The document provides tips for students taking the IB Visual Arts examination to achieve the highest score. It emphasizes developing a theme for one's artworks, thoroughly researching topics in an investigation workbook (IWB), and ensuring artworks show personal connection, increasing depth and skill over time. Key aspects the IB examiners look for include a balanced IWB with both writing and visuals, artwork that demonstrates student progress and challenges themselves, and pieces that convey a deep, focused theme.
This document provides guidance for students taking an A-Level Art course. It outlines the course structure over two years, including coursework and externally set assignments. It describes the different art disciplines that will be covered, such as drawing, printmaking, painting, and sculpture. Students are expected to work independently and complete all assignments. Regular attendance is required as the course moves quickly. The document also provides information on annotation, analyzing artwork, color theory, techniques like gouache painting, and the equipment required. The goal is to guide students to develop their artistic skills and achieve a high grade.
Alexander Calder was an American artist born in 1898 into a family of artists. He is famous for inventing the mobile, kinetic sculptures made of metal that moved and balanced in space. Even as a child, Calder showed an artistic talent and set up his own art studio by age 8 where he enjoyed making moving metal animals and sculptures.
The document discusses two types of shapes used in art - geometric and organic shapes. Geometric shapes are precise shapes like squares, circles, and triangles that follow set rules. Organic shapes are more free-form shapes found in nature like leaves or raindrops. The document instructs students to create a piece of artwork using both geometric and organic shapes by overlapping them with markers and paint. Tips are provided on using color, staying in lines, and including a variety of shapes.
This document provides instructions for creating a one-point perspective park scene drawing. It begins by listing the necessary supplies. It then explains key concepts of one-point perspective like the horizon line, vanishing point, and perspective lines. Students are guided through a step-by-step process to draw trees receding into the distance using one-point perspective techniques. Optional challenge steps add additional objects and textures like a brick path. Assessment questions test understanding of one-point perspective elements. Examples of completed student drawings in different styles and subjects are also provided.
Mrs. Davis introduces charcoal types and techniques, how to use a toned ground and tone your own ground, how the value of the ground you use plays with the value scale.
Discover the world of Optical Illusion Art. This presentation includes work by M.C. Escher, Bridget Riley, and how-to steps for making your very own Op Art.
Credit to Mrs. Brown's Art Class (Google for more information!)
This document provides guidance for students taking an A-Level Art course. It outlines the course structure over two years, including coursework and externally set assignments. It describes the different art disciplines that will be covered, such as drawing, printmaking, painting, and sculpture. Students are expected to work independently and complete all assignments. Regular attendance is required as the course moves quickly. The document also provides information on annotation, analyzing artwork, color theory, techniques like gouache painting, and the equipment required. The goal is to guide students to develop their artistic skills and achieve a high grade.
Alexander Calder was an American artist born in 1898 into a family of artists. He is famous for inventing the mobile, kinetic sculptures made of metal that moved and balanced in space. Even as a child, Calder showed an artistic talent and set up his own art studio by age 8 where he enjoyed making moving metal animals and sculptures.
The document discusses two types of shapes used in art - geometric and organic shapes. Geometric shapes are precise shapes like squares, circles, and triangles that follow set rules. Organic shapes are more free-form shapes found in nature like leaves or raindrops. The document instructs students to create a piece of artwork using both geometric and organic shapes by overlapping them with markers and paint. Tips are provided on using color, staying in lines, and including a variety of shapes.
This document provides instructions for creating a one-point perspective park scene drawing. It begins by listing the necessary supplies. It then explains key concepts of one-point perspective like the horizon line, vanishing point, and perspective lines. Students are guided through a step-by-step process to draw trees receding into the distance using one-point perspective techniques. Optional challenge steps add additional objects and textures like a brick path. Assessment questions test understanding of one-point perspective elements. Examples of completed student drawings in different styles and subjects are also provided.
Mrs. Davis introduces charcoal types and techniques, how to use a toned ground and tone your own ground, how the value of the ground you use plays with the value scale.
Discover the world of Optical Illusion Art. This presentation includes work by M.C. Escher, Bridget Riley, and how-to steps for making your very own Op Art.
