The Process Portfolio is
an essential component of your overall IB score accounting for a full
40% of your grade. Composed of 9-18 (SL) or 13-25 (HL) Screens (see
below), students showcase the research and investigation that goes into
each piece of artwork developed for IB. These screens are generally
developed in a presentation software like Power Point or Keynote then exported as images to PDF format before submitting to IB for formal assessment.
From the IB Visual Guide 2016:Tasks
Students at SL and HL should:
Structuring the process portfolio
Students will have pursued their own interests, ideas and strengths, and their submitted work should highlight the key milestones in this journey. The submission may come from scanned pages, photographs or digital files. The process portfolio screens may take a variety of forms, such as sketches, images, digital drawings, photographs or text. While there is no limit to the number of items students may wish to include on each screen, students should be reminded that overcrowded or illegible materials may result in examiners being unable to interpret and understand their intentions.
The selected screens should evidence a sustained inquiry into the techniques the student has used for making art, the way in which they have experimented, explored, manipulated and refined materials, technologies and techniques and how these have been applied to developing work. Students should show where they have made independent decisions about the choices of media, form and purpose that are appropriate to their intentions. The portfolio should communicate their investigation, development of ideas and artworks and evidence a synthesis of ideas and media. This process will have inevitably resulted in both resolved and unresolved artworks and candidates should consider their successes and failures as equally valuable learning experiences.
Examiners are looking to reward evidence of the following:
Students at 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.
Structuring the process portfolio
Students will have pursued their own interests, ideas and strengths, and their submitted work should highlight the key milestones in this journey. The submission may come from scanned pages, photographs or digital files. The process portfolio screens may take a variety of forms, such as sketches, images, digital drawings, photographs or text. While there is no limit to the number of items students may wish to include on each screen, students should be reminded that overcrowded or illegible materials may result in examiners being unable to interpret and understand their intentions.
The selected screens should evidence a sustained inquiry into the techniques the student has used for making art, the way in which they have experimented, explored, manipulated and refined materials, technologies and techniques and how these have been applied to developing work. Students should show where they have made independent decisions about the choices of media, form and purpose that are appropriate to their intentions. The portfolio should communicate their investigation, development of ideas and artworks and evidence a synthesis of ideas and media. This process will have inevitably resulted in both resolved and unresolved artworks and candidates should consider their successes and failures as equally valuable learning experiences.
Examiners are looking to reward evidence of the following:
- sustained experimentation and manipulation of a variety of media and techniques and an ability to select art-making materials and media appropriate to stated intentions
- sustained
working that has been informed by critical investigation of artists,
artworks and artistic genres and evidence of how these have influenced
and impacted own practice
- how initial ideas and intentions have been formed and how connections have been made between skills, chosen media and ideas
- how
ideas, skills, processes and techniques are reviewed and refined along
with reflection on the acquisition of skills and analysis of development
as a visual artist
- how the submitted screens are clearly and coherently presented with competent and consistent use of appropriate subject-specific language.
- Students must ensure that their work makes effective use of appropriate subject-specific language.
Screens
Rather than physical IWB pages, IB is now looking for digital pages of information they call Screens. At its most basic, a screen is a single slide in presentation software like Power Point or Keynote. The size, layout, orientation, and other physical attributes of the screen are not prescribed. You can compile as much information, imagery, sketches, annotated art works, flowcharts, and text on a single screen as is clear and legible to a reviewer.
You are encouraged to rely on imagery to compose your screens as IB asks that straight text be kept to an absolute minimum. Also, since the slides that compose your portfolio will be seen in PDF format, no video, animation, or animated transitions are allowed on your screens.
As an IB student, you will maintain a physical journal in the form of a sketchbook. This sketchbook will be used to take notes, develop sketches, research conceptual and technical ideas related to your studio works, etc. The pages of this sketchbook can then be photographed and uploaded to your computers as a foundation for your screens. HOWEVER, do not simply photograph, import, and call it done. The sketchbook pages are only a starting point for your screens and should not compose the entire screen. Additionally, the pages you photograph and import MUST BE READABLE.
Since these pages account for 40% of your grade it is important that they be treated like individual pieces of artwork. Each page is a collage of information and each collage must have a carefully developed aesthetic design, flow, clarity, and structure. These are not free form sketches thrown together but carefully considered art pieces chronicling your investigative process. Additionally, they must, as a series, reflect your artistic process. Begin the development of your screens with a general outline that, when viewed sequentially, tell the story of your development as an IB student.
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 created in at least three art-making forms, selected from a minimum of two columns of the art-making forms table below. The examples given are for guidance only and are not intended to represent a definitive list.
