Visual Arts Workbook Guidance

[Julie]

IB Visual Arts Workbook Guidance

One of the biggest problems I have seen students encounter in their IB1 and IB2 with IB Visual Arts is their workbooks. For my Visual Arts HL course I am taking option B, therefore I focus mainly on my workbook rather than studio work. Below I wish to give advice on how to complete amazing workbooks pages that relate to your studio works. All of the information below is from my personal experience and from watching other IB students in visual arts who have received 6s and 7s for their final IB grade. Besides giving simple advice, I have reviewed the syllabus, and I will try to demonstrate how the advice and tips given relate to what is said in the syllabus about requirements, objectives, outcomes, etc.

Table of Contents

• Quick Tips- The Basics
• Recommended Outline for your Workbook
• The Language of Art You Must Strive Towards
• Guiding Questions for Analyzing Artwork, Explaining Your Works and Reflecting
• Different Types of Workbook Pages You Can Have
• Brief "Do"'s and "Don't"'s for Your Workbook

Investigation Criteria for Full Markings (Syllabus Excerpt)

• Analyses and compares perceptively art from different cultures and times, and considers it thoughtfully for its function and significance.
• Demonstrates the development of an appropriate range of effective skills, techniques and processes when making and analysing images and artifacts.
• Demonstrates coherent, focused and individual investigative strategies into visual qualities, ideas and their contexts, an appropriate range of different approaches towards their study, and some fresh connections between them.
• Demonstrates considerable depth and breadth through the successful development and synthesis of ideas and thoroughly explained connections between the work and that of others.
• Demonstrates effective and accurate use of the specialist vocabulary of visual arts.
• Uses an appropriate range of sources and acknowledges them properly.
• Presents the work effectively and creatively and demonstrates effective critical observation, reflection and discrimination.
• Presents a close relationship between investigation and studio.

Quick Tips- The Basics

Workbook, not a Sketchbook

• The IBO refers to the sketchbooks used for your IB Visual Arts, both Standard Level and Higher Level as a Workbook or Investigation Workbook. There is a subtle reason for this change in name. Typically, a sketchbook is filled with random sketches, drawings, paintings, etc.; meanwhile, the IB Visual Arts Workbook also focuses on a writing aspect. You workbook pages, no matter how creative, will not be solid if the page does not also contain writing with explanations for your drawings, brainstorming, etc. Therefore, for the amount of drawing/sketching you put into your workbook, you should have a solid amount of writing/explanation on the same page to go with it. When your interviewer comes and reviews your workbook pages you have chosen to turn in as you finals/main pages, without writing they cannot see how the page connects to your studio works. Many people have a misconception that they should fill up a page with drawings from their brainstorming, then write another page about it. This is not the case. When the interviewer looks at one of your workbooks pages they want to be able to read about how your sketch(es) relate to your plan of working, inspiration, ideas, artists you are looking into, etc. Moreover, the title "investigation" connected to the workbooks plays a vital role in what you should display to the interviewers as well in your workbooks. Besides your brainstorming, experimentation, sketches and drawings, they want to see that you have investigated the techniques you are using or artists you are imitating. Make sure that for every studio work you create, you have a solid amount of investigatory explanation in your workbooks.
• How does this relate to the Syllabus for IB Visual Arts both HL and SL?
  • Syllabus Excerpt (compare and contrast the information I have given to the syllabus to see how the information correlates):
    • The purpose of the investigation workbooks is to encourage personal investigation into visual arts, which must be closely related to the studio work undertaken. The relative importance of the investigation workbooks depends on whether the student has chosen option A or option B.
    • The investigation workbooks should incorporate contextual, visual and critical investigation. They should function as working documents and support the student’s independent, informed investigation and studio practice. Investigation workbooks provide an opportunity for reflection and discovery and they play a key role in allowing ideas to take shape and grow. They should contain visual and written material that address contextual, visual and critical aspects of the investigation. They should also reflect the student’s interests and include wide-ranging first-hand investigations into issues and ideas related to visual arts. There should be a balance in the investigation between analytical and open-ended discussion, illustrating the student’s creative thinking.
    • It is important to refer to the definition of “investigate” as used in this guide. (Please see the “Glossary of action verbs” section at the end of this guide.)

