Process Portfolio Checklist

HAPPY 2018!

It’s the New Year!

If you are in your second year as a DP visual arts student, and are in a ‘May session’ school in the Northern Hemisphere, now would be a great time to review your progress to date: it’s time to check on what you have, and have not, done in relation to all three components (Comparative Study, Process Portfolio and Exhibition).

As I hope you know, in around three months’ time you will be submitting all of this to the IB as part of your final examination upload. To help with this process, and with specific reference to the Process Portfolio, I am drawing your attention to the Process Portfolio checklist (below).

My friend and colleague Jayson Paterson constructed it and posted it on the old Online Curriculum Centre a few months ago, so it’s possible that your art teacher has already downloaded it and shared it.

But if not, I urge you to check that you have done all the things on the checklist.

(I have asked Jayson if its OK to post it here and he has given approval.)

 

 

Process portfolio HL student checklist

Does my process portfolio meet the minimum requirements?

• Does my process portfolio consist of 13-25 screens?
• Does my process portfolio show evidence of working in at least three (3) different forms from at least two (2) of the different columns in the forms and media table?

Double Check:

Higher Level students need to work across a range of three forms (drawing and painting, for example), rather than a range of media (watercolour and acrylic, for example) as presented in this table in at least two of the three columns (two-dimensional forms, three-dimensional forms and Lens-based, electronic and screen-based forms).

Double Check:

Two-dimensional forms	Three-dimensional forms	Lens-based, electronic and screen-based forms
Drawing: such as charcoal, pencil, ink, collage Painting: such as acrylic, oil, watercolour, murals Printmaking: such   as relief, intaglio, planographic, chine collé Graphics: such as                 illustration and design, graphic novel, storyboard	Carved sculpture: such as carved wood, stone, block Modelled sculpture: such as wax, polymer clays Constructed sculpture: such as assemblage, bricolage, wood, plastic, paper, glass Cast sculpture: such as plaster, wax, bronze, paper, plastic, glass Ceramics: such as hand-built forms, thrown vessels, mould-made objects Designed objects: such         as fashion, architectural models, vessels, interior design, jewellery Site specific/ephemeral: such as land art, installation, performance art Textiles: such as fibre, weaving, constructed textiles	Time-based and sequential art: such as stop-motion, digital animation, video art Lens media: such as analogue (wet) photography, digital photography, montage Lens-less media: such as photogram/rayograph, scenography, pinhole photography, cyanotype, salted paper Digital/screen based: such as vector graphics, software developed painting, design and illustration

Which three (3) media?

Which two (2) forms?

• Has my school’s referencing style been used to acknowledge sources at point of use?
• Is each reproduced image adequately cited?
• Does every image of my own work include full citation details?
• Do any images of resolved artworks that will be used in my exhibition include a statement to indicate this?
• Does my process portfolio include a reference list and have I added a reference list/bibliography/works cited list to the end?
• Is my process portfolio saved as a portable document file (PDF)?
• Is the file no larger than twenty megabytes (20MB)?

Does my process portfolio reflect my achievement against the assessment criteria?

Criterion A: Skills, techniques and processes

• Does my process portfolio adequately document, both in written and visual forms my experimentation and manipulation of different skills, techniques and processes?
• Does my process portfolio articulate my evaluation of skills, techniques and processes or provide some rationale for my selection of particular skills, techniques and processes for the art-making I have documented?

Criterion B: Critical investigation

• Is there sufficient evidence of in-depth critical investigation into other artists’ art-making in my process portfolio?
• Have I clearly articulated how my investigations into the work and practices of other artists have impacted and influenced my own art-making practice?

Criterion C: Communication of ideas and intentions

• Does my process portfolio adequately document my conceptual or intentional concerns in my art-making and my development of these ideas?
• Does my process portfolio articulate how various media, my technical skills and the ideas for my work have been brought together to realise my artistic intentions?

Criterion D: Reviewing, refining and reflecting

• Does my process portfolio have evidence of ongoing and sustained reflection and evaluation over the development of my work that is supported by visual evidence?
• Have I articulated a realistic reflection of my observations of my own strengths, weaknesses and development as an artist?

