IB WORLD SCHOOL 1309 (ZSO13 Gdańsk)

Visual arts HL
syllabus & course of study
(based on Visual
arts guide, first exams 2016, HL 6h/week SL 4h/week.)

A. COURSE AIMS:

1. enjoy lifelong engagement with the arts

2. become informed, reflective and critical practitioners in the arts

3. understand the dynamic and changing nature of the arts

4. explore and value the diversity of the arts across time, place and cultures

5. express ideas with confidence and competence

6. develop perceptual and analytical skills.

7. make artwork that is influenced by personal and cultural contexts

8. become informed and critical observers and makers of visual culture and media

9. develop skills, techniques and processes in order to communicate concepts and ideas.

B. COURSE OBJECTIVES:
1. : Demonstrate knowledge and understanding of specified content
2. Demonstrate application and analysis of knowledge and understanding
3. Demonstrate synthesis and evaluation
4. Select, use and apply a variety of appropriate skills and techniques

C. COURSE OVERVIEW:
C1. Course Content:
C1.1 Prescribed themes:
1.Communicating visual arts. Through the communicating visual arts area, students will:
• understand the many ways in which visual arts can communicate and appreciate that presentation
constructs meaning and may influence the way in which individual works are valued and understood
• produce a body of artwork through a process of reflection and evaluation and select artworks for
exhibition, articulating the reasoning behind their choices and identifying the ways in which selected
works are connected

• explore the role of the curator; acknowledging that the concept of an exhibition is wide ranging
and encompasses many variables, but most importantly, the potential impact on audiences and
viewers.

2.Visual arts in context. Through the visual arts in context area, students will:
• be informed about the wider world of visual arts and they will begin to understand and appreciate
the cultural contexts within which they produce their own works

• observe the conventions and techniques of the artworks they investigate, thinking critically and
experimenting with techniques, and identifying possible uses within their own art-making practice

• investigate work from a variety of cultural contexts and develop increasingly sophisticated,
informed responses to work they have seen and experienced.

3.Visual arts methods. Through the visual arts methods area, students will:
• understand and appreciate that a diverse range of media, processes, techniques and skills are
required in the making of visual arts, and how and why these have evolved Syllabus outline Visual
arts guide 19

• engage with the work of others in order to understand the complexities associated with different
art-making methods and use this inquiry to inspire their own experimentation and art-making
practice

• understand how a body of work can communicate meaning and purpose for different audiences.

C.1.2. Prescribed activities:

Theoretical practice: Taught activities for this area might include:

• an introduction to the use of the visual arts journal as a record of individual inquiry and
investigation, with particular emphasis on how to appropriately cite sources

• demonstrations, discussions, oral and written presentations about how to begin critiquing
artworks, with reference to various cultural contexts, differing art forms and artists

• lessons in art history—these might include an overview of developments and movements from
earliest times to the present day, the provision of timelines for reference, with accompanying
contextual background (such as historical and sociopolitical influences, cultural and technological
achievements and events)

• identifying and engaging with available secondary sources (such as books and audio-visual
materials) through the use of the art department library, school resource centre or appropriate art-
specific internet sites

• identifying and discussing the formal qualities of particular works as a whole class
• providing an introduction to a range of models for analysing, critiquing, interpreting and
deconstructing artworks, offering opportunities for students to engage with these and become
familiar with them

• identifying and engaging with primary and secondary sources such as galleries, libraries and
working artists

• learning models for engaging in arts based research

• learning how to engage in art criticism or responding to art

• learning specialist art vocabulary and terms through the use of a glossary.

