by Lexy on 10 Aug 2004 01:15 am
Just a an example
Well, you've made it through. You're almost home free. One final step...adjudication. This will be one of your easier exams. The adjudicator is there to understand you. He/she does not want to make you nervous or bring you down. They want to hear what you have to say about your own work. A couple of months before your exam you select your 20 pages from your book to go to Cardiff. Select a variety of pages. Some independent research, an art critique, parts of a portfolio project entry, anything that will show you as rounded. If you're in photography, at least 2 contact sheets are a must. Along with these 20 pages are either 10 or 12 (I can't remember the number) pictures of your best works. You'll probably have a hard to picking just 12. Ask your friends and teacher to help you out. Finally is your candidate statement. This is something like 300 words on your theme and how you've grown as an artist. So yes, this is all Cardiff see and with this they give you a score. Your teacher by this point will also have sent in a predicted score. Cardiff's, your teacher's, and the adjudicator's score all need to be relatively the same or else something's wrong. Anyway, your candidate statement, 12 pictures, and all your research books get sent to the adjudicator a couple months before your exam. Here's the good thing, from the time your book gets sent off you're free to just create artwork. No book to worry about. Just create and work on your theme. Seriously, a lot of work gets produced at this time. People seem to feel so much freer without the book.
I mentioned theme a couple times, so let me explain. Theme or focus is usually decided on halfway through the year you're testing in. Themes can be anything from identity to coming of age to how artists take something ugly and make it beautiful. Your teacher will help you out if you're stuck for ideas. For your theme you create many different works that relate to it and one another. Everyone knows IB is the biggest bunch of bsers. Let this work to your advantage. Enough said. Make sure you really talk about your theme with the examiner. Let them know what you were thinking. How you came up with certain concepts. Some people had themes that were on a personal basis and it went well.
Like I said before, the adjudicator is not there to make you feel uncomfortable. They want to get to know you. They saw you through words that you wrote and images you created. Actually being with you takes them to another level. If you've got 80 pieces, the person probably wont want to hear details on all of them. Then again they just might. Pick out about 5 to talk about in depth. Make them an oral portfolio project entry. Talk about it all. Principles and elements of art are key. They might ask you what creates balance in the piece. Hope you can answer them. Title your works. Hopefully you have a meaning behind your piece. Adjudicators love to hear that there's some depth and that you actually wanted to say something to the world. If you can find pieces that go together under a general idea like loss of innocence, put them together and then say why they are grouped like that. If you created a piece for some event that happened in your life, tell the examiner. This shows you through the art. They want to the human aspect to your work. Even if it was a quote that inspired you. Tell them. You can refer back to your journal also. It'll be at your exam for you to use. Use it. Having a variety of different types of media always works to your advantage. How great it would be if you had traditional art pieces, photographs, and installations. The adjudicator would be very impressed. IB's all about being rounded.
Have fun with the exam. You probably had fun in class over the year(s). Let it keep going, and you'll do well.
Location: Miami, FL
by Faroo7 on 11 Dec 2007 04:51 am
i NEED help with choosing my Theme!! you seem like some1 who knows what there doing please helpp
SL and HL
by Lexy on 08 Aug 2004 02:39 am
Hi there. Well, Art HL was so great for me. I had tons of fun with it. I did a mix of traditional art and photography. Most schools separate the two as did mine, but you can manage to work in the two if you really want to. Talk with your teacher and see what you can do. If you go into traditional art and can't do any in class photography work at school, do it at home! It can only help your score. Adjudicators like to see you try different things even if it doesn't turn out too great. IB Art is all about progress. They want to see your bad as well as your good. Don't try something just once. Show them that you practiced and pushed the idea as far as you could take it.
If you are thinking about taking art, I strongly suggest SL for two years. One year of art and then testing in it is not the best thing to do. Of course there are people who do it and do well. But, having it for two years allows you to explore more into your art and yourself. Plus, being that it is SL there's a better chance of getting a good score. Don't let yourself slip though. You could very well get a 3. Just like any other exam, it has to be taken seriously.