Quantity and Quality

• Many students think that they can get by with minimal sketchbooks pages, as long as the quality is sufficient. This is also a misconception. When your interviewer comes to look at your studio works and investigation workbooks, they want to be able to see more pages than just the ones you turned in as your main pages. They want to see investigations, experimentation and drawings that you looked into, even if you did not use those newly learned skills or factual information in your final studio works. This demonstrate to the interviewer that you are not just meeting the criteria form the IB Visual Arts Syllabus, yet going the extra mile. For a certain studio work, you may turn in 3 pages from your investigation workbooks about it, but the interviewer will want to see more. Even if you have one extra page, two, five or fifteen, displaying extra knowledge that you did not turn in is vital. After all, you are turning in your main pages, not all of the pages related to one of you main studio works.
• You should be completing about 5 workbook pages a week. So lets do the math: if there are approximately 36 weeks in one school year, and the IB Visual Arts Program is two years, you have 72 weeks of school. 72 x 5= 360. Therefore, you should have a minimum of about 360 workbook pages when it is time for your art interview! This is a lot, but it is doable if you stay on track!

Areas to Consider

• There are five common functions of art: Personal, Social, Spiritual, Educational and Political. Your studio works should strive to encompass more than one of these areas, but you are not required to do all of the areas.
• Five Areas:
  • Personal function: to express personal feelings. Perhaps the artist wanted to remind viewers of personal family tragedy, or perhaps he just wanted to tell them to appreciate what they had, and to live each day as if it were their last.
  • Social function: to reinforce and enhance the shared sense of identity of those in family, community, or civilization, for example, festive occasions, parades, dances, uniforms, important holidays or events.
  • Spiritual function: to express spiritual beliefs about the destiny of life controlled by the force of a higher power.
  • Educational function: symbols and signs to illustrate knowledge not given in words
  • Political function: to reinforce and enhance a sense of identity and ideological connection to specific political views, parties and/or people.

Edited February 8, 2011 by Julie

[Julie]

Recommended Outline for your Investigation Workbook

This is how I generally set the the workbook pages for my studio works. It is an easy outline to follow, and it keeps me organized. It also demonstrates to the interviewer that I have a consistent train-of-thought when I pursue a new studio work. This is from my personal experience. No such outline is recommended or required by the IBO. Also, if you have found your own outline that works for you, this one is not necessarily better. The final outline is up to you.

Generally, teachers ask for about 5 solid, good, creative workbook pages a week. I am required to turn in a project every two weeks, therefore I designed my own outline to give me 6+ sketchbooks pages. The remaining pages I usually fill with other artists, random experimentation, etc. (depending on what I feel I am lacking in my workbook)

Outline and Explanation:

• Introduction Page- introduce the studio work you plan on investigation, brainstorming and creating. Explain why you are interested in that specific studio work creation. Give a few minor sketches of how you visualize the project.
  
• Brainstorming Page- brainstorm your ideas. The brainstorming page may turn into two pages depending on how simple or complex the studio work idea is. Write about technique ideas, media ideas, area(s) you wish to target, etc. Give about 2-3 different ideas you have in your mind about creating the studio work and how you envision the final piece. Another good idea is to draw out the materials you are thinking about using, instead of gluing in pictures of them. At the end of the brainstorming page write about which ideas you are looking into pursuing the most. Use colors, underlining, etc. to indicate minor ideas versus major ideas.
  