Art-making practice: Taught activities for this area might include:

• technical instruction and demonstrations in the use of particular media (such as oil painting, ink
drawing, clay modeling, digital techniques and so on) with reference to particular artists

• investigating the historical and technological changes and developments of particular media and
techniques

• hands-on, guided workshop sessions for students in the use of media and techniques, supported
by visiting specialists where appropriate

Curatorial practice: Taught activities for this area might include:

• talks given by visiting artists about how they put together exhibitions of their own work, with
particular emphasis on deciding what to include, what to leave out and why

• looking at and critiquing exhibition reviews in journals • TOK-linked discussions about the ethics of
museums and curatorial artifacts

• exemplar sessions led by the teacher or visiting artist which detail art projects from inquiry and
ideas, action and development, application of techniques to concepts, through to evaluation and
reflection upon work in progress and/or final product—students are taught to critique in terms of
meaning, purpose and success in communication of the idea(s) and development of technique

C.2.Textbook& reference books

IB Visual Arts Course Book: Oxford IB Diploma Programme
C.3 Other requirements
InThinking Visual arts account and access
Other issues are settled in relevant school documents- academic integrity, assessment,
inclusion and language policies

D. COURSE OF STUDY:
Unit 1. Foundation skills HL 30 hours
SL 20 hours
Skills and Techniques and Concepts Elements of drawing, learning the formal Elements
of art, building the art vocabulary, compare and
contrast images.
Big Ideas Learning to recognize the formal elements of art.
Understanding and applying this knowledge in own
artwork.
Developing visual literacy related to materials,
techniques and subject specific terminology

ATL skills Thinking

Communication
Self-management

Learning Processes used Demonstration /technique

Materials led investigation
Small group/pair work
PowerPoint/slideshow/video

Resources used Drawing tools, ThinkIB website pages, textbook

ToK connections Art and Values interpretive frameworks

Art and Originality

How will the unit be assessed? Formative assessing work in progress

Summative – assessing final outcomes relevant to
the3 curriculum components, i.e PP, CS, Exhibition

Unit 2. Escaping realism HL 30 hours

SL 20 hours
Skills and Techniques and Concepts Drawing, painting and observation skills,
application of Elements and Principles of art,
building the art vocabulary, introduction to art
history and analyzing art
Big Ideas Learn art history. Understanding and applying this
knowledge in own artwork.
Developing visual literacy related to materials,
techniques and subject specific terminology

ATL skills Thinking

Communication
Research

Learning Processes used PowerPoint/slideshow/video

 Museum or gallery visit
Curatorial Activity
Demonstration /technique

Resources used ThinkIB website pages, textbook, museum visit,

websites,
ToK connections Art and knowledge
Art and meaning, Art and Originality. How to value
art? Does an artwork have to say something to be
meaningful?

How will the unit be assessed? Formative assessing work in progress

Summative – assessing final outcomes relevant to
the3 curriculum components, i.e PP, CS, Exhibition
Unit 3. Exploring place and culture HL 30 hours
SL 20 hours
Skills and Techniques and Concepts Exploring techniques: drawing, photography,
collage-assamblage, mapping. Learn new technical
skills and understand of uses of media, develop
independent and original thinking
Encourage continuity and coherence ofartworks,
make connections with other artists/artworks,
engage in reflection, reviewing and refining
Big Ideas Develop meaningful artwork out of observation,
experience, reflection. Discover how reaserch
generates ideas and helps forge conceptual
connections between works
ATL skills Thinking, self- management, research

Learning Processes used Demonstration /technique, materials led

investigation, curatorial activity

Resources used Texbook, Thinkib website, museum visit

ToK connections Art and meaning, Art and originality. Culture and
Links made to ToK such as geographical focus. Does art have a social function?
Art and Knowledge
Art and Meaning
Art and Originality
Art and Values

How will the unit be assessed? Formative assessing work in progress

Summative – assessing final outcomes relevant to
the 3 curriculum components, i.e PP, CS, Exhibition
Unit 4. Dimention HL 30 hours
SL 24 hours
Skills and Techniques and Concepts Exploring techniques: drawing, photography,
sculpture, ceramic,. Learn new technical skills and
understand of uses of media, develop independent
and original thinking. Make connections with other
artists/artworks, engage in reflection, reviewing
and refining
Big Ideas Develop artwork considering surrounding space
and scale. Reflect on function and purpose of art in
public space. Discover the difference between two
and three dimentional art.
ATL skills Thinking
Communication
Research

Learning Processes used Demonstration /technique, materials led

investigation
Resources used Texbook, Thinkib website, museum visit, field trip

ToK connections Art and Knowledge

Art and Meaning
Art and Originality
How art perception depends of the viewer? What is
necessity of art in everyday life?

