. This should come with you EVERY DAY to class and can prove to be a great resource to capture ideas, inspirations and connections in other IB classes, specifically TOK.
The journal is a physical representation of your brain and everything that has gone through it regarding your development as an artist. This is a place to practice using various media, document your challenges and your resolutions to those challenges.
The IB wants to see that you can make a mistake AND find a solution!
A lot of what you write for your final art assessments will likely come from your visual journal. It's considered a crucial part of the course. You'll choose parts of your journal to refine and include in your final slides for submission. So, while your journal is personal to you, the work you do in it should demonstrate your artistic development over the year (or 2).
Think of this as a digital record of your development as an artist.
You want to demonstrate:
EXPERIMENTATION OF MEDIA & TECHNIQUES
Select what BEST shows your intentions
INFORMED CRITICAL INVESTIGATION
Evidence of influence/impact on your work
FORMATION OF IDEAS & INTENTIONS
Show connection between techniques, media & ideas
REVIEW & REFINE
Skills, processes, techniques & reflections
These are things the IB recommends capturing in the journal:
• the development of art-making skills and techniques
• experiments with media and technologies
• the investigation of their own art development in the
context of related art genres
• personal reflections
• their responses to first-hand observations
• creative ideas for exploration and development
• their evaluations of art practices and art-making experiences
• their responses to diverse stimuli and to artists and their works, especially in relation to their own art
• detailed evaluations and critical analysis
• records of valued feedback received
• challenges they have faced and their achievements
- IB Visual Arts Guide
The IB is looking for VISUAL EVIDENCE of your learning, which includes:
Inspiration
Research
Brainstorming
Planning
Sketching
Modeling
Practicing
Testing media
Problem-solving media
Workspace
Finish/Color sampling
Assembly
Failed works
Resolved works *
Questions to Consider when working in the Process Portfolio:
Purposes of Art
What is the purpose of art?
Where is art created and how does that influence the finished product?
What is the FUNCTION of this artwork? Is there one? (Decoration is a function)
Is there a story to be told? Why is that important to tell?
Is it persuasive? Why is it necessary?
Ideas & Intentions
Why are you doing this work?
What do you want to share with your audience?
What lasting impact do you want the work to have?
What visual and formal qualities did you use to effectively communicate your ideas/intentions?
Why is the form & medium suited to your intention?
Reflecting on Your Work & Development as an Artist
What are you trying to achieve in your work?
How well did you achieve it?
What strengths do you see in your work?
What problems have you faced?
What are your limitations as an artist?
How have you attempted to overcome perceived weaknesses?
What has been your greatest area of growth as an artist?
Presentation
Are there spelling or grammar mistakes?
Is it all in my own words?
Screens cannot include Gifs, QR codes, media, etc - each screen must be static
Is my writing coherent?
Is my text easy to read?
Is the page balanced with text and visuals?
Will the reader be engaged?
When creating work, the IB is looking for documentation in the Process Portfolio that shows the use and experimentation of a variety of media.
SL students must submit work in at least 2 art-making forms, each from separate columns of the table below.
HL students must submit work in at least 3 art-making forms, selected from a minimum of 2 columns of the art-making forms table below.
2D Forms
Drawing: such as charcoal, pencil, ink, collage
Painting: such as acrylic, oil, watercolour, murals
Printmaking: such as relief, intaglio, planographic, chine collé
Graphics: such as illustration and design, graphic novel, storyboard
Art-Making Forms
3D Forms
• Carved sculpture: such as carved wood, stone, block
• Modelled sculpture: such as wax, polymer clays
• Constructed sculpture: such as assemblage, bricolage, wood, plastic, paper, glass
• Cast sculpture: such as plaster, wax, bronze, paper, plastic, glass
• Ceramics: such as handbuilt forms, thrown vessels, mould-made objects
• Designed objects: such as models, interior design, jewellery
• Site specific/ephemeral: such as land art, installation, performance art
• Textiles: such as fibre, weaving, constructed textiles
Lens-based, Electronic &
Screen-based Forms
• Time-based and sequential art: such as stop-motion, digital animation, video art
• Lens media: such as analogue (wet) photography, digital photography, montage
• Lens-less media: such as photogram/ rayograph, scenography, pinhole photography, cyanotype, salted paper
• Digital/screen based: such as vector graphics, software developed painting, design and illustration
MIND MAP
OBJECTIVE:
Use Visual Journaling techniques to design a mind map that will serve as a conceptual basis for artwork throughout the year.
A Mind Map is….