• Experimentation Pages- Experiment in your workbook with the medias and/or techniques your wish to incorporate into your studio piece. The experimentation page typically turns into two or three pages. Make the experimentation the main part of the page and leave a corner or strip of the page to explain yourself (do you like the media/technique, how did the experimentation go, define what you mean by bad or good experimentation, do you plan on using this technique for your studio work or have you decided on another, why or why not have you chosen this media/technique, etc.). Write you explanation in paragraph or bullet-point format. Do not write out questions you are answering and then the answers.
  
• Artist Page- Introduce an artist that inspired you. Not all studio works will have the artists page because you may use one artist inspiration for more than one studio piece or you may not have had a specific artist that inspired you for that specific studio work. Briefly write factual information about the artist (this writing should be in the minority). Sketch out some of his/her works or glue in pictures if it is too difficult to imitate their works. Explain how their art has inspired you and how you plan to use that inspiration in your studio work(s) (this writing should be in the majority). Hint: you do not have to imitate the artists technique to use them as an inspirational figure. You could have been inspired by the themes they target, sizes of art they create, their morals and/or beliefs, etc. Make sure to mention what aspect about the artist inspired you!
  
• Process Page- have someone take pictures randomly throughout your creation of the studio work so you can glue them onto your process page. Reflect on the pictures (what are you doing in the photographs, are you having trouble, are you doing well, are you satisfied with your progress, etc.)
  
• Reflection Page- Once your studio piece is complete is it good to have a reflection page about your work. I usually glue in a picture of the final work and then reflect. Speak about the good things and the bad things, difficulties, your likes and dislikes, how you have enhanced your skill in a certain media or technique, if you are satisfied with your work and why or why not, what would you do differently if you had to do the studio piece again, etc.
  

The Language of Art

People throughout the world speak many different languages. To learn a new language, you need to learn new words and a new set of rules for putting those words together. The language of visual arts has its own system. They are arranged according to basic principles. As you learn these basic elements and principles, you will learn the language of art. It will increase your ability to understand, appreciate, and enjoy art, and to express yourself clearly when discussing or producing artwork.

In you investigation workbooks, you should be demonstrating an increase in knowledge about the language of art. This is done through investigation pages and experimentation pages. You investigations and experimentation do not always have to be related directly to the studio piece you are working with. They could simply be for further knowledge and possible ideas for future works.

Elements of Art:

• line
  
• color
  
• form
  
• space
  
• value
  
• shape
  
• texture
  

Principles of Design:

• pattern
  
• balance
  
• proportion
  
• variety
  
• emphasis
  
• rhythm
  
• movement
  
• unity
  

Properties in Art

• Subject- is the image viewers can easily identify in a work of art. The subject may be one person or many people; it may be an event, an object, a symbol, etc. In these types of works, the elements of art themselves become the subject matter.
  
• Composition- the way the principles of art are used to organize the elements of art
  
• Content- the message the work communicates. The message may be an idea or a theme, such as family togetherness, or emotions like love, loneliness, happiness, pride, etc.
  

You investigation workbook should demonstrate, over time, a high quality of understanding of the language of art, with respect to the elements or art, principles of design and the basic properties/features of an artwork. Do not expect to have amazing vocabulary and understanding right at the beginning of your time in IB Visual Arts. These are skills you will develop over time. The interviewers want to see a development in your skills. So how do you go about demonstrating an increase in knowledge about the Language of Art?

Tips for Developing your Knowledge about the Language of Art:

Investigation Pages- when investigating an artist, look up new vocabulary (artistic words related to the form of art you are looking at). Create a investigation workbook page about it and write about it. One thing I always added in was a corner in the page called: "New Glossary Terms", where I would list new words I learned and their brief definition. Feel free to create investigation pages throughout your workbook that are unrelated to your current studio piece you are working on.

Experimentation Pages- when experimenting with a new technique or medium, make sure to check up the actual terminology for them. Like the investigation pages, write up the new vocabulary and their brief definitions. This will demonstrate to the interviewer that you recognized new vocabulary linked to a specific medium and technique and that you have taken note of it. Make sure to use that new vocabulary throughout the rest of your investigation workbook if you use that technique or medium. The interviewer likes to see how you have learned new, important words, and strive to use them when explaining your own art.