How will the unit be assessed? Formative assessing work in progress

Summative – assessing final outcomes relevant to
the 3 curriculum components, i.e PP, CS, Exhibition
Unit 5. Curatorial focus HL 30 hours
SL 24 hours
Skills and Techniques and Concepts Gallery visit on curatorial practice
Curating a group show (one piece each)
Selecting coherent and relevant art works
Making connections among work using both formal
and conceptual links
Experimenting with methods of display
Designing an exhibition
Titling work
Documenting artwork properly
Writing about art (curatorial rationale practice)

Big Ideas Understanding the roles of the curator, the artist

and the viewer at an exhibition
Investigating methods of display and how display
affects meaning in art
Communicating and articulating artistic intentions
verbally and in writing, recognizing influences and
citing sources.

ATL skills Thinking

Social
 Communication

Learning Processes used Museum or gallery visit

Curatorial activity
Individual presentations

Resources used Museum visit

Exhibition catalogues
Artists

ToK connections Art and Knowledge

Art and Meaning
What are the standards by which we judge art?

How will the unit be assessed? Formative assessing work in progress

Summative – assessing final outcomes relevant to
the3 curriculum components, i.e PP, CS, Exhibition
Unit 6. Apropriation as art strategy HL 30 hours
SL 24 hours
Skills and Techniques and Concepts Experimenting with art techniques, appropriating
art, revision of proper identifying and applying
elements and principles of art, reflection on

Big Ideas Understanding the difference between copying and

appropriation
Reflection on originality of art and culture
appropriation
Variability of function and purpose of art and and
perception of art throughout history

ATL skills Thinking

Communication
Research

Learning Processes used Demonstration /technique, materials led

investigation, Curatorial activity, socratic seminar,
small group/pair work, PowerPoint/ slideshow/
video, individual presentations

Resources used Texbook, InThinking website, museum visit, art

magazines
ToK connections Art and Knowledge
Art and Meaning
Art and Originality
Art and Values
How to define the difference between steeling
ideas and appropriating art? Is originality of work
necessary in art?
How will the unit be assessed? Formative assessing work in progress
Summative – assessing final outcomes relevant to
the 3 curriculum components, i.e PP, CS, Exhibition
Unit 7.Landscape and environment HL 30 hours

Skills and Techniques and Concepts Introducing to environmental art, experimenting

with art techniques, observing local landscape as
“art supply”, documenting art process, art
vocabulary
Big Ideas Understanding the genesis and evolution of
landscape art
Creating ephemeral art
Culture versus nature in art history
ATL skills Thinking
Communication
Self-management

Learning Processes used Demonstration/technique

Materials led investigation
Curatorial activity
Small group/pair work
PowerPoint/ slideshow/ video

Resources used Texbook, Thinkib websites, art magazines, art

books
ToK connections Art and Meaning
Art and Values
Why might we be more concerned with process
rather then product?

How will the unit be assessed? Formative assessing work in progress

Summative – assessing final outcomes relevant to
the 3 curriculum components, i.e PP, CS, Exhibition
Unit 8.Non – fiction – art as narrative HL 30 hours
and biographical statement. SL 24 hours

Skills and Techniques and Concepts Learn how to select proper technique to express
idea
Select symbols, composition, mood of work to
communicate with the audience. Identify
meaningful and original concepts and ideas
Big Ideas Learning to express and communicate ideas.
Understanding relationship between an artist and
the viewer.
Developing visual literacy related to materials,
techniques and subject specific terminology

ATL skills Thinking

Communication
Self-management

Learning Processes used Demonstration/technique

Museum or gallery visit
 Materials led investigation
Curatorial activities
PowerPoint/ slideshow/ video