A diagram that has a branch or root-like structure
Radiating from a central image on the page
Uses lines and colour to show relationships, groupings and connections betweens words, ideas and images.
learner-profile-en.pdf
What ways of thinking from the IB profile define who you are as an artist?
Inquirers
Knowledgeable
Thinkers
Communicators
Principled
Open-minded
Caring
Risk-takers
Balanced
Reflective
_____Hints:_____
* Use any media that you feel will BEST illustrate your intentions. (not acrylic paint - unless you have your own)
** Complete this IN your Visual Journal
*** The more specific you can make the concepts, the less conceptual development you will have to do later when creating the artwork :)
The PROCESS
For each assignment given in class, we break our process down into
3 week increments.
At the end of those 3 weeks, the artwork should be complete and submitted. If it is not complete, you must complete the assignment outside of class before the end of the quarter.
***No work is accepted for grading after the quarter has ended, but it can still be used in the exhibition & process portfolio.***
WEEK 1 - PLANNING, RESEARCH & EXPERIMENTATION and MATERIALS, PROCESSES & IDEAS
ELEMENTS TO BE CONSIDERED:
Statement of Inquiry Question (this is the question that will spark the curiosity of the creation of your artwork)
Research (can include notes about influential artists, experimental techniques, cultural connections to media or concepts, etc.)
Reference Pictures (if you don’t have a printer, you can make a google slide with images that you would include in your visual journal)
Investigation of Ideas: What are the possible solutions?
Color Scheme / Color Swatches
Thumbnail Sketches (minimum of 3)
Background / Texture / Details (note any elements you want o be sure to include or elements that will support your overall concept)
Materials, Techniques & Experimentation
Appropriate Vocabulary & Citations at the point of use
PLANNING
It helps to identify a guiding or inquiry question. Things that make a good INQUIRY question:
generates discussion and encourages varied positions
demands an answer that is not just “Yes” or “No.” It requires explanation and analysis.
moves beyond opinion, into connecting claim, evidence, and reasoning
is phrased in such a way that the question doesn’t predetermine the answer
doesn’t need to define the media unless the media is critical to the question
These initial ideas can be written like a journal or they can be visually indicative of the overall exploration. This is called Visual Notetaking. Click on the link below for a resource to introduce you to the concept.
RESEARCH
I know... I KNOW! Research - Yuck!
But it is really SO important.
Your ideas need & deserve support and this critical to your process and the evidence required to share with the IB.
Research is an opportunity to see how artists have responded to the world around them in a similar way that you would like to. It's a chance to explore materials and techniques outside of your comfort zone. It is a moment to truly observe & reflect on the subject matter or technical capabilities of a working artist.
Research is NOT
A book report on the artist.
A list of objects you see in the artwork.
A Copy/Paste job from random websites
When searching for research, here are some helpful tips:
Art seen or experienced first hand is a PRIMARY Source
Art discovered in a book or the internet is a SECONDARY Source.
All work must be cited AT THE SOURCE in your Process Portfolio.
Use quotes and make sure you know the sources for those quotes.
Use your VOCABULARY when talking about the work - even in your journal!
When sourcing an image, be sure to use reliable websites like art institutions, museums, universities & established contemporary artists’ personal websites!
Choose work that HAS legit resources...
Not a rando you found on Pinterest or Insta!!!
You will not find enough resources to support your analysis of the artist and you’ll end up scrapping it at the end.
Choose work that is meaningful to you and your overarching inquiry.
EXPERIMENTATION
Before you can start on a project, you need to have some idea of where you're going and what it's going to be about. This is where THUMBNAILS come in.
You may choose to do a Quick Draw exercise where you jot down some VERY LOOSE ideas of what you might be interested in exploring. These are usually done in pencil and are much like a doodle.
You may choose to create a storyboard and play around with your layout.
You may want to create or build a prototype to identify what proportions or elements are necessary to include to properly communicate your concept.
MATERIALS
During year 1 of this course, we did some Media Experimentations. These are intended to serves as practice in (or perhaps introduction to) certain media as well as a rehearsal of your exploration of various materials available to you in your art-making process.
Can you achieve a good score just using traditional media?
Of course,
but don't be afraid to think outside of the box.
But this brings us to the word:
SYNERGY
= Coalescence or integration of materials,
processes and ideas in an artwork.
You must determine what physical substances used to make your work will help to support the overall intent and concepts to achieve full realization.
Your visual journal is the place where you will play with different materials and reflect on their success in communicating your ideas.
PROCESSES
How you make the art can be just as informative as the materials you use. You want to document these in your journal. These are the physical & conceptual activities involved with making works of art & design.