Good sites for vocabulary:

http://www.bluemoonwebdesign.com/art-glossary.asp

http://www.kqed.org/assets/pdf/arts/programs/spark/visartvocab.pdf?trackurl=true

Edited February 4, 2011 by ~Julie~

[Julie]

Guiding Questions

Questions for Analyzing Artworks

First Reaction- write down your first response to the artwork

• Did you like it?
  
• How does it make you feel?
  
• Does it remind you of anything you have seen before?
  

Description- list what you can see in this artwork

• Figures, colors, shapes, objects, background, etc.
  
• Imagine you are describing it to a blind person. Do this in as much detail as possible
  

Formal Analysis- write down your observations in more detail, looking at these specific aspects of the artwork:

1. Colors:
   
   • Which type of palette has the artist used: is it bright or dull, strong or weak?
     
   • Are the colors mostly complementary, primary, secondary or tertiary?
     
   • Which colors are used most, and which are used least in this artwork?
     
   • Are the colors used different ways in different parts of the artwork?
     
   • Have the colors been applied flat (straight from the tube), or have different colors been mixed?
     

[*]Tones:

• Is there a use of light/shadow in this artwork?
  
• Where is the light coming from? where are the shadows?
  
• Are the forms in the artwork realistically modeled (does it look 3D)?
  
• Is there a wide range of tonal contrast (very light highlights and very dark shadows) or is the tonal range quite narrow (mostly similar tones)?
  

[*]Use of Media:

• What medium has been used?
  
• How has the artist used the medium (applied thick or thin? How can you tell?)
  
• Can you see brushstrokes, markmaking or texture? Describe the shape and direction of the brushstrokes/marks. What size of brush.pencil was used?
  
• Was is painted, drawn, sculpted quickly, or slowly? What makes you think this?
  

[*]Composition:

• What type of shaped are used in this artwork? (rounded, geometric, curved, etc.)
  
• Is there a mixture of different types of shapes or are all of the shapes similar?
  
• Are some parts of the composition full of shapes and some empty or are the shapes spread evenly across the artwork?
  
• Are some shapes repeated or echoed in other parts of the artwork?
  
• Does the whole composition look full of energy and movement, or does it look still and peaceful?
  
• How did the artist create this movement or stillness?
  
• What is the center of interest in the composition?
  
• How does the artist draw your attention to it?
  

[*]Mood/Emotion:

• What do you think the artist wanted you to feel when you look at this artwork?
  
• What has he/she used to create a mood? (think about the colors, shapes, tones, etc.)
  
• How has he/she succeeded in creating this mood?
  

Interpretation- your personal thoughts about the work

• What do you think the artist is trying to say in this artwork? What does it mean?
  
• What is the main theme or idea behind this piece?
  
• If you were inside this artwork, what would you be feeling / thinking?
  
• Does the artwork have a narrative (tell a story)? is it a religious artwork?
  
• Is it abstract? is it realistic? Why?
  
• How would you explain this artwork to someone else?
  

Evaluation- based on what you have observed, give your opinion of the artwork with reasons

Questions for Reflecting on a Studio Work

• How do you feel overall with the studio work?
  
• Define what you mean by "good" or "bad" studio work?
  
• What difficulties did you encounter?
  
• How did you overcome these difficulties?
  
• Does the studio work look like how you imagined it?
  
• What would you do differently if you could do it over again?
  
• What is your favorite part about your final studio piece?
  

[bigbangfan]

Guiding Questions

Questions for Analyzing Artworks

First Reaction- write down your first response to the artwork

• Did you like it?
  
• How does it make you feel?
  
• Does it remind you of anything you have seen before?
  

Description- list what you can see in this artwork

• Figures, colors, shapes, objects, background, etc.
  