Resources used Texbook, Thinkib websites, art magazines, art

books, films
ToK connections Art and Meaning
Art and Values
Art and Knowledge.
To what extent is truth different in the arts,
mathematics and ethics? Is artistic knowledge
something that cannot be expressed in any other
way?
How will the unit be assessed? Formative assessing work in progress
Summative – assessing final outcomes relevant to
the 3 curriculum components, i.e PP, CS, Exhibition
Unit 9. Art as experience HL 36 hours

Skills and Techniques and Concepts Learning how to choose the technique and media
to master own skills and achieve best results.
Develop understanding of diversity in art world.
Learning to accept and appreciate unpredictable
process of art making without focusing on result.

Big Ideas Learning to independently planning own work, the

theme, purpose and function, technique
Understanding how work of art can be perceived
by the viewer.
Developing visual literacy related to materials,
techniques and subject specific terminology

ATL skills Thinking

Communication
Self-management

Learning Processes used Demonstration/technique

Museum or gallery visit
Materials led investigation
Curatorial activity
Socratic seminar
Small group/pair work
PowerPoint/ slideshow/ video

Resources used Texbook, Thinkib websites, art magazines, art

books, films, gallery visit
ToK connections Art and Meaning
Art and Values
Art and Knowledge
Why might we be more concerned with process
rather than product in the search for knowledge?
 How will the unit be assessed? Formative assessing work in progress
Summative – assessing final outcomes relevant to
the 3 curriculum components, i.e PP, CS, Exhibition

(More detailed content and specific skills, knowledge, concepts build and/or explored in
unit planners. Particular units could be altered during the course.)
E. ASSESSMENT
E.1 Assessment outline:

Assessment component Weighting

External assessment Part 1: Comparative 20%

Study SL
Students at SL analyse and compare different
artworks by different artists. This independent
critical and contextual investigation explores
artworks, objects and artifacts from differing
cultural contexts. • SL students submit 10–15
screens which examine and compare at least
three artworks, at least two of which should be
by different artists. The work selected for
comparison and analysis should come from
contrasting contexts (local, national,
international and/or intercultural). • SL
students submit a list of sources used.
Comparative Study HL: Students at HL analyse 40%
and compare different artworks by different
artists. This independent critical and contextual
investigation explores artworks, objects and
artefacts from differing cultural contexts. • HL
students submit 10–15 screens which examine
and compare at least three artworks, at least
two of which need to be by different artists.
The works selected for comparison and analysis
should come from contrasting contexts (local,
national, international and/or intercultural). •
HL students submit 3–5 additional screens
which analyse the extent to which their work
and practices have been influenced by the art
and artists examined. • HL students submit a
list of sources used.

External assessment Part 2: Process Portfolio

SL
Students at SL submit carefully selected
materials which evidence their
experimentation, exploration, manipulation
and refinement of a variety of visual arts
activities during the twoyear course. • 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.
Process Portfolio HL: Students at HL submit
carefully selected materials which evidence
their experimentation, exploration,
manipulation and refinement of a variety of
visual arts activities during the two-year course.
• 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.

Internal assessment 40%

Part 3: Exhibition SL
Students at SL submit for assessment a
selection of resolved artworks from their
exhibition. The selected pieces should show
evidence of their technical accomplishment
during the visual arts course and an
understanding of the use of materials, ideas
and practices appropriate to visual
communication. • SL students submit a
curatorial rationale that does not exceed 400
words. • SL students submit 4–7 artworks. • SL
students submit exhibition text (stating the
title, medium, size and intention) for each
selected artwork. SL students must submit two
photographs of their overall exhibition. These
exhibition photographs provide an
understanding of the context of the exhibition
and the size and scope of the works. While the
photographs will not be used to assess
individual artworks, they also give the
moderator insight into how a candidate has
considered the overall experience of the viewer
in their exhibition.
Exhibition HL
Students at HL submit for assessment a
selection of resolved artworks from their
exhibition. The selected pieces should show
evidence of their technical accomplishment
during the visual arts course and an
understanding of the use of materials, ideas
and practices appropriate to visual
communication. • HL students submit a
curatorial rationale that does not exceed 700
words. • HL students submit 8–11 artworks. •
HL students submit exhibition text (stating the
title, medium, size and intention) for each
selected artwork. HL students must submit two
photographs of their overall exhibition. These
exhibition photographs provide an
understanding of the context of the exhibition
and the size and scope of the works. While the
photographs will not be used to assess
individual artworks, they also give the
moderator insight into how a candidate has
considered the overall experience of the viewer
in their exhibition.
 E.2 Assessment criteria