Credit to Mrs. Brown's Art Class (Google for more information!)
The document discusses texture in visual art. It defines texture as the surface quality or "feel" of an object, describing tactile texture as the actual 3D feel and visual texture as the illusion of texture. It provides examples of texture in nature and art, and discusses different techniques artists use to create the illusion of texture in 2D works, such as using lines, folding paper, stamping, and collage.
The document discusses the seven elements of art: line, shape, form, space, value, color, and texture. It provides examples and definitions for each element. The elements are the basic building blocks used by artists to create works of art by manipulating these elements with principles of design. Understanding the elements allows for better description, analysis, and communication about artworks.
This document provides information about creating landscapes in painting. It discusses techniques for depicting depth such as using a foreground, middle ground and background with diminishing size and detail. The rule of thirds and techniques like repoussoir are explained. Impressionist and Expressionist styles of landscape representation are covered, focusing on painters like Monet, Kandinsky and how they depicted landscapes in a looser, bolder manner compared to realistic styles. Students are assigned a task to research an Impressionist or Expressionist painter, filter a landscape photo in their style, and plan a landscape painting applying techniques of their chosen style.
Georges-Pierre Seurat was a French Neo-Impressionist painter in the late 19th century who developed the technique of pointillism. Pointillism involved applying small dots or points of pure color close together so that from a distance they visually blend in the eye of the observer. Seurat was inspired by scientific theories on color and contrast, and used this technique to carefully organize color on his canvases. He would labor for up to a year on preparatory studies before beginning a final painting using the pointillist method.
Wassily Kandinsky was a Russian artist born in 1866 who helped establish abstract art. He grew up enjoying music and initially pursued a career in law before becoming an artist at age 30. Kandinsky felt that abstract shapes and colors alone could constitute art, and that different colors represented different instruments and emotions. For example, he associated yellow with the trumpet and thought color combinations could be harmonious like musical chords. He often used circles, triangles, and squares in his paintings to represent spiritual, aggressive, and calm feelings respectively. Kandinsky helped pioneer abstract expressionism through his experimentation with form and color divorced from objective reality.
Oil pastels can be used in a variety of techniques including stenciling, blending, impasto, hatching and cross-hatching, parallel brush strokes, using fragmented colors, and scratching. The stencil technique involves using oil pastel as a backdrop covered by an ink wash, watercolor, or diluted acrylic paint, allowing the pastel to show through. Blending involves mixing colors using fingers, stumps, or solvents. Impasto creates thick, dense lines that bring out texture and intensity. Hatching and cross-hatching underline relief and create varied hues and textures.
The document provides instructions for a life drawing class, including multiple short gesture drawings to capture movement and balance using curved lines. Students are told not to worry as life drawing is difficult and the goal is to have fun. Later poses include longer 30 minute standing poses where students are instructed to look for landmarks on the skeleton to help convey volume and perspective more accurately.
The document provides guidance on analysing an artist's work by studying the formal elements, context, content, and mood of their artwork. It outlines key questions to consider under each category to help structure writing and understand the piece. These include examining the medium, colors, shapes, techniques, historical context, subject, message, and feelings evoked. The document also provides tips for annotating analyses and using proper vocabulary.
Collage is a visual art form that combines different materials like paper, photographs, and found objects glued to a backing surface. A collage forms a new whole from disparate parts. Popular collage artists from the early 20th century Dada movement included Kurt Schwitters, Hannah Hoch, and Raoul Hausmann. Later, Henri Matisse and Romare Bearden experimented with paper cutouts and representational collages incorporating social commentary. Today, many contemporary artists continue working in the collage medium.
Mola Art is a traditional art form of the Kuna people from Panama. It involves sewing designs on fabric with motifs of animals or nature symbols. Every inch of the fabric is filled with non-overlapping patterns or textures. Kuna women would create matching pairs of Mola Art pieces to wear on the front and back of their blouses. The document then provides instructions for making a Mola Art project using cutouts of shapes glued onto a background and decorated with patterns and textures using oil pastels.
Basic information on abstract art. What is abstract art? What are you looking at when you see abstract art? is abstract art a type of art at all? abstract art Examples. Abstract art project/ presentation. famous abstract artworks.