Think about artists like Jackson Pollack. While his work feels abstracted and artbitrary, a viewer gains a sense of the motion used to create the lines and shapes as well as the mood the artist was in when generating the work.
This could be interpretted on your part as the application of brush strokes, the directionality of collaged pieces, the installation of a sculpture or the physical actions of the artists.
IDEAS
It all starts with an idea and that idea should come from YOU. The more personal your work is, the more connected you become. These are the concepts used in making art & design that can be evident usually in writing.
So what does a PRE/MPI assigment look like?
In Week #1, I will give you a presentation to guide your initial inquiry. I will give you criteria for the project with the intent to round out your overall portfolio. Throughout the week, I will meet with each of you to discuss your plans and offer guidance along the way.
By Friday, you will submit photos from your visual journal of your Plans, Research, Experimentation with Media & Materials and a clear idea of your intended artwork.
This will be a MINIMUM 4 page spread of all of the sections mentioned above.
Here is my suggestion for how you can structure Week #1:
MONDAY
Listen to Artistic Prompt & Criteria for Success
Make notes in the visual journal about initial ideas, inquiry or guiding question
TUESDAY
Research artists for inspiration
Find articles or other sources to support & guide your interest
WEDNESDAY
Create 3 thumbnails in the journal
Note ideas for layout changes and possible media selections
THURSDAY
Experiment with selected media in the journal
Photograph experimentations and make notes on successes & challenges in the journal
FRIDAY
Note ideas and plan for the Rough Draft
Create a google slide summarizing your work for the week.
Photograph journal pages & submit individual images on Canvas
WEEK 2 - ROUGH DRAFT
It's Week #2 and its time to get to work. You'll need to collect your materials and get to work. Because each project is different and unique to you and your inquiry, there is no prescribed set of steps to get to work. Again, I will be available throughout the week to aide you in your creative process.
It IS IMPORTANT, however, to photograph your process along the way. You need to have photos that demonstrate the steps, processes and techniques you used to create your project.
Here is a suggestion for ways to remember to photograph your process:
Your work space & materials BEFORE beginning
Initial layout
Steps in completion and REVISION along the way
Steps in completion and REVISION along the way
Final ROUGH ARTWORK (ready for critique)!!!
By Friday of Week #2, you will submit
a MINIMUM OF 5 INDIVIDUAL photos
from your process of creating the artwork throughout the week. Remember that the IB expects you to work an additional 6 hours per week outside of the classroom. These should be submitted as jpeg files and should not be places into a google doc & uploaded collectively.
Be ready to share your Rough Draft on the following Monday.
WEEK 3 - FINAL DRAFT
Week #3 means reflection and revision. You SHOULD arrive on Monday in class with your Rough Draft completed.
Ideally, we want to hold a class critique where you will get to see each other's work, ask questions, defend your choices and decide on any revisions you may want to make before completing and submitting the work.
Your final work will be assessed on the following rubric:
Does the work connect with your previous research and artisitic intentions?
Have you demonstrated techincal competence with the media of choice?
Work is completed ON TIME and submitted as a JPEG, framed cleanly and clearly.
In the comments on the submission, you've written a
Title (make it thoughtful!)
Media (including paper type)
Measurements (in cm)
Written exhibition text with a maximum of 500 characters explaining the intentions of the work
FORMATTING the SLIDES
Tips:
Clearly express your intentions
Justify your artistic decisions - they don’t know you or how your brain works
Carefully select materials that demonstrate your:
Experimentation
Exploration
Manipulation
Refinement
No Need to show ALL work - Be Selective - Show the STRONGEST work
Should show Significant Elements in the process
Aim for the Max # of screens:
TOO FEW SCREENS → Poor score
TOO MANY SCREENS → will not be assessed
Can show Resolved and Unresolved work but RESOLVED work needs the following citation:
My Own Work*
Title of Work (in italics)
Medium
Size (in cm)
*NEVER use your own name in the PP anywhere
Submitting Assessment Work
Image quality MATTERS
Uploaded as a PDF (20 MB max)
Screens may include resolved works that are also submitted for part 3: exhibition assessment task, but these must be clearly labelled to identify them as such.
The size and format of screens submitted for assessment is not prescribed.
Submitted materials are assessed on screen and students must ensure that their work is clear and legible when presented in a digital, onscreen format.
Students should not scan multiple pages of work from their journals and submit them as a single screen, for example, as overcrowded or illegible materials may result in examiners being unable to interpret and understand the intentions of the work.