External assessment criteria—SL and HL

Part 1: Comparative study
Summary

Part 1: Comparative study Marks Total

A Identification and analysis of formal qualities 6

B Analysis and understanding of function and purpose 6

C Analysis and evaluation of cultural significance 6

30
D Making comparisons and connections 6

E Presentation and subject-specific language 6

(HL only)
F Making connections to own art-making practice 12 42

Criteria
1. Identification and analysis of formal qualities
To what extent does the work demonstrate:

• informed identification and analysis of the formal qualities of the selected artworks, objects and artifacts?

Mark Descriptor

0 The work does not reach a standard identified by the descriptors below

The work provides an outline of the formal qualities of the selected pieces but this is limited,
1–2 superficial or relies heavily on personal opinion.

The work provides a largely descriptive account of the identified formal qualities of the
3–4 selected pieces. There is some evidence of informed analysis, but this is underdeveloped.

The work provides a consistent, insightful and informed identification and analysis of the
5–6 formal qualities of the selected pieces.

1. Analysis and understanding of function and purpose

To what extent does the work demonstrate:

• informed analysis and understanding of the function and purpose of the selected artworks, objects and artifacts within
the cultural context in which they were created?
Candidates who do not examine and compare at least three artworks by at least two different artists from at least two
contrasting cultural contexts will not be awarded a mark higher than 2 in this criterion.

Mark Descriptor

0 The work does not reach a standard identified by the descriptors below

The work provides an outline of the function and purpose of the selected pieces, but this is
1–2 limited, superficial or relies heavily on personal opinion.
 The work provides a largely descriptive account of the function and purpose of the selected
pieces from at least two contrasting cultural contexts. There is some evidence of informed
3–4
analysis and understanding, but these are not fully developed.

The work provides a consistent, insightful and informed analysis and demonstrates thorough
understanding of the function and purpose of the selected pieces from at least two contrasting
5–6
cultural contexts.

1. Analysis and evaluation of cultural significance

To what extent does the work demonstrate:

• informed analysis and evaluation of the cultural significance of the selected artworks, objects and artifacts within the
specific context in which they were created (such as the cultural, sociopolitical and historical significance of the works,
with respect to the original audience and purpose, as well as to a contemporary audience)?
Candidates who do not examine and compare at least three artworks by at least two different artists from at least two
contrasting cultural contexts will not be awarded a mark higher than 2 in this criterion.

Mark Descriptor

0 The work does not reach a standard identified by the descriptors below

The work provides an outline of the material, conceptual and cultural significance of the
1–2 selected pieces, but this is limited, superficial or relies heavily on personal opinion.

The work provides a largely descriptive account of the material, conceptual and cultural
significance of the selected pieces from at least two contrasting cultural contexts. There is
3–4
some evidence of informed analysis and evaluation, but these are not fully developed.

The work provides a consistently insightful and informed analysis and thorough evaluation of
the material, conceptual and cultural significance of the selected pieces from at least two
5–6
contrasting cultural contexts.

1. Making comparisons and connections

To what extent does the work demonstrate:

• effective critical analysis and discussion of the connections, similarities and differences between the selected
artworks, objects and artifacts?
Candidates who do not examine and compare at least three artworks by at least two different artists will not be
awarded a mark higher than 3 in this criterion.