• Imagine you are describing it to a blind person. Do this in as much detail as possible
  

Formal Analysis- write down your observations in more detail, looking at these specific aspects of the artwork:

1. Colors:
   
   • Which type of palette has the artist used: is it bright or dull, strong or weak?
     
   • Are the colors mostly complementary, primary, secondary or tertiary?
     
   • Which colors are used most, and which are used least in this artwork?
     
   • Are the colors used different ways in different parts of the artwork?
     
   • Have the colors been applied flat (straight from the tube), or have different colors been mixed?
     

[*]Tones:

• Is there a use of light/shadow in this artwork?
  
• Where is the light coming from? where are the shadows?
  
• Are the forms in the artwork realistically modeled (does it look 3D)?
  
• Is there a wide range of tonal contrast (very light highlights and very dark shadows) or is the tonal range quite narrow (mostly similar tones)?
  

[*]Use of Media:

• What medium has been used?
  
• How has the artist used the medium (applied thick or thin? How can you tell?)
  
• Can you see brushstrokes, markmaking or texture? Describe the shape and direction of the brushstrokes/marks. What size of brush.pencil was used?
  
• Was is painted, drawn, sculpted quickly, or slowly? What makes you think this?
  

[*]Composition:

• What type of shaped are used in this artwork? (rounded, geometric, curved, etc.)
  
• Is there a mixture of different types of shapes or are all of the shapes similar?
  
• Are some parts of the composition full of shapes and some empty or are the shapes spread evenly across the artwork?
  
• Are some shapes repeated or echoed in other parts of the artwork?
  
• Does the whole composition look full of energy and movement, or does it look still and peaceful?
  
• How did the artist create this movement or stillness?
  
• What is the center of interest in the composition?
  
• How does the artist draw your attention to it?
  

[*]Mood/Emotion:

• What do you think the artist wanted you to feel when you look at this artwork?
  
• What has he/she used to create a mood? (think about the colors, shapes, tones, etc.)
  
• How has he/she succeeded in creating this mood?
  

Interpretation- your personal thoughts about the work

• What do you think the artist is trying to say in this artwork? What does it mean?
  
• What is the main theme or idea behind this piece?
  
• If you were inside this artwork, what would you be feeling / thinking?
  
• Does the artwork have a narrative (tell a story)? is it a religious artwork?
  
• Is it abstract? is it realistic? Why?
  
• How would you explain this artwork to someone else?
  

Evaluation- based on what you have observed, give your opinion of the artwork with reasons

Questions for Reflecting on a Studio Work

• How do you feel overall with the studio work?
  
• Define what you mean by "good" or "bad" studio work?
  
• What difficulties did you encounter?
  
• How did you overcome these difficulties?
  
• Does the studio work look like how you imagined it?
  
• What would you do differently if you could do it over again?
  
• What is your favorite part about your final studio piece?
  

hey pulchritudinous procrastinator!!! You rock! Thanks for adding this extremely useful post for all IB Studio Art students!! If only you have posted it in time for my november 2010 visual arts exam!! But thanks anyway. What works for the IBS people works for me!! I hope you get a high grade on visual arts!!

[Julie]

Different Types of Workbook Pages

When I first enter the IB Visual Arts program, I was really confused as to what different things I can put into my workbook. At the beginning of my IB1, I experimented a lot with different types of pages to see what comments I would receive from my teacher. By the end of my first semester, I compiled a list of good types of workbook pages that received good comments. I continue to utilize that list whenever I feel that I am missing something in my workbook. For all of you who are not quite sure what you can include into your own workbooks, here is the list I compiled, so it may give you some useful ideas:

• Artist Page- a page in your sketchbook researching a specific artist of your interest. This page usually contains a creative title (decorated artist's name, decorated piece of works name, etc.), a brief biography, reasons you chose the artist, how you plan to use the knowledge you have learned from that artist in your future works, sketches or pictures of the artist's works, etc.
  