ASSESSMENT
EXHIBITION POINTS
A. Skills, techniques and processes 12 points
B. Critical investigation 6 points
C. Communication of ideas and intentions 6 points
D. Reviewing, refining and reflecting 6 points
E. Presentation and subject-specific language 4 points
SL & HL = 34 points
A. Skills, techniques and processes
Using the required number of art-making forms from the art-making forms table, to what extent does the portfolio demonstrate:
• the student’s sustained experimentation and manipulation of a range of skills, techniques and processes, showing the ability to select and use materials appropriate to their intentions?
*Candidates who do not submit portfolios reflecting the minimum required number of media and forms will not be awarded a mark higher than 3 in this criterion.
0 The portfolio does not reach a standard identified by the descriptors below
1–3 The portfolio demonstrates some experimentation and manipulation of skills, techniques, processes and selection of materials, which may not be appropriate or related to intentions.
4–6 Working across at least the minimum required number of media and forms, the portfolio demonstrates experimentation and manipulation of some skills, techniques, processes and the appropriate selection of materials, which are largely consistent with intentions.
7–9 Working across at least the minimum required number of media and forms, the portfolio demonstrates purposeful experimentation and manipulation of a range of skills, techniques and processes. The selection of materials is largely consistent with intentions.
10-12 Working across at least the required minimum number of media and forms, the portfolio 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.
B. Critical investigation
To what extent does the portfolio demonstrate:
• the student’s critical investigation of artists, artworks and artistic genres, communicating a growing awareness of how this investigation influences and impacts upon their own developing art-making practices and intentions?
0 The portfolio does not reach a standard identified by the descriptors below
1–2 The portfolio shows superficial critical investigation into other artist’s art-making practices with little or limited awareness of the impact on the student’s own developing art practices or intentions
3–4 The portfolio shows adequate critical investigation into other artist’s art-making practices which displays an awareness of the impact on the student’s own developing art practices and/or intentions.
5-6 The portfolio shows in-depth critical investigation into other artist’s art-making practices, clearly communicating a secure and insightful awareness of how this investigation has impacted upon the student’s own developing practices and intentions.
C. Communication of ideas and intentions (in both visual and written forms)
Using the required number of art-making forms from the art-making forms table, to what extent does the portfolio demonstrate:
• the student’s ability to clearly articulate how their initial ideas and intentions have been formed and developed and how they have assimilated technical skills, chosen media and ideas to develop their work further?
0 The portfolio does not reach a standard identified by the descriptors below
1–2 The portfolio presents limited evidence of how initial ideas or intentions have been formed or developed. The portfolio rarely communicates how technical skills, media and/or ideas have contributed to the processes in their art-making.
3–4 The portfolio adequately identifies how initial ideas and intentions have been formed and developed. The portfolio adequately communicates how technical skills, media and ideas have been assimilated.
5-6 The portfolio clearly articulates how initial ideas and intentions have been formed and developed. The portfolio effectively communicates how technical skills, media and ideas have been assimilated to develop the portfolio further.
D. Reviewing, refining and reflecting (in both visual and written forms)
To what extent does the portfolio demonstrate:
• the student’s ability to review and refine selected ideas, skills, processes and techniques, and to reflect on the acquisition of skills and their development as a visual artist?
0 The portfolio does not reach a standard identified by the descriptors below
1–2 The portfolio demonstrates limited evidence of the process of reviewing or refining ideas, skills, processes or techniques. Reflection is mostly descriptive or superficial.
3-4 The portfolio demonstrates a process of reviewing and refining ideas, skills, processes and techniques. The portfolio presents an adequate reflection upon the student’s acquisition of skills as an artist.
5-6 The portfolio demonstrates an effective and consistent process of reviewing and refining ideas, skills, processes and techniques. The portfolio presents a meaningful and assured reflection upon the acquisition of skills and analysis of the student’s development as an artist.
E. Presentation and subject-specific language
To what extent does the portfolio:
• 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?
0 The portfolio does not reach a standard identified by the descriptors below
1 The portfolio conveys evidence with limited clarity or coherence. There is limited visual evidence and the portfolio contains little or no subject-specific language used to document the art-making process.
2 The portfolio conveys some evidence clearly and/or coherently, however this is inconsistent. There is some range of visual evidence and some inconsistent or elementary use of subject-specific language used to document the art-making process.
3 The portfolio conveys evidence clearly, coherently and appropriately. There is a good range of visual evidence and adequate use of appropriate subject-specific language used to document the art-making process.
4 The portfolio conveys evidence clearly, coherently and in an engaging manner. There is an excellent range of visual evidence and consistent use of appropriate subject-specific language used to document the art-making process.
ADDITIONAL RESOURCES
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