Mark Descriptor

0 The work does not reach a standard identified by the descriptors below

The work outlines connections, similarities and differences between the selected pieces, with
little analysis. These connections are largely superficial or inappropriate and demonstrate a
1–2
basic understanding of how the pieces compare and contrast.

The work analyses and describes the connections, similarities and differences between the
selected pieces, with some critical analysis. The connections are logical and coherent and
3–4
demonstrate an adequate understanding of how the pieces compare and contrast.

The work critically analyses and discusses the connections, similarities and differences
between the selected pieces. These connections are logical and coherent, showing a thorough
5–6
understanding of how the pieces compare and contrast.
 1. Presentation and subject-specific language
To what extent does the work:

• 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?

Mark Descriptor

0 The work does not reach a standard identified by the descriptors below

The work is limited or inconsistent in conveying information clearly or in a visually appropriate

1–2 manner. The work contains some appropriate subject-specific language, but this is limited.

Mark Descriptor

The work clearly and coherently conveys information, in a visually appropriate and legible
3–4 manner, with some consistent use of appropriate subject-specific language.

The work clearly and coherently conveys information which results in a visually creative and
legible study that enhances the impact of the work and the reader’s understanding. Subject-
5–6
specific language is used accurately and appropriately throughout.

At HL only
1.Making connections to own art-making practice
To what extent does the work:

• analyse and evaluate the outcomes of the comparative study investigation and on how this has influenced the
student’s own development as an artist, identifying connections between one or more of the selected works and the
student’s own art-making processes and practices?

External assessment tasks—SL and HL

Part 2: Process portfolio

SL SL HL HL
Part 2: Process portfolio
marks total marks total

A Skills, techniques and processes 12 12

34 34
B Critical investigation 6 6
 C Communication of ideas and intentions 6 6

D Reviewing, refining and reflecting 6 6

E Presentation and subject-specific language 4 4

Criteria
1. 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.

Mark Descriptor

0 The portfolio does not reach a standard identified by the descriptors below

The portfolio demonstrates some experimentation and manipulation of skills, techniques,

1–3 processes and selection of materials, which may not be appropriate or related to intentions.

Working across at least the minimum required number of media and forms,
the portfolio demonstrates experimentation and manipulation of some skills, techniques,
4–6 processes and the appropriate selection of materials, which are largely consistent with
intentions.

Working across at least the minimum required number of media and forms,
the portfolio demonstrates purposeful experimentation and manipulation of a range of skills,
7–9
techniques and processes. The selection of materials is largely consistent with intentions.

Working across at least the required minimum number of media and forms,
the portfolio demonstrates assured and sustained experimentation and manipulation of a
range
10–12
of skills, techniques and processes, and a highly appropriate selection of materials, consistent
with intentions.

1. 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?

Mark Descriptor

0 The portfolio does not reach a standard identified by the descriptors below

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
1–2
intentions.

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
3–4
intentions.
 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
5–6
impacted upon the student’s own developing practices and intentions.

1. 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?

Mark Descriptor

0 The portfolio does not reach a standard identified by the descriptors below.

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
1–2
contributed to the processes in their art-making.

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
3–4
been assimilated.

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
5–6
been assimilated to develop the portfolio further.

1. 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?

Mark Descriptor

0 The portfolio does not reach a standard identified by the descriptors below.

The portfolio demonstrates limited evidence of the process of reviewing or refining ideas,
1–2 skills, processes or techniques. Reflection is mostly descriptive or superficial.

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
3–4
skills as an artist.

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
5–6
upon the acquisition of skills and analysis of the student’s development as an artist.

1. 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?

Mark Descriptor
0 The portfolio does not reach a standard identified by the descriptors below.

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
1
art-making process.

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-
2
specific language used to document the art-making process.

The portfolio conveys evidence clearly, coherently and appropriately.

There is a good range of visual evidence and adequate use of appropriate subject-specific
3
language used to document the art-making process.

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
4
used to document the art-making process.