Wayne Thiebaud is an American painter born in 1920 in Arizona. He is known for his realistic pop art paintings of everyday objects found in cafeterias and diners, such as pies and pastries. Thiebaud's paintings use elements of art like contour lines, shapes, forms, color, texture, space, and value to create realistic representations of food that explore themes like memories and consumer culture.
This document discusses various artistic techniques used to create the illusion of depth and space in two-dimensional artwork. It describes how artists use size, proportion, overlapping objects, atmospheric perspective, foreground/middleground/background, and linear perspective to make objects appear closer or further away. These techniques allow artists to add the dimensions of distance and depth even on a flat surface.
Lino printing involves drawing an image, tracing it onto lino, cutting out the lines with a woodblock for support, applying ink to the lino with a roller, and printing the image onto paper. The process allows for unique designs but each print must be done individually and it takes a long time. Laser and offset lithography are digital printing processes that can print many high-quality copies quickly but require expensive equipment.
This document provides information about an Art, Craft and Design course, including requirements and deadlines. It discusses learning a range of disciplines like drawing, painting, and photography. Students must be punctual, equipped, and meet deadlines or face detention. The coursework counts towards GCSE grades, so keeping up is important. Students must bring their sketchbook and art pack folder to every lesson. The document also provides assessment objectives, links to art resources, and details assignments on creating a mood board and collecting photography.
The document provides instructions for art students to develop their final piece for an exam. It instructs students to choose their media and materials for the final piece. Students are then asked to create 2-4 idea boards over the next week developing potential ideas for their final piece. The boards should include images of ideas and annotations explaining how the ideas relate to their theme and the media used. Students can receive extra marks by further exploring their chosen idea, creating a board with the image and explanation and taking process photos during the exam.
This presentation is designed to question what is termed art, what art should look like and what is the role of art. This is aimed at transition yr pupils(aged 15 yrs) and is not dependant on any background in art.
Value refers to the lightness and darkness of a color, which is achieved through shading techniques like stippling, hatching, cross-hatching, and blending. Value scales can be used for shading practice and to determine if the correct values are used in an artwork. Good art incorporates a variety of values, ranging from black to white. The document discusses value and provides examples of common shading techniques.
I.B. Visual Arts: Investigation Workbook support presentationannamartinezbiddulph
The document provides guidance on creating a successful investigation workbook for the IB Diploma Visual Arts program. It emphasizes that studio work and workbook progress should go hand-in-hand, with the studio work being the focus of art historical research. Close comparisons can be made between the student's work and other artists' works. Research can come from a variety of sources to explore different artistic interpretations of a chosen subject. Proper referencing of sources is important.
The document discusses texture in visual art. It defines texture as the surface quality or "feel" of an object, describing tactile texture as the actual 3D feel and visual texture as the illusion of texture. It provides examples of texture in nature and art, and discusses different techniques artists use to create the illusion of texture in 2D works, such as using lines, folding paper, stamping, and collage.
The document discusses the seven elements of art: line, shape, form, space, value, color, and texture. It provides examples and definitions for each element. The elements are the basic building blocks used by artists to create works of art by manipulating these elements with principles of design. Understanding the elements allows for better description, analysis, and communication about artworks.
This document provides information about creating landscapes in painting. It discusses techniques for depicting depth such as using a foreground, middle ground and background with diminishing size and detail. The rule of thirds and techniques like repoussoir are explained. Impressionist and Expressionist styles of landscape representation are covered, focusing on painters like Monet, Kandinsky and how they depicted landscapes in a looser, bolder manner compared to realistic styles. Students are assigned a task to research an Impressionist or Expressionist painter, filter a landscape photo in their style, and plan a landscape painting applying techniques of their chosen style.
Georges-Pierre Seurat was a French Neo-Impressionist painter in the late 19th century who developed the technique of pointillism. Pointillism involved applying small dots or points of pure color close together so that from a distance they visually blend in the eye of the observer. Seurat was inspired by scientific theories on color and contrast, and used this technique to carefully organize color on his canvases. He would labor for up to a year on preparatory studies before beginