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     1                        Student Handbook DMPS
            dara.green@dmps.k12.ia.us
           Name___________________________ phone #___515-242-7888_ email_________________________

                                                        IB parents, guardians and student artists


                                                                                      to the Art Studio!

I am so excited to work with you and your student artist this year. Let me introduce myself! I am a
graduate of The School of the Art Institute of Chicago with concentrations in Ceramics and Art
Education. I began my teaching career with Chicago Public Schools where I taught high school art
for 6 years. While teaching in Chicago, I earned my National Board of Professional Teaching
Certificate in early adolescence through young adulthood art education. Arriving in Des Moines in
2005, I taught at Edmunds Fine Art Academy and Lincoln High School before joining the team at
Central Academy. While teaching for Des Moines Public Schools, I have completed the International
Baccalaureate level one training for the Middle Years Program along with level one and two training
for the Diploma Program. In addition to teaching, I am a working artist. My studio is housed at 316 ART
in downtown Des Moines.

I am also a new mom! My daughter, Gillian, was born May 7th, 2010. I look forward to getting to know
you and sharing my passion for art education with you. I can be contacted anytime via email at
dara.green@dmps.k12.ia.us.

If your time permits, I would like to invite you to participate in your student’s art experience!

Below are ways you can offer your support. Let me know if you interested and how you would like to
help!

Volunteers

          Art Shows Committee
           o Help organize, prepare, promote, hang, and provide refreshments for Student Art Shows
           o Time offering- once a quarter
          Grant Team
           o Brainstorm, research and write grants to enhance the art curriculum
           o Time offering- TBD by team
          Studio Support
           o Work in the art studio, cleaning, preparing materials, making copies, etc.
           o Time offering- weekly, monthly or as needed


  Perhaps you have a special skill you would like to offer. Let me
    know! Let’s work as a team to create the most enriching art
                                     experience for your student.

                                                           Sincerely,


       2                        Student Handbook DMPS
              dara.green@dmps.k12.ia.us
                                                                                                               Dara Green




During the IB course you will produce:




          Drawings, paintings, prints, ceramics, sculptures, collages, textiles, mixed media work, etc.
          Your studio work must show your personal interests and artistic skills through a range of different media and
           techniques.
          You will aim to complete at least one piece of studio work each month starting in September of your Junior year
           totaling @ least nine complete projects by May. In your Senior year you will complete @ least 8 more projects. For
           your final exhibition you will have @ least 17 studio work projects, if not more!




          IWBs are like sketchbooks but SO MUCH MORE! Your IWB will contain written notes, photos, exhibition leaflets,
           postcards, sketches, experiments with materials, written analysis of artwork, brainstorming, development of
           concepts and studio work as well as „finished‟ drawings and paintings. You can put anything you want in your IWB
           as long as it supports the development of your artistic concepts and skills.
          You will need to complete 2SL/3HL or more IWB pages each week. Most of this will be done outside of class. By
           the end of December you should have over 50 pages completed! Some weeks you will find you are able to do
           more than 2SL/3HL pages because of your wonderful ideas. However, even if you complete more than 2SL/3HL
           pages one week, you will still need to complete 2SL/3HL or more pages the next week! Remember holidays are
           also a great opportunity to collect information, sketch, and record and develop ideas.
          By the end of your senior year you should have @ least four thick IWBs completed to support your final exhibit and
           document your growth as a student artist.




          You will be very involved in assessing your
           own work every month, referring to the IB
           assessment criteria in detail. You will also
           receive comments from me which will be
           useful in showing both your strong points and           Investigation Workbook = @ least 2(SL) 3(HL) pages a
           reminding you of areas where improvements                                      week!
           are needed.                                                     Studio Work = @ least one per month!
          There will be regular opportunities for you to
           discuss and explain your work and ideas in
           group critiques and discussions.


       3                          Student Handbook DMPS
               dara.green@dmps.k12.ia.us
            During the school day you are invited to use the Art Studio facilities and equipment at any time. However work will
             also be done outside of school, during evenings, weekends and holidays. For this reason, you must collect a wide
             range of art materials to help develop and practice your skills beyond the school day.
            I would suggest getting a vintage suitcase from your local thrift store to be used as your portable studio. This will
             allow you to easily work at school, home, in the park, on vacation, etc!

                                                                                See ‘Get and Gather’
                Hardbound Spiral 9”x12” drawing book                            Handout for more
                2B, 4B and 6B sketching pencils                               details, recommended
                White vinyl eraser
                Glue Stick
                                                                               supplies and where to
                Black pens                                                             shop.
                Pencil bag

            See IB Materials List for more details.
            If you expect to do lots of painting at home, invest in larger tubes of paint and that can be bought individually.
            Try to get as many of these items as you can and add to your supply at art materials when you are able to. The
             ESSENTIAL items on this list are urgent purchases though- get them as quickly as possible!

                                             (not essential but very useful)

It would be to your advantage to create a mini-studio at home. This will make your at home work much easier, as your
materials will be out and ready to go when inspirations strikes and wet work can be left to dry over night. In addition to your
art materials, it should include:
    1. A large flat table surface and comfy chair.
    2. A good source of natural light and or a desk lamp. Over head lights tend to cast annoying shadows onto your work
        at night. You can even buy „daylight‟ bulbs for your desk lamp.
    3. A mirror if you are interested in producing self portraits or a full length mirror would be ideal for figure drawing.


            My dream studio would…




        4                           Student Handbook DMPS
                 dara.green@dmps.k12.ia.us
These are working journals of your life as an artist over the next two years!

                       You will need a 9”x12” sketchbook with reasonably thick paper (70-90 lbs) so you can work on both
sides of the pages. Make sure you get a sketchbook that is spiral or hardbound, NOT gummed (these fall apart).

                  We will do this together in class! Put your name and address (or school address) inside the front cover. A
phone number or email address is a MUST- you do not want to lose it! Also put the date of sketchbook birth on it. Leave the
first page blank, it will be used later as a table of contents. Number each and every page, front and back in the bottom
outside corner.


o Work in your IWB everyday- get into the habit starting today! Several good IWB pages spread throughout the week are
  always better than hours of rushed work late at night.
o Date each page in your IWB as you work. The date should be written in the top outside corner. This will help document
  your growth throughout the program.
o Title each page in your IWB as you work. The title should be written by the date. This will allow you, mysefl and your
  examiners easy reference.
o When you write in your IWB always use a black pen and write clearly. I will need to read it and select pages will be
  photo copied and sent to the IB art examiners. Make your IWB a pleasure to look at and read! Do not use colored pens
  to write unless it is really appropriate to your work (i.e. your main theme is „strong colors‟).
o Never ever cut or tear out pages from your IWB! Don‟t stick pages together even if you think you have made a mistake
  or a terrible drawing. The IWB has to show mistakes good or bad so the examiners can see how much you have
  improved.
o Remember you numbered your pages? This makes it easy to refer back to an idea, thought or technique. For
  example on p.60 you might sketch an idea and then remember that you did something similar before. You could then
  write “The drawing on page 60 could become a block print, see my notes on printing page 46.” Also remember to cross-
  reference on the other related pages too.
o When drawing something from observation write down where you are and why you have chosen to draw it. Make
  notes on the time of day, weather, lights, sounds etc. Engage your senses! A photograph in addition to your drawing
  could be very helpful if you chose to develop a painting or sculpture from your drawing. Always ask the authorities if
  you can use your camera though.
o If you have used a book or the Internet to find an image always write down the full reference in your IWB- you may
  need to find the information again at a later date. The same idea goes for magazine articles, television programs and
  films. Sources of information must always be acknowledged- even postcards from exhibitions that you stick in your
  IWB. Not to mention these artists, authors, etc DESERVE acknowledgement!

    Note to self…




     5                          Student Handbook DMPS
             dara.green@dmps.k12.ia.us
o There should be written comments on every page of your IWB.
o You should make comments on your feelings, how your work is progressing and what successes you have had. You
  should also write about any research or technical problems you have encountered and what you learned from them.
o You should make comments on your attitudes about life, social, cultural and political concerns. Think about the world
  outside of school and IB! The IWB is yours, so it should reflect your beliefs. These comments can be related to art you
  are researching or artwork you are producing.
o You should write about any connections you might see between Art and your other IB subjects. For example, the study
  of blood cells in Biology might inspire some prints of tiny natural objects, the contour lines or grids in maps from
  Geography might be combined into landscape drawings, the description of characters in a novel might inspire a series
  of imaginative portraits, etc.
o Make notes on which materials you have used in your studio work experiments. The type of paper, medium, what types
  of glue gave the best results, which clay you used and how wet it was, which glaze and what temperature it was fired to,
  etc. This will save you a lot of time when you need certain results later!


            When you are writing in your IWB, don‟t forget that the IWB is an academic course and that your written notes
             should reflect that. Describe your thoughts and feelings, successes and failures, comment on your own
             progress and your ideas about life and the world but DO NOT use slang or informal English (unless is
             appropriate for a certain project). Remember that this is your IWB, but it is not being written for your
             friends…an IB examiner will be reading it!!!
            Always try to use the correct art vocabulary in your IWB. Look at www.artlex.com for a great example of an Art
             dictionary online. There are pages explaining art vocabulary later in this booklet.



                         This is all the larger scale „finished‟ artwork that you will produce outside of your IWB.
                                           MORE TO COME AS THE COURSE PROGRESSES


     Note to self…




     6                          Student Handbook DMPS
             dara.green@dmps.k12.ia.us
Write an essay on the artist‟s life and history…                       Make notes on why you‟re looking at this artist…
(date of birth, favorite football team, etc. ) Anyone could do this.   What you admire, what you don‟t – how this artist‟s work relates
A few biographical details are useful but not essential.               to your studio work. Make your research personal to your
                                                                       particular project.
Photograph loads of artworks                                           Choose one or two good artworks…
…and stick them into your IWB with no written analysis or other        …annotate them and make copies of them to practice brush
information.                                                           techniques, color mixing or something similar.
…and forget to write the titles down!
Treat your IWB like an exercise book…                                  Think about your research in a visual way…
Don‟t produce blocks of writing, underlined, with no visual            Use of color, headings and images to complement your notes.
consideration or interest.                                             Compose the page so it looks interesting and varied.
Write without checking the facts …                                     Use the correct vocabulary…
Make sure that you are accurate about dates, media used and            i.e. „tone‟ is more accurate then „light and shadow‟. Remember
especially the gender of your chosen artist.                           that at the IB level, you will be assessed on the quality of your
                                                                       written work! Don‟t be afraid to use adjectives, especially when
                                                                       evaluating an artwork (giving your opinion).
Plagiarize…                                                            Include one or two relevant quotations…
(include quotations from other writers as if they are your own         Such as the artist writing about his or her ideas OR a well-known
words) This is always obvious to the reader.                           critic and always use quotations marks. Include the name of the
                                                                       person who you are quoting and write down where you found it.




To annotate- To make short notes explaining or clarifying a point or drawing the viewer‟s attention to something of
relevance (e.g. „the wide range of tones here adds drama and interest)
To analyze- To look closely and in detail at an artwork, noting as many points as you can about the piece. These points
might cover thinks like:
        o Composition (organization of shapes within the work)
        o Use of color/tone
        o Medium used (oil paint, photography, etc)
        o Mood or emotion created
        o Content/narrative (what‟s happening in this artwork? Is there a story?)
        o Issues covered (i.e. political, social, religious issues)
To compare and contrast- To analyze two or more artworks at once, focusing on the similarities and differences between
them. This is often easier than analyzing a single artwork.
To evaluate- To make personal judgment about the artwork and to give your reason i.e. Do you like the artwork? Why?
What is good about it? What is not so good? The reason for this will, of course, come from your analysis.




      7                             Student Handbook DMPS
               dara.green@dmps.k12.ia.us
                                       A Step-by-Step Guide
     Follow these steps; answer all the questions and you can‟t go wrong!
     Remember that your own drawing/copies of the artwork should accompany ALL written analysis.

                                                                     o  Was it painted, drawn or sculpted quickly, or slowly
Write down your first response to the artwork.                          and painstakingly? What makes you think this?
    o Do you like it?                                            Composition (organization of shapes)
    o How does it make you feel?                                    o What types of shapes are used in this artwork (i.e.
    o Does it remind you of anything you have seen                      rounded, curved, straight-edged or geometric
        before?                                                         shapes)?
                                                                    o Is there a mixture of different types of shapes or are
List what you can see in this artwork.                                  all the shapes similar?
     o Figures, colors, shapes, objects, background, etc.           o Are some parts of the composition full of shapes
     o Imagine you are describing it to a blind person. Do              and some parts empty, or are the shapes spread
         this in as much detail as possible and use art terms.          evenly across the artwork?
                                                                    o Are some shapes repeated or echoed in other parts
Write down your observations in more detail, looking at these           of the artwork?
aspects of the artwork:                                             o Does the whole composition look full of energy and
 Colors                                                                 movement, or does it look still and peaceful? How
    o Which type of palette has the artist used: is it bright           did the artist create this movement/stillness?
        or dull, strong or weak?                                    o What is the center of interest in the composition?
    o Are the colors mostly complementary, primary or               o How does the artist draw your attention to it?
        secondary?
    o Which colors are used most in this artwork?                Now write down your personal thoughts about the work:
    o Which colors are used least in this artwork?               there are no “right” or “wrong” answers here!
    o Are the colors used different ways in different parts          o What do you think the artist is trying to say in this
        of the artwork?                                                   artwork? What does it mean?
    o Have the colors been applies flat, “straight from the          o What is the main theme or idea behind this piece?
        tube” or have different colors been mixed?                   o If you were inside this artwork, what would you be
Tones                                                                     feeling/ thinking?
    o Is there a use of light/shadow in this artwork?                o Does the artwork have a narrative (tell a story)? Is it
    o Where is the light coming from? Where are the                       a religious artwork?
        shadows?                                                     o Is it abstract? Is it realistic? Why?
    o Are the forms in the artwork realistically modeled             o How would you explain this artwork to someone
        (does it look 3-D)?                                               else?
    o Is there a wide range of tonal contrast (very light
        highlights and very dark shadows) or is there tonal      Based upon what you have observed already, give your
        range quite narrow (i.e. mostly similar tones)?          opinion of the artwork. You MUST give reason.
Use of media                                                         o “Franz Marc has created an effective expressive
    o What medium has been used (oil paint, acrylic,                      painting, because the hot colors and lively brush
        charcoal, clay, etc)?                                             marks he has used add to the overall feeling of
    o How has the artist used the medium – i.e. is the                    energy and excitement his is trying to create.”
        paint applied thick or thin? How can you tell?               o “The overall mood of this drawing would be
    o Can you see brushstrokes, mark making or texture?                   improved if Kathe Kollowitz had used strong,
        Describe the shape and direction of the                           dramatic shadows, instead of pale tones. Dark
        brushstrokes / marks. What size of brush/ pencil                  tones would develop the feeling of fear and
        was used?                                                         loneliness in this image.”



      8                           Student Handbook DMPS
              dara.green@dmps.k12.ia.us
       Gestural- A loose, energetic application of paint which relies on the artist‟s movement to make expressive marks
        on the canvas. This is a supposed to be a very personal and unique way of working- almost like handwriting. Look
        at artist like Cy Twombly or Antoni Tapies for examples.

       Glaze- (or wash)- a semi-transparent layer of thinned paint. Many traditional painters like Michelangelo made use
        of this technique to create the subtle tones of skin for fabric. For a modern use of the glazing techniques, look at
        the abstract, gestural paintings of Helen Frankenthaler.

       Impasto- a thick layer of paint, often applied in several layers with a brush or palette knife. Look at the dense,
        textual brushwork of paintings by artist like Gillian Ayres or Frank Auerbach.

       Plein-aire- a painting which has been made outside, often quite quickly, to cope with changing weather, light effects
        etc. The Impressionist were the first artists to paint outdoors, rather than in their studios. Before this, however,
        many artists had sketched outdoors in preparation for painting, the oil sketched of Constable are an excellent
        example.

       Pointillist- the use of many tiny dots of pure color which seems to „blend‟ when seen at a distance. Georges
        Seurat‟s work is the most famous example of this almost- scientific technique. Look at the work of Chuck Close and
        compare and contrast them to Seurat.

       Scumbling- a thin glaze of paint dragged over a different color, so that both layers of paint can be seen, giving a
        luminous, glowering effect. Abstract painters like Mark Rothko made use of this technique.

       Sfumato- literally means „smoked‟ in Italian; the use of heavy, dark tones to suggest mystery and atmosphere.
        Rembrandt‟s late self-portraits are a superb example of this technique in practice.

       Sketch- A quick painting, often made in preparation of the „final version‟.

       Brushwork- the way in which the artist used the brush to apply paint. Brushwork can be loose, energetic,
        controlled, tight, obsessive, repetitive, random etc.

       Palette- 1. A tray used for mixing colors when painting. 2. The choice of in a painting i.e. „van Gogh uses a pure
        and vivid palette in his Arles landscapes”.