With SL you have a choice on how you test. You can have the research journal worth the bulk of your score or have the artwork carry the majority of the score. Any teacher will agree that you should pick the later because a lot of students don't really like to work in the research book. The first option is for those student who are basically the bookworms. They have at least 3 or 4 books filled up with "in depth" research and critiques. The second option is by far better for anyone who isn't willing to devote that much time to research. However, no matter which option you pick the research book is still important to your score. Don't blow it off. I believe SL needs only 20 quality pieces. If you're taking it for 2 years you should have much more. Always strive to make your work at higher level standards. You can't go wrong with that.
HL art can be a real handfull. If you aren't prepared to devote a lot of time to it, I don't recommend you taking it. Art may seem like it's going to be easy, but it can very well be your downfall. I also don't recommend taking HL unless you've had art before in high school. By your junior year your teacher doesn't want to have to slow down and teach everyone the basics. There's so many things to cover and explore that teaching basic drawing skills will hold you back. If you get a mixed class of juniors and seniors, the seniors are usually more free since they know the ropes. Take advantage of this. You don't need your teacher to tell you to start something. The more independent your artwork looks, the more the adjudicators will appreciate it. HL wants I believe 40 quality pieces. If you're doing art for 2 years, you should probably have more. Granted, size does play a part. If you have 10 big pieces obviously the total number of works you have will be less. Just try to keep a balance.
I'll put theme, journal, and adjudication into another sticky for you guys.
Location: Miami, FL
by Guest on 28 Jan 2005 10:55 pm
are you serious?
We have about 34 pages and were already a quarter through HL
We are currently working on sketching proportion and have no pieces whatsoever.
As a plus, we do have our themes
by Lexy on 29 Jan 2005 01:28 am
A quarter through HL would mean you're a junior and in your second semester? It is possible to get a 7 in HL with only a book and half to two books. My friend and I pulled that off. But you have to have some seriously awesome pieces. If you're a quarter through already, you should really consider getting some pieces done. Your teacher may not be assigning them, but do them on your own. Just take a little time between your history IAs and whatever else you're doing. It's all to your benefit. You can do it!
Location: Miami, FL
by Lexy on 10 Aug 2004 01:08 am
The journal may seem really trivial, but it can actually make or break your score. Don't mess with this. It will come back to haunt you and you don't want that, now do you? I think not. So, listen up kids. It's recommended that you get through two books a year. Each book averages about 200 or so pages. So you've got your work cut out for you, but you can get through it, I promise you. Cardiff, you know the Swiss, only get 20 pages out of all your books. If you have 1 book they get 20 pages. If you have 4 books they get 20 pages. Obviously the one with 4 books will have a bigger selection to pick their 20 pages. In HL and SLA the book is worth 30%. In SLB it's worth 70%. It can hurt either way. Now, to be totally honest, some adjudicators barely look at the books and some seem to memorize it. Since you don't know what kind of adjudicator you'll get, do the work.
Your teacher will probably assign you research on artists and whatever topics you're doing at the time. There's two aspects to the journal. The visual and written. You should have a balance of the two. Artist research are tiny critiques, not bios. PLEASE don't do bios. The examiner doesn't want to read Picasso was born in blah blah where he later showed some art at some famous museum blah blah. No no no. A little biographical info is ok. I mean you've go to give some background on the person. If your artist's father had a little shop where he used to make signs out of some weird kind of metal and then you find that the artist makes his work out of that metal, make a connection. IB loves connections. Make them everywhere you can. Did this artist influence so and so? Connect them! Score! Oh and do tell how they connect of course. Put examples of their art. Do a mini critique. Put one or two sentences of the 4 major parts of a critique (see below).
Art critiques are major. Get very comfortable with them. There are basically 4 parts to them. (1) Description — gives the credit line info and tells what can be seen in the piece. That's it. Talk about balance, color scheme, style, point of interest, space, foreground, midground, etc. Basically anything seen by the eye. (2) Analysis — this is NOT where you say what you think the piece means. You basically discuss how the artist uses certain techniques to create contrasts or dominant objects or whatever else you see. Use adjectives. (3) Interpretation — identify the meaning of the work. Support your opinion! If you can support it, no one can say you're wrong. This is where your research comes into play. What's the historical context of the piece, of the artist? Look at the title. It a lot of times gives important clues. (4) Judgment — this is not whether or not you liked the work. The piece had a purpose...was it successfully conveyed? Think of when this would have been shown to society. Would it have an impact on that society?