Rather than physical IWB pages, IB is now looking for digital pages of information they call Screens. At its most basic, a screen is a single slide in presentation software like Power Point or Keynote. The size, layout, orientation, and other physical attributes of the screen are not prescribed. You can compile as much information, imagery, sketches, annotated art works, flowcharts, and text on a single screen as is clear and legible to a reviewer.
You are encouraged to rely on imagery to compose your screens as IB asks that straight text be kept to an absolute minimum. Also, since the slides that compose your portfolio will be seen in PDF format, no video, animation, or animated transitions are allowed on your screens.
As an IB student, you will maintain a physical journal in the form of a sketchbook. This sketchbook will be used to take notes, develop sketches, research conceptual and technical ideas related to your studio works, etc. The pages of this sketchbook can then be photographed and uploaded to your computers as a foundation for your screens. HOWEVER, do not simply photograph, import, and call it done. The sketchbook pages are only a starting point for your screens and should not compose the entire screen. Additionally, the pages you photograph and import MUST BE READABLE.
Since these pages account for 40% of your grade it is important that they be treated like individual pieces of artwork. Each page is a collage of information and each collage must have a carefully developed aesthetic design, flow, clarity, and structure. These are not free form sketches thrown together but carefully considered art pieces chronicling your investigative process. Additionally, they must, as a series, reflect your artistic process. Begin the development of your screens with a general outline that, when viewed sequentially, tell the story of your development as an IB student.
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 created in at least three art-making forms, selected from a minimum of two columns of the art-making forms table below. The examples given are for guidance only and are not intended to represent a definitive list.
|
2 Dimensional Forms
|
3 Dimensional Forms
|
Lens-Based, Electronic, and Screen-Based Forms
|
Submitted work might
well include experiments undertaken during (and reflections upon) taster
sessions in particular media, demonstrations of techniques, workshops,
master classes, guided experimentation and studio practice experienced
as part of the core syllabus activities outlined above.
Sample Screens
Use these images to develop an understanding of how a screen should look. Note that some of the screens include a full page scan of a sketchbook with text beside it. This is one of many ways you can use the sketchbooks to complete your screens. Also note that all screens are horizontally oriented. When your screens are viewed by IB reviewers it will be on a computer screen. Therefore, all screens must conform to that general size, shape, and orientation.
Use these images to develop an understanding of how a screen should look. Note that some of the screens include a full page scan of a sketchbook with text beside it. This is one of many ways you can use the sketchbooks to complete your screens. Also note that all screens are horizontally oriented. When your screens are viewed by IB reviewers it will be on a computer screen. Therefore, all screens must conform to that general size, shape, and orientation.
Formal requirements of the task—SL
SL students submit 9–18 screens which evidence their sustained experimentation, exploration, manipulation and refinement of a variety of art-making activities. For SL students the submitted work must be in at least two art-making forms, each from separate columns of the art-making forms table.
Formal requirements of the task—HL HL students submit 13–25 screens which evidence their sustained experimentation, exploration, manipulation and refinement of a variety of art-making activities. For HL students 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.
Submitting assessment work
The submitted screens must not include any resolved works submitted for part 3: exhibition assessment task.
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, on- screen 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.
The procedure for submitting work for assessment can be found in the Handbook of procedures for the Diploma Programme. Students are required to indicate the number of screens when the materials are submitted. Where submitted materials exceed the prescribed screen limits examiners are instructed to base their assessment solely on the materials that appear within the limits.
SL students submit 9–18 screens which evidence their sustained experimentation, exploration, manipulation and refinement of a variety of art-making activities. For SL students the submitted work must be in at least two art-making forms, each from separate columns of the art-making forms table.
Formal requirements of the task—HL HL students submit 13–25 screens which evidence their sustained experimentation, exploration, manipulation and refinement of a variety of art-making activities. For HL students 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.
Submitting assessment work
The submitted screens must not include any resolved works submitted for part 3: exhibition assessment task.
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, on- screen 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.
The procedure for submitting work for assessment can be found in the Handbook of procedures for the Diploma Programme. Students are required to indicate the number of screens when the materials are submitted. Where submitted materials exceed the prescribed screen limits examiners are instructed to base their assessment solely on the materials that appear within the limits.
Assessment
|
A. Skills, techniques and processesUsing the required number of art-making forms from the art-making forms table, to what extent does the work demonstrate:
Candidates who do not submit works reflecting the minimum number of media and forms will not be awarded a mark higher than 3 in this criterion. |
|
|
B. Critical investigation
To what extent does the work demonstrate:
|
|
|
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 student demonstrate:
|
|
|
D. Reviewing, refining and reflecting (in both visual and written forms)
To what extent does the work demonstrate:
|
|
|
E. Presentation and subject-specific language
To what extent does the work:
|
|