       Tone or tonal- 1. The elements of lights and shadow in an artwork i.e. „Kathe Kollowitz‟s etchings use strong,
        dense tones to create an intense, sorrowful mood‟. 2. The range of tones within an artwork ie „Rembrandt‟s later
        portraits use a very dark tonal range‟.

       Support- The surface that a painting or drawing is produced on. Support can be paper, card, wood, canvas, metal
        etc i.e. “Antoni Tapies‟s paintings sometimes look as if they have been attacked. The support is often violently torn,
        ripped and stabbed into‟.




    9                          Student Handbook DMPS
            dara.green@dmps.k12.ia.us
o Primary colors: red, yellow and blue. Primary colors can be used to mix a wide range of color. These are cool and
  warm primary colors.

o Secondary colors: orange, green and purple. Secondary colors are mixed by combining two primary colors.

o Complementary colors: pairs of opposite colors on the color wheel: green-red, blue-orange, and yellow-purple.
  Complementary colors are as contrasting as possible (i.e. there is no yellow in the color purple). Painters like Andre
  Derain and van Gogh often made use of the contrast of complementary colors in their paintings.

o Tertiary colors: A range of natural or neutral colors. Tertiary colors are created by mixing two complementary
  colors together. Tertiary colors are the colors of nature: skin, plants, wood, etc.

o Tones: are created by adding black to any color (i.e. maroon is a tone of red).

o Tints: are created by adding white to any color (i.e. pink is a tint of red).

o Palette: the choice of colors an artist makes.

o Limited palette: the selection of only a few colors within an artwork; i.e. „In this drawing, Matisse has used a limited
  palette of ultramarine blues and purples to create a moody, subdued atmosphere.‟

o Broad palette: the use of a wide range of different colors within an artwork; i.e. Kandinsky‟s paintings are instantly
  recognizable for their use of geometric shapes, but also for the broad palette of colors he employs.‟

o Tonal range: the range of tones in an artwork from light to dark. A wide tonal range would include all tones from
  white to black. A narrow tonal range would include only pale tones, only mid tones or only dark tones; i.e. “Kathe
  Kollowitz‟s etching make a powerful use of a narrow tonal range to create oppressive, dark images.‟

o Opacity: the density or thickness of a color used; if the color is strong and nothing can be seen beneath it, the color
  is said to be opaque. Acrylic and oil are often opaque.

o Transparency: thin, transparent color, with perhaps other colors, shapes and lines visible beneath it. Watercolor
  painting typically uses transparent color.

 Useful adjectives you might use when describing COLOR:
  Saturated, bright, pure, vivid, strong, harsh, dramatic, vibrant, brilliant, intense, powerful, muted, subtle, gentle, dull,
  soft, watery, subdues, delicate, gloomy, tertiary, faded, limited

 Note to self…




10                          Student Handbook DMPS
         dara.green@dmps.k12.ia.us
     Useful terms to consider:
     When the arts of the past are seen in museums, they are effectively detached from the life of the culture from where
     they originated. If you only see these art objects in books or photographs, it is very difficult to see them as a „real‟
     part of a living culture. To begin to understand the meanings of various arts had for the societies they came from,
     consider the following values:

o    Religious values: Arts were often essential to the belief systems of many cultures; for example: statues of
     gods/deities, temples, icons, altarpieces, masks, music, dances etc.

o    Social Values: Arts often symbolize group identity and pride; for example: banners, headdresses, tattooing,
     flags, chants, anthems etc.

o    Psycho-Emotional: Arts sometimes provided assurance of the continuity of life; for example: portraits, epic
     poetry, mythological tales, hymns etc.

o    Useful or Practical Values- Art was often an integral aspect of functional objects, both in shape and decoration;
     for example: knives, pottery, lamps, buildings, etc

o    Sensual Values- Arts provided a direct source of sensual pleasure and perhaps and intrinsically aesthetics
     response; for example: textiles, clothing, sculptures, music etc.

o    Educational Values: Arts were frequently a means of transmitting the values, attitudes and history of a culture;
     for example: cave paintings, frescos, illuminated manuscripts, epic poetry, historic drama, tribal dance etc.

o    Decorative Values: Arts were frequently a means of transmitting the values, attitudes and history of a culture;
     for example; jewelry, wall-hangings, tapestries, clothing etc.

o    Communication Values: Arts reached the illiterate for whom the written word was meaningless; for example:
     friezes, stained glass windows, mosaics etc.

     An Example: Medieval cathedrals integrated most of the values above.

     The cathedrals were the focus of the religious life of the community even as there was being built by hundreds of
     ordinary people and skilled craftsmen over long periods of time. The towers symbolically rose high above the town
     and within the walls, the sculpture and stained glass windows stirred the emotional of the faithful. Processions with
     banners, chants and the mass, with its music, poetry and drama, integrated the arts and values of the culture. All of
     this gave meaning and continuity to the otherwise impoverished lives of the common people.




11                          Student Handbook DMPS
         dara.green@dmps.k12.ia.us
There are six Studio Work Assessment Criteria:
IB ASSESSMENT CRITERIA                                  Questions to ask yourself:
Imaginative Expression
The examiner is looking for studio work that is         “Have I truly explored my ideas to create interesting, adventurous studio work (or
exploratory, creative and imaginative. Interesting
                                                        have I just settled for the obvious)? Have I used any unusual or unexpected
ideas are presented in intelligent, sometimes
surprising, ways.                                       combinations of ideas or materials in my studio work?”



Purposeful Exploration
The examiner is looking for studio work that            “How are the ideas in my studio work connected with my own life and cultural
matters to its creator. The art is thoughtful and has
                                                        background? Have I created strong, powerful pieces of art work which really mean
been developed into something full of power and
meaning.                                                something to me?”


Meaning and Function
The examiner is looking for work where subject          “Are the ideas behind my studio work well suited to the techniques and media that
matter, artistic ideas and technique are combined
                                                        I have chosen to use? What is the personal, cultural or visual meaning/purpose of
well to produce a coherent outcome.
                                                        my studio work?”