• Art Analysis Page- this is not an "Artist Page". It focuses solely on one work from a specific artist and analyzes that work in-depth. This page is typically mostly writing with a brief sketch of the work being analyzed and a picture of the original work. See the "Questions for Analyzing Artwork" for guidance on this page.
  
• Technique Experimentation Page- this is a page filled with your experimentation with one specific technique. Commonly, this page turns into 2 or 3 pages. The reason for this is because sometimes you can experiment with the same technique using different mediums, so you may chose to experiment with 2-3 different mediums, each on its own page. Make sure to reflect on your experimentation on each page, not just the last one!
  
• Medium Experimentation Page- this is a page filled with your experimentation with one specific medium. Commonly, this page turns into 2 or 3 pages. The reason for this is because sometimes you can experiment with the same medium using different techniques, so you may chose to experiment with 2-3 different techniques, each on its own page. Make sure to reflect on your experimentation on each page, not just the last one!
  
• Research Page (other than artists)- this page is similar to the "artist page", but instead of investigation/researching one artist, you are researching one symbol, object, person, theme, etc. On this page you will, generally, draw the object, symbol, etc. being researched and write out new information you have learned about it. A good way to go about your writing on the "research page" would be to give various definitions of the object being researched- common dictionary definition, word origin and history, medical dictionary, science dictionary, famous quotes using that object, etc. Finally, form your own definition out of the researched definitions to demonstrate how you plan on using the object, symbol, etc. in your studio work(s).
  
• Practicing Page- similar to the experimentation pages, yet is related to one studio work. If you plan on using a new medium you are unfamiliar with for a studio work, it is a good idea to have 1-3 experimental pages of that medium or technique before you begin your actual studio work. If the experimentation is too large to be done in your workbook, then take pictures while experimenting (e.g. if you are experimenting with clay) and glue them on to one page in your workbook. Make sure to reflect on the experimentation!
  
• TOK Link Page- for students who are on the IB Diploma Program (not certificate program), it is important to connect your IB Visual Art experience to your TOK class. This page is simply a page with you writing about a position you take on a certain debatable/controversial topic concerning art, giving arguments, giving examples of artworks to defend your arguments, and giving a conclusion. The example artworks you use can be both in the form of picture of sketches. Of course, sketching is always more preferable, but sometimes it is difficult to imitate artworks, so feel free to use photographs. Generally, you should have a couple of these types of pages in your IB Visual Arts years. If you have 2 or 3 by the time your interview takes place, that's perfect!
  

Some Ideas for TOK Questions for you TOK Link Page:

• What is Art?
  
• Is art original?
  
• Is it important for artworks to be original? Why?
  
• Life imitates art far more than art imitates life. Explain.
  
• Is art a Lie or Truth? Explain.
  

Edited February 5, 2011 by ~Julie~

[Julie]

Do's and Don't's for Your Workbook Pages

DON'T:

1. If you mess up a page in you sketchbook do not tear it out, instead write about it, on the same page, about what you did wrong and why it failed and what you learned
2. Do not feel like your art needs to based off of some deep, philosophical topic, or some huge event in society (ex. global warming, racism, rape, women's rights, etc). It is way overused and sometimes you run out of ideas, but if you have lots of ideas for something like that, go for it. For instance, I sat around for ages trying to think of a topic the interviewers would think was deep and profound, in the end, I found a simple topic where I could look into the history, society and connect it personally. I ended up taking "coffee" as a theme I use over and over again, and it allowed me to look into how it developed, social problems, addictions, etc.
3. Don't use glitter. It's not considered professional. If you want something to look shinny, find some specific paint or try to make the effect on your own.

DO:

1. Always leave 1-2 pages at the beginning of your sketchbook blank in order to make a table of contents. Some students leave it at the end, don't do that. The IB interviewer should be able to open your sketchbooks first page and find what he/she wants
2. Make sure to number your pages once you are done with your sketchbook
3. Put dates. They are getting stricter in IB about having dates on each page. They'll be looking for it.
4. Reference everything. Anything you get from books, online, etc. need to be references. Just write the name of the book, or the internet sight underneath the picture or info you are quoting or summarizing. I sometimes just put the references in a small box at the bottom of the page.

