IB Art-making forms Table

IB Art-making forms

Throughout the course students are expected to experience working with a variety of different art-making and conceptual forms. SL students should, as a minimum, experience working with at least two art-making forms, each selected from separate columns of the table below. HL students should, as a minimum, experience working with at least three art-making forms, selected from a minimum of two columns of the table below. The examples given are for guidance only and are not intended to represent a definitive list.

Two-dimensional forms	Three-dimensional forms	Lens-based, electronic and screen-based forms
•                            Drawing: such as charcoal, pencil, ink, collage	•                           Carved sculpture: such as carved wood, stone, block	•                           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
•                           Painting: such as acrylic, oil, watercolour, murals	•                           Modelled sculpture: such as wax, polymer clays
•                           Printmaking: such as relief, intaglio, planographic, chine collé •                           Graphics: such as illustration and design, graphic novel, storyboard	•                           Constructed sculpture: such as assemblage, bricolage, wood, plastic, paper, glass •                           Cast sculpture: such as plaster, wax, bronze, paper, plastic, glass
	•                           Ceramics: such as hand-built 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

Interaction and engagement with local artists or collections as well as visits to museums, galleries, exhibitions and other kinds of presentations provide valuable first-hand opportunities for investigation and should be used to inform students work wherever possible. Personal responses to these experiences should  be documented in the visual arts journal.

RUBRICS Criteria
	Very Good	Good	Average	below average
Expresses ideas individually and within a group	Consistently expresses ideas individually and when working with groups. Items reflect a high degree of original thought.	Often expresses ideas individually and when working with groups.	Sometimes expresses ideas individually but has difficulty expressing ideas within groups.	Very reluctant to express ideas individually or contribute ideas to group projects.
Reflects on own work and learning	Clearly discusses or explains in writing why choices were made and describe with insight what did or did not work.	It can describe some key aspects of the decision-making and problem-solving process.	Has difficulty describing his/her own creative process.	No attempt or interest in reflecting on the development of their own work.
Includes a variety of items	Includes items that reflect a wide range of skills and understanding.	Includes items that reflect a variety of skills and understanding.	Two or three items reflect a variety of learning.	Items included demonstrating very little variety.
Displays proficiency in techniques/skill development	Techniques/skills consistently applied an inaccurate and expressive manner, often going beyond what is expected.	Some degree of proficiency in skills/techniques observed but require additional work in a few key areas.	Proficiency of skills/ techniques are lacking in many key areas.	There has been little or no skill development.