Got some extra time on your hands? Do some independent research. Actually, do a lot. Try to get in at least two independent researches a week. Remember, independent means your teacher didn't assign it. If you read a cool article on something or someone, put it in there. For example, I had so many pages of new techniques for photo editing. IB loves it. So do it. Being that this is an IB course, all of your research shouldn't just come from the country you're in. Mix it up. Get artist who are Western, Eastern, Middle Eastern,etc.
Projects. You will no doubt get plenty of them. They're called "Portfolio Projects". IB's a creative bunch aren't they. And with these projects you will do portfolio project entries. Who would have ever thought that? These entries are the best thing ever created to take up room in the book. A good entry can get around 20 pages. It's a simple process. There's supposed to be a set order, but honestly it's kind of hard to follow the order sometimes. (1) Independent research. Most likely you saw something that gave you the idea to create your piece. Research the artist and the type of work. Pretty simple. (2) Your "Before" section. Before you start your piece, put down your ideas. Sketches and written plans. Very important. Do a lot of sketches. As many as you can. That should take up a good amount of space. Discuss the materials you plan to use. It's all about the planning. (3) Your "During" section. Ok so yea these are basically in quotes because most forget to do these and end up writing them after the work is done. But don't you do that now. So, during is exactly what it sounds like. Using a certain color? Put it in your book. Trying a technique? Put it in your book. If you run into a problem, write about it. Write how you plan to fix it and then if that worked for you. Take pictures of your work in progress. If you're doing traditional art just take pictures at different stages. If you're doing photo show your manipulations. No matter what you do just remember to describe what's going on and how you did it. IB has this thing for showing evidence. (4) Your "After" section. How do you like your piece? What don't you like? Does it give a message? How can it improve? Do you have plans to push the idea further? Would you make the piece in another way? Answer as many of these as you can. If you think of any others, answer them. Don't forget a picture of the final product...Your independent projects get the same treatment. Come on, you're filling up pages.
Techniques. You'll see a lot of new techniques throughout the year(s). Take notes. Show examples. Pages and pages of examples. Trust me on this one. IB wants to see that you at least tried it. Find an artist that uses this technique and write about them. Create your own art using this technique. Incorporate many different techniques into one piece. Keep working with these techniques throughout the entire year. Practice, practice, practice.
DO NOT just cut out stuff from magazines. If they serve some kind of purpose it's ok. Be prepared to explain in your book what purpose they serve. Otherwise it looks like you're just trying to take up space. You can have some fun pages in your book. The book is supposed to show you through it. The majority follows the above. Feeling angry at your art teacher for giving a project and then changing what she wants out of it? Make an art piece! And hey, you can say I made this when angry at my teacher. Your teacher will at least appreciate that something constructive came out of it. Don't write about your boyfriend or girlfriend. Blah, no one wants to read about it. Of course unless it inspired you to do a piece. Just don't turn this into your personal diary.
Final summation — the journal should: tell about you and how you approach your work, allow the examiner to form a clear impression of you, an honest expression of your tastes, opinions, knowledge, and learning, be a record of your mistakes and problems, be somewhat personal, original, and creative, and finally document your growth as an artist. I shall always begin, start, initiate, take the first step, and write the first word...when I get around to it.
Location: Miami, FL
by Linda on 03 Dec 2004 09:24 am
What do you mean by "Cardiff, you know the Swiss"?
Cardiff is in Britain (Wales). And as far as I know the Cardiff people only make the exams... Oh well, 'was just wondering.
Location: Warwick Uni
by Lexy on 22 Dec 2004 05:07 am
Sorry about that. I didn't mean the Swiss. But the art stuff does go over to Cardiff. At least that's what we were reminded of every few weeks.
Location: Miami, FL
Format for exam
by IBChinese on 11 Feb 2005 11:10 am
anyone who how the examiners perform the final exam?