Edited February 8, 2011 by Julie

[Anya W]

Hey! Thanks again for this - But I do have another question ... in your first post, you said you chose Option B? I wasn't aware that there were options to choose - I just thought in Visual Arts HL you had to have an Investigation Workbook and 12-18 projects ...

[Julie]

No no, there is Option B for both SL and HL. Let me explain:

Higher level (240 hours)

Option A (HLA)-

Studio work (60%)

Investigation workbooks (40%)

Finals: 12-18 studio works, 25-30 workbooks pages turned into the interviewer/grader

Option B (HLB)

Investigation workbooks (60%)

Studio work (40%)

Finals: 30-40 workbook pages, 8-12 projects

Standard level (150 hours)

Option A (SLA)

Studio work (60%)

Investigation workbooks (40%)

Finals: 8-12 studio works, 15-20 workbook pages

Option B (SLB)

Investigation workbooks (60%)

Studio work (40%)

Finals: 25-30 workbook pages, 6-8 studio works

[Snowflake]

Your guide is simply amazing! Unfortunately, I only discovered it now and I've already handed in my CRB :'(

Do you have any advice for the interivew? I'm so confused about the whole thing... for instance, how important is it in regards to the final IB grade? If 60% of the grade is on the 30 pages I turned in while 40% is on the studio work (I take SL option B), where does the interview come in? Whenever I'm nervous, I start stuttering and stop making sense so I'm totally freaked out by the interview. Can't believe that it's in less than 2 weeks!

[Briséis]

Fantastic! Thanks sooo much for your guide! I'm in IB1, and I'm totally struggling with my art workbook , but now with this guide, I know where I have to go, and what I have to do!

[rosirosiful]

I am making my EE on visual arts but my school doesn't offer it as class. I would like to ask you if you can recommend me any book that talks about the elements (color, shape, background...) that you explained?

I have already done my analysis and everything, but I need a book to put there as theory

I would be really thankfull if you could help me :C my EE is due on friday

[MM57]

Different Types of Workbook Pages

When I first enter the IB Visual Arts program, I was really confused as to what different things I can put into my workbook. At the beginning of my IB1, I experimented a lot with different types of pages to see what comments I would receive from my teacher. By the end of my first semester, I compiled a list of good types of workbook pages that received good comments. I continue to utilize that list whenever I feel that I am missing something in my workbook. For all of you who are not quite sure what you can include into your own workbooks, here is the list I compiled, so it may give you some useful ideas:

• Artist Page- a page in your sketchbook researching a specific artist of your interest. This page usually contains a creative title (decorated artist's name, decorated piece of works name, etc.), a brief biography, reasons you chose the artist, how you plan to use the knowledge you have learned from that artist in your future works, sketches or pictures of the artist's works, etc.
  
• Art Analysis Page- this is not an "Artist Page". It focuses solely on one work from a specific artist and analyzes that work in-depth. This page is typically mostly writing with a brief sketch of the work being analyzed and a picture of the original work. See the "Questions for Analyzing Artwork" for guidance on this page.
  
• Technique Experimentation Page- this is a page filled with your experimentation with one specific technique. Commonly, this page turns into 2 or 3 pages. The reason for this is because sometimes you can experiment with the same technique using different mediums, so you may chose to experiment with 2-3 different mediums, each on its own page. Make sure to reflect on your experimentation on each page, not just the last one!
  
• Medium Experimentation Page- this is a page filled with your experimentation with one specific medium. Commonly, this page turns into 2 or 3 pages. The reason for this is because sometimes you can experiment with the same medium using different techniques, so you may chose to experiment with 2-3 different techniques, each on its own page. Make sure to reflect on your experimentation on each page, not just the last one!
  