Formal Qualities
The examiner is looking for studio work that is well    “How effectively have I designed the appearance of my studio work? Have I used
planned. Its form is the result of the thoughtful       visual language well? (line, composition, form, tone, color, texture etc) Which visual
application of design principles.
                                                        or artistic problems have I encountered and have I solved them well?”


Technical and Media Skills
The examiner is looking for studio work that shows      “Am I using my chosen media with high levels of skill? What visual effects do I
technical skill and effective use of the medium.        want to create? How effective is the medium I have chosen at creating these
                                                        effects? Would it be better to choose a different medium?”


Growth & Commitment
The examiner looks at both the studio work and          “How much growth and improvement does all my art work show so far? How I have
RWBs for evidence of high quality visual and
                                                        developed as an artist during the course? Can I distinguish between my good and
written work, including reflections on the relative
success of different pieces of work and on their        not-so-good art works, explaining how each piece has contributed to my
place in the student‟s growth and development as        improvement?”
an artist.




          12                               Student Handbook DMPS
                 dara.green@dmps.k12.ia.us
There are five IWB Assessment Criteria:
IB ASSESSMENT CRITERIA                             Questions to ask yourself:
Independent Research
                                                   “Does my IWB show truly independent research (or have I only researched
The teacher is looking for workbooks that show
                                                   what is set in class)? Have I explored and researched my ideas in enough
independent research, both visual and verbal, in
appropriate depth and/or breadth, with outcomes    depth or breadth? Have I shown that I understand what I have researched
that are thoroughly understood by the candidate.   (or have I simply stuck things in without explaining them)?”

Critical Research
                                                   “Have I researched appropriate examples of artworks (from more than one
The teacher is looking for workbooks that
                                                   culture) which are related to my artistic ideas? Have I been able to
systematically examine the meaning and
significance of art from various cultures.         analyze and discuss the visual qualities of these artworks? Have I shown
                                                   that I understand the significance, meaning and purpose of these
                                                   artworks?”

Contextual Research
                                                   “Have I researched the social / historical background to art from more
The teacher is looking for workbooks that
                                                   than one culture? Have I shown that I understand how the social /
thoroughly investigate socio-cultural and
historical contexts, in more than one culture.     historical context is relevant to these artworks? Have I used what I have
                                                   learned elsewhere in my IWB?”

Visual Research
                                                   “Have I shown a thorough visual exploration of ideas through sketching,
The teacher is looking for workbooks that show a
                                                   drawing, experimenting with different media and practicing different
thorough, wide-ranging and experimental
investigation of visual qualities and expressive   techniques? Have I have recorded my ideas in a wide range of ways? (or
forms.                                             have I just produced pencil sketches?)”

Integration
                                                   “Do my IWBs and Studio Work demonstrate a close relationship and
For this criterion, the teacher is looking for a
                                                   connection? Have I produced a worthwhile, mature body of work which
close relationship between the IWBs and the
studio work, in which reflection and research      shows how what I have learned has led to the production of successful art
support experimentation and successful artistic    works?”
production.




       Note to self…




          13                                 Student Handbook DMPS
                 dara.green@dmps.k12.ia.us
In March / April of Year 2, you will organize an exhibition of your work which covers everything you have produced
during the IB experience. Your exhibition will be assessed by a visiting examiner, who will also talk with you about your
Studio Work and IWBs. At the end of Year 1, you will have a mock interview to give you some practice at this.
You will also produce a Candidate Record Booklet, which contains photographs of your finished Studio Work,
photocopied pages from your IWBs and a 300 word statement about your development during the course. This will be
sent to the IBO for final assessment, so it must be of a high quality. This booklet will be produced at the end of the
course, so I’ll explain more about it at that time.


* This handbook has been adapted from The Regent‟s School, Northern Hemisphere for Des Moines Public Schools Central Academy International
Baccalaureate by Dara Green, 2008/09/10.




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YOUR MISSION- Walk through the gallery. Make a general observation of the show. Pick
one piece of work to focus on by reflecting on the questions below in your IWB. Underlined
words in the questions should act as your headings in your IWB.

TIPS

        Make sure to note the name of the museum or gallery.
        Don’t forget to pick up a postcard or go on line for an image from the show to include
         in your IWB! THIS IS MANDATORY!
        Bring a pencil, eraser and colored pencils
  
REFLECTION QUESTIONS                      ****Pick 5 of the 14 to focus on****

1.       Why did you choose this GALLERY SHOW to visit?
2.       What piece in the show STANDS OUT to you? Why? Make sure to note artist, title,
         year and medium.
3.       Describe this work in great DETAIL. Pretend you are describing it to someone who
         can not see it!
4.       Draw an intense STUDY of the piece you described in #3. This is to practice and
         strengthen your skills in addition to documenting your experience.
5.       What ELEMENTS OF ART are important in this piece?
6.       What PRINCIPLES OF ART are reflected in this piece?
7.       What is the artist trying to COMMUNICATE to the viewer? Answer this BEFORE you
         read the artist statement. Then read the artist statement and compare and contrast
         the artist’s intent to what you wrote.
8.       What CHOICES did the artist make to support their message?
9.       What RISKS did this artist take?
10.      Why is this work of art SIGNIFICATE to the show, medium, artist, art world, culture,
         history, etc?
11.      How does the piece you chose relate to the OTHER WORKS in the show?
12.      What is your OVERALL OPINION and observation of this show?
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13. What did you
   LEARN from seeing
   this show?                             Essential materials: get ASAP
14. How will you use                              Hardbound 9”x12” drawing book
   what you learned in                                 o Get one labeled multimedia containing 70 to 90 lb paper
   your OWN WORK?                                 2B, 4B and 6B sketching pencils
                                                  White vinyl eraser
                                                  Glue Sticks
Galleries and museums I would like to visit…           o Get a few. You will use these to paste things in your IWB.
                                                  Black pens
                                                       o All IWB text must be written in black pen. Get a few of your favorite.




GET AND GATHER


Recommended:
   Colored Pencils
         o Range from Crayola to high end artist quality. Pick which is best for you.
   Watercolors
         o Get Prang or Crayola brands
   Oil Pastels
         o I recommend Pentel, good color, low price point. Range from 12 to 36 count. Pick which is best for you.
   Acrylic Paints
         o Big ranges in price and quality. I personally use inexpensive “craft” paint, often with a Mod- Podge overcoat. I
             recommend getting some student grade tube acrylics and some inexpensive “craft” paint and decide which you like
             the best.
   Paint brushes
         o A variety of Taklon flat and round brushes.
         o Brushes can be costly. You get what you pay for. Quality brushes will last you a lifetime if you take care of them.
   Pre-Stretched Canvas or Panels
         o Lots to choose from. If you think this is something you would like to work on pick up a couple different types and
             sizes.
   Supports
         o Always keep your eyes open for things to paint on and/or make art out of. Great and inexpensive supports can be
             found in dumpsters, thrift stores or maybe in the back of your own garage. Be creative and think outside the box!
   Pencil Bag
         o Great way to keep many of the above organized and ready to use.
Tips
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     Shop non-art stores- Walk through your local hardware store
      and find interesting materials to transform. My favorite is
      roofing paper. Yes--the stuff on top of your house! It comes       Note to self…
      in large rolls for large scale projects, it is durable and black
      which really makes color pop! And it is cheap!!!
     Be Green- Art making can be very expensive if you choose it
      to be so. Opt to reuse, recycle and recreate when possible.
      Start saving cardboard, scrap wood, old shoes, house paint,
      etc. Look around the house for the pencil bag you had in 3rd
      grade!
     Studio on the go- Look for a vintage hard sided suitcase at
      your grandma‟s house, local flee market or thrift store to put
      all your supplies in.
     Bit by bit- You do not need to get everything at once (except
      for the essentials). Build up your materials and supplies
      over time. Ask for some for your birthday and the holidays.

 WHERE TO SHOP
The Art Store
801 73rd Street
Windsor Heights
#877.550.5503

*Locally owned. 10% off for Central Academy Students @
the beginning of each semester. High-end products. They
have the sketchbooks in the backroom. The secret
password is Dara Green @ Central Campus. 

Hobby Lobby
4980 Merle Hay Rd
Des Moines
#515.251.4700
OR
1160 E. Army Post Road
South Des Moines
#515.953.1023

*Closed on Sundays. Big selection. Check weekly ad for
sales. High-end to craft quality products.

Michael’s
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1404 22nd Street
West Des Moines
#515.223.8877

*Big selection. Check weekly add for percentage off a full price item. High-end to craft quality products.

Blick Art Supplies
www.dickblick.com
*They have a great selection. I recommend their BLICK brand products for student grade quality and price.




                  YOUR
Theme: What does this mean?

To create meaningful art an artist needs to find a theme or topic with which they have a strong personal link. At this point in your IB course
your theme can be broad and cover a wide range of subject matter (NATURE, MAN MADE, FASHION, BEAUTY etc) but it needs to be
personally linked to you the artist. Think about what interests you. What fascinates you? What are you passionate about?

Some examples themes/motifs that you could choose from (but you are strongly encouraged to develop your own):

        Metamorphosis – life cycles, change, alteration, transfiguration, mutation
        Music – sound, making tone visible, music culture, what do music and art have in common?
        Dance – movement, rhythm, repetition, physicality, meaning in gesture
        Legend/mythology – ancient, primitive, modern, stories, archetypes, moral lessons, religion, ritual, social obligations
        Nature vs. Science – current issues (bioethics) technology, how do we understand the world? Our place in the universe, limits of scientific
         knowledge, art and science, Cubism, Futurism, Orphism, etc.
        Myself - diary, memories, esteem, place in the world, pride, shame, family, heritage, ethnicity, self-portrait, friends, loves, enemies.
        Gender issues – male & female, role in society, in family, in evolution. Advantages/disadvantages of being one or the other. Stereotypes,
         cultural roles, sexuality, gender in politics, gender reversal.
        Scale – close-up/magnified, objects blown out of proportion, large vs. miniscule, other worlds of scale, space, positive/negative, color and
         texture.
        Other worlds – underwater, space, extraterrestrial, microscopic, imagination, computer/virtual world.
        Animals – other life, instinctual, life cycles of, physical/spiritual power in, ecology, animals as symbols, cultural associations with animals.
        Art and the senses – ways of knowing, art that smells, tastes, feels, etc. Art that appeals to alternative senses.
        Cryptography – art as code, codes in life, symbols, signs, text, sense in nonsense, order, mathematics, key to understanding.
        God/religion – creation, destruction, judgment, what is holy? Role of religion in society, metaphysics, personal sense of god, mercy,
         forgiveness, justification, sin, sacrifice.
        Kitsch – what is kitsch? What is beautiful? What is not? Value, mass production, pop culture, your own personal sense of kitsch, aspects of
         society as revealed in its kitsch.
        Graphics – use of line, color and composition to create a graphic identity, advertising, mass media, manipulation of imagery, the (blurred) line
         between what reality and the graphic representation.
        Human anatomy – body, muscle, bone, skin, weight distribution, issues of beauty and human body, use/abuse of the body, skin (color?), aging,
         disease.