Criterion D: Presentation and subject-specific language

• Are each of my screens captured clearly so that text is legible and visuals can be clearly seen?
• Is my layout considered and engaging?
• Are all the screens in the correct orientation?
• Are images supported by sufficient explanatory annotations and text accompanied by sufficient visual evidence?
• Have I consistently used the most appropriate visual arts terminology appropriately?

 

Process Portfolio SL student checklist

Does my process portfolio meet the minimum requirements?

• Does my process portfolio consist of 9-18 screens?
• Does my process portfolio show evidence of working in at least two (2) different forms from at least two (2) of the different columns in the forms and media table?

Double Check:

Standard Level students need to work across a range of two forms from at least two of the three columns (two-dimensional forms, three-dimensional forms and Lens-based, electronic and screen-based forms).

Two-dimensional forms	Three-dimensional forms	Lens-based, electronic and screen-based forms
Drawing: such as charcoal, pencil, ink, collage Painting: such as acrylic, oil, watercolour, murals Printmaking: such   as relief, intaglio, planographic, chine collé Graphics: such as illustration and design, graphic novel, storyboard	Carved sculpture: such as carved wood, stone, block Modelled sculpture: such as wax, polymer clays Constructed sculpture: such as assemblage, bricolage, wood, plastic, paper, glass Cast sculpture: such as plaster, wax, bronze, paper, plastic, glass Ceramics: such as hand-built forms, thrown vessels, mould-made objects Designed objects: such as fashion, architectural models, vessels, interior design, jewellery Site specific/ephemeral: such as land art, installation, performance art Textiles: such as fibre, weaving, constructed textiles	Time-based and sequential art: such as stop-motion, digital animation, video art Lens media: such as analogue (wet) photography, digital photography, montage Lens-less media: such as photogram/rayograph, scenography, pinhole photography, cyanotype, salted paper Digital/screen based: such as vector graphics, software developed painting, design and illustration

Which two (2) media?

Which two (2) forms?

• Has my school’s referencing style been used to acknowledge sources at point of use?
• Is each reproduced image adequately cited?
• Does every image of my own work include full citation details?
• Do any images of resolved artworks that will be used in my exhibition include a statement to indicate this?
• Does my process portfolio include a reference list and have I added a reference list/bibliography/works cited list to the end?
• Is my process portfolio saved as a portable document file (PDF)?
• Is the file no larger than twenty megabytes (20MB)?

Does my process portfolio reflect my achievement against the assessment criteria?

Criterion A: Skills, techniques and processes

• Does my process portfolio adequately document, both in written and visual forms my experimentation and manipulation of different skills, techniques and processes?
• Does my process portfolio articulate my evaluation of skills, techniques and processes or provide some rationale for my selection of particular skills, techniques and processes for the art-making I have documented?

Criterion B: Critical investigation

• Is there sufficient evidence of in-depth critical investigation into other artists’ art-making in my process portfolio?
• Have I clearly articulated how my investigations into the work and practices of other artists have impacted and influenced my own art-making practice?

Criterion C: Communication of ideas and intentions

• Does my process portfolio adequately document my conceptual or intentional concerns in my art-making and my development of these ideas?
• Does my process portfolio articulate how various media, my technical skills and the ideas for my work have been brought together to realise my artistic intentions?

Criterion D: Reviewing, refining and reflecting

• Does my process portfolio have evidence of ongoing and sustained reflection and evaluation over the development of my work that is supported by visual evidence?
• Have I articulated a realistic reflection of my observations of my own strengths, weaknesses and development as an artist?

Criterion D: Presentation and subject-specific language

• Are each of my screens captured clearly so that text is legible and visuals can be clearly seen?
• Is my layout considered and engaging?
• Are all the screens in the correct orientation?
• Are images supported by sufficient explanatory annotations and text accompanied by sufficient visual evidence?
• Have I consistently used the most appropriate visual arts terminology appropriately?

GOOD LUCK!