• Research Page (other than artists)- this page is similar to the "artist page", but instead of investigation/researching one artist, you are researching one symbol, object, person, theme, etc. On this page you will, generally, draw the object, symbol, etc. being researched and write out new information you have learned about it. A good way to go about your writing on the "research page" would be to give various definitions of the object being researched- common dictionary definition, word origin and history, medical dictionary, science dictionary, famous quotes using that object, etc. Finally, form your own definition out of the researched definitions to demonstrate how you plan on using the object, symbol, etc. in your studio work(s).
  
• Practicing Page- similar to the experimentation pages, yet is related to one studio work. If you plan on using a new medium you are unfamiliar with for a studio work, it is a good idea to have 1-3 experimental pages of that medium or technique before you begin your actual studio work. If the experimentation is too large to be done in your workbook, then take pictures while experimenting (e.g. if you are experimenting with clay) and glue them on to one page in your workbook. Make sure to reflect on the experimentation!
  
• TOK Link Page- for students who are on the IB Diploma Program (not certificate program), it is important to connect your IB Visual Art experience to your TOK class. This page is simply a page with you writing about a position you take on a certain debatable/controversial topic concerning art, giving arguments, giving examples of artworks to defend your arguments, and giving a conclusion. The example artworks you use can be both in the form of picture of sketches. Of course, sketching is always more preferable, but sometimes it is difficult to imitate artworks, so feel free to use photographs. Generally, you should have a couple of these types of pages in your IB Visual Arts years. If you have 2 or 3 by the time your interview takes place, that's perfect!
  

Some Ideas for TOK Questions for you TOK Link Page:

• What is Art?
  
• Is art original?
  
• Is it important for artworks to be original? Why?
  
• Life imitates art far more than art imitates life. Explain.
  
• Is art a Lie or Truth? Explain.
  

Oh my god thank you so much for posting this! I have been struggling so bad recently with my WB! I'm in a sort of dry spell right now because I feel like I ran out of stuff to put in there. Cannot stress how much this has helped! Thanks again!

[Edgar Alemán]

Dear god, i've been wrong the whole time! And i hand it in in two weeks or so! What do I do?

[Andyboi]

Dear god, i've been wrong the whole time! And i hand it in in two weeks or so! What do I do?

Hasn't your teacher been guiding you in your workbook????

[Guest Aastha]

those 30-40 pages to be sent in CRB are doable in 10 - 8 days

5-9 per day

[Edgar Alemán]

Hasn't your teacher been guiding you in your workbook????

Sort of. He focuses more on studio work and I haven't done any research on other artists.

[LoneAngel]

I was wondering if you lot could help me, I've got my interview soon for my exhibition. Unfortunately I was unable to complete all my pages for each course work, although I have over the required amount. In other words I have the required amount, but for one of my pieces I haven't adequate pages to describe it's process. My teacher will be able to confirm that its my work, but how will the lack of pages affect my interview?

[Wide Eyed Wanderer]

The interviewer may be suspicious about whether you actually did the work. Moreover, you'll lose points, as one of the criteria state 'presents a close relationship between IWB and studio". Try to put in a few pages now. If you don't have pictures of the work at each stage, maybe you can sketch the stages and mention what went wrong etc.

[Guest Aastha]

How many pages Approx ..minimum should a OPTION B HL do by exhibition?

[Wide Eyed Wanderer]

• You should be completing about 5 workbook pages a week. So lets do the math: if there are approximately 36 weeks in one school year, and the IB Visual Arts Program is two years, you have 72 weeks of school. 72 x 5= 360. Therefore, you should have a minimum of about 360 workbook pages when it is time for your art interview! This is a lot, but it is doable if you stay on track!
  

There is no prescribed amount of pages. You should just fulfill the criteria and a substantial amount to show the examiner. Since you're HL option B, try to have atleast 350 pages.