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         Dreams – meaning, analysis, associations, truth in, the bizarre, wish-fulfillment, imagery, Surrealism, the subconscious, Sigmund Freud.
         Chance – allowing chance to dictate art, automatic drawing, the Exquisite Corpse, Surrealism, Dadaism, kinetic art, image association.
         Emotion – human feelings, expression, knowledge through emotion, emotional situations, culture and emotions, controlled/uncontrolled
          emotions, conveying emotion, color, line and shape and emotions, Expressionism, Fauvism, Abstraction.
     Installations – manipulating a space, changing space, affecting the psychology of a space.
     Collection/series – repetition, repeated objects, objects in a series, objects that share something in common, distant vs. close relationships
          between objects, association.
     Beauty/ugliness – what defines these? What constitutes the appealing or the repulsive? Manipulating materials so that they take on
          appealing/repulsive qualities.
Note that all the above consist of topics/motifs that can and should be EXTENSIVELY researched experimented with and reflected upon.

Your theme, whatever it is that you choose, should likewise be extensively researched and explored from as many angles as possible.

This theme is what you will now research in your Investigation Workbook.       Theme due ___________________________

                                                                                                                 Adapted from FIS Visual Arts Dept. D.Trebel, by Dara Green, Iowa, USA




Every month, you will be asked to approach your theme through a different “filter” – a way of considering your theme which can help you
develop new ideas regarding your overall theme. Pick from the list below or create your own.

        Self (you, your identity, self image, self-esteem) or dark self (see C.G. Jung)
        Family or ethnic group (not necessarily yours)
        Science & Technology
        Dreams/the surreal world,/alternate reality/questioning reality
        Society/Public vs. Private
        Gender issues/ Sexual politics
        Capitalism/ (Free)Trade/Economic equality/Globalism
        Epistemology (ie. how we know what we know)/TOK
        Conflict/resolution/war/peace
        Art/History/Art History/Interpretation
        Origins/Beginnings/Endings/divisions in time
        Age/Adolescence/Biological growth/evolution
        Location
        Power
        Symbols/Systems of Meaning/Codes
        Kitsch/Taste/Fashion
        Story/Narrative
        Humour/dark humour/
        Shock/Horror/Ugliness
        Any other suitable (and approved by Mrs. Green) filter you might want to consider
    
    
    
    

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    
    
    
    
    


Take your theme (for instance, feminism) and look at it through the filter of one of these topics (say, Kitsch/Taste). Your month‟s project
will involve developing an approach, an idea, experimenting with media and techniques that compliment that idea, researching the idea
and eventually creating an artwork that embodies your idea.




   THEME:_____________________________________________ (use pencil to fill out)_
Month        Filter                 Guiding Question                               Describe briefly

Sept


Oct


Nov


Dec


Jan


Feb


Mar



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Apr


May


Jun


July


Aug




Student Artist___________________________________________________Block_____________ HL or SL




Remember your sketchbook is your only voice when communicating to your examiners in Cardiff, Wales (IB headquarters). Be clear, insightful and reflective!

Fill out “focus of the month” (see box) and page numbers to be assessed. Neglecting to do so will result in a zero for the category.

           Bold text should act as titles in your IWB. Follow the order of this handout when organizing your IWB monthly expectations.
            0-1-2-3-4-5

Write “Theme: Filter: Guiding Question:” at the beginning of each project. 0-1-2-3-4-5 page # ______________

Independent Research: This research should be driven by answering your guiding question. Go beyond your prior knowledge. This class relies on your personal interests and motivation.
Be very clear that you understand what you have researched. You must cite sources. Do not just state the facts. Share your thoughts and opinions. IB wants to know what you think! 0-1-2-3-4-
5 page #s _____________________________

Process: This is the long hand of your project! 0-1-2-3-4-5 page #s ____________________________________________
In addition to showing the long hand of your project, include the following
           Point out the elements and principles you have applied to your project while documenting.
           Draw @ least three thumbnails of composition experimentation of your studio work.
           Think about and document how you will display your work and how, if any, it supports your overall concept.
           Suggestions- include a photo of your final project!




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  Which * did you chose to focus on this month (circle one)? ______________Cultural_____________Investigation_________________

  Cultural Research*: Analyze and compare art and artists from different cultures and times that relate to your studio work. Make sure to
  point out how this work or artist relates to your work! Consider the art for its function and significance. Express your thoughts and
  feeling about the work! 0-1-2-3-4-5 page #s ________________________________

  -A culture can be described as learned or shared beliefs, values, interests, products or patterns of behavior. Culture is dynamic and
  organic and operates on many levels- international, national, local and social interest groups.

  Investigation Research*: This is where you show the materials and techniques you are working with. Show that you have gone beyond
  the classroom demonstrations and information presented in the power point and that you are practicing your skills. Make connections to
  other work you have done in art and in other subjects. 0-1-2-3-4-5 page #s _________________________________

Vocabulary: Use effective and accurate use of the specialist vocabulary of the visual arts. Refer to IB Visual Art Student Handbook. Explain what elements and principles you have observed
in your visual research and studio work. This should also be integrated through out your IWB. 0-1-2-3-4-5 page #s ____________________________________________


Acknowledgement of Sources: Use a range of sources and acknowledge them according to MLA format. Try www.easybib.com!
0-1-2-3-4-5 page #s ______________


Reflection: You are not limited or confined to the questions presented here. What did you learn? What worked and or didn‟t work? How did you problem solve to reach your goals? What
would you do differently next time? What are your overall thoughts and feelings about this work? What are your goals for next month? This should also be integrated through out your IWB.
0-1-2-3-4-5 page #s ___________________________


Artist Statement: In four sentences or less, answer your guiding question. 0-1-2-3-4-5 page #s ___________________________________________

Title: Title your work of art. You can choose “untitled” if you would like but your must specify and explain. 0-1-2-3-4-5 page #s ___________

Answer/Challenge: If I propose a question or challenge via a comment in your IWB you must answer, accept or fix by the next IWB turn in date. Fill in the page numbers where the original
comment was written. If you could not respond to the comment on that same page write the page number in your IWB next to the original comment as where your response can be found.
When possible respond on the same page. If no challenges or questions were asked write “none” on the line to receive your points. 0-1-2-3-4-5 page #s _________________________




IWB Assessment Criteria
Above requirements will be assessed by the following. Scoring is figured with 4 being highest and 5 being beyond. Total score is then times by 3.



  5- Excellent- insightful, mature, original

  4-Proficicient- clear, capable, organized

  3-Satisfactory- adequate, straight forward, conventional

  2-Limited- incomplete, lacks development, vague

  1-Poor- minimal process, disjointed idea, poor construction

  0- did not complete

  SCORE _________/132

  IWB Assessment forms can be found in the cabinet. You are responsible to get one every month and fill it out.
  Place it in you IWB at the beginning of your project research when turning it in.


    Note to self…

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     Am I working in my IWB every day? If not, when          Am I numbering the pages and continuing
do I work in it?                                          numbering when I start a new IWB?

     Am I dating all of my pages on the day that I work        When drawing something from observation, am I
on them along with including a descriptive page title?    writing down where I am and why I‟m choosing to
                                                          draw it?
   Am I completing 2 (SL) 3 (HL) quality pages per
week? What does quality mean?                                 If I have used a book or the internet to find an
                                                          image or info, am I citing in MLA format?
    Am I scanning quality pages every week, on time
and with correct scan title?                                  Am I using a variety of sources? What are some
                                                          ideas of sources besides internet?
     Am I writing in black pen and erasing pencil
marks? Remember, this is going to be photocopied             Am I writing comments on every page of the
and you do not want to make it hard for the examiner      IWB?
to read.
                                                               Am I making connections to things that I am
    Am I remembering to never ever cut or tear            learning in my other classes?
pages from my IWB?


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       Am I reflecting on the qualities of the materials       Am I working on an IB level of thought? What
  I‟m using to make marks and writing about my             does this mean to me?
  observations with different media?                       _________________________________________
                                                           ___________________________________________
       Am I attempting to expand my art vocabulary and     ___________________________________________
  referring to my handbook to learn more?
                                                                Am I going back and answering Mrs. Green‟s
       Do I remember that the IWB is a public document     challenges and questions so that hopefully I can earn
  and that slang and informal language are not             a higher mark band during exams?
  acceptable? It‟s being read by the IB examiner, after
  all!                                                         Am I looking at and studying the IB mark bands
                                                           in my handbook so I know what IB expects of me?
      Does the work in my IWB connect with my studio
  work?                                                         Am I using legible handwriting?

       Am I making notes on why I‟m looking at specific          Am I continuing to develop and practice learned
  artists and how it connects to my own work?              skills?

      Am I including the artist‟s name, title of the           Are my images and page embellishments
  artwork, medium and where I found it (web address,       supporting my concepts, theme, project, etc.
  book title and page, etc. according to MLA)
                                                                 Are my scans of my IWB pages representative
       Am I thinking about my research in a visual way?    of the actual page?
  Using color, headings, and images to complement my
  notes and composing pages so that they look                  Am I leaving a small gap at the top and bottom
  interesting and varied? If not, why?                     on my pages to compensate for the standard size
  ________________________________________                 paper in which they will be copied on for   exams?




 Keep up with IWB pages and studio work. –Noah
 Learn the art vocabulary. – Emily
 Don’t be afraid to try new techniques. And when you make a mistake, try to
  work through it. Don’t try to fix it. -Allison
 Always remember an IB examiner will see this. –Amy
 Concentrate on developing ideas according to the IB rubric and don’t wander to
  far off the path in your IWB. –Mirza
 Don’t procrastinate! –Samantha
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    Don’t get behind. Catching up is the pits. –Liza
    Spend a good 30 minutes to an hour each night devoted to working on art to
       avoid falling behind. –anonymous
    Don’t put off your studio projects. – anonymous
    Don’t put anything off. Art takes the longest to get through. – anonymous
    Be patient with art. Art is one of those subjects that the more you practice the
       better you get. –Bianca
    Plan ahead. Don’t try to cram art. Choose a very specific theme and brainstorm
       some filters. The tighter your theme, the easier it will be come time to create
       your studio work. -Melody



      The Art Store offers 10% off at the beginning of each semester. They have the recommended sketchbooks in stock. Tell
       them what school and what class your student is in and they should be able to help you find what you need.
      While traveling, visit local art galleries and museums with your student. It fulfills a class requirement and is fun for the whole
       family!
      Ask your student what their current studio project/concept is. Their studio projects are very interesting and the extra
       conversation and perspective is beneficial to their growth.
      Encourage your student to work in their sketchbooks for @ least 30 minutes a night. This will help them stay on track and
       manage their time.
      Help your student set up a mini studio in your house where they can experiment with materials and work on their studio
       projects. Good lighting and a flat surface are essential.
      During the school year we have IB Art projects on exhibit at Central Academy. If you are in the building, come check them
       out. They are impressive!




Mandatory*

      Finish your altered book, including IWB pages according to the “IWB Organization” standards.
      Finish @ least 3 studio works, including IWB pages according to the “IWB Organization” standards.
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    *The above requirements will be assessed and recorded in the fall.

Suggested

        Work on any previous studio projects that need improvement.
        Work on gallery visits so you can count them for our monthly requirements next year.
        Collect art materials and supports for next year‟s projects. Look in every barn, garage, city, etc you visit!
        Take pictures while traveling of things that relate to your theme!

SUBJECT TO CHANGE

You can contact me at dara@dagreens.us if you have any questions or need support.




Higher Level Students are required to summit

      12 to 18 studio projects
      25-30 Sketchbook Pages
that support the IB Art criteria in March of 2011.




Standard Level Students are required to summit

      8 to 12 studio projects
      15-20 Sketchbook Pages
that support the IB Art criteria in March of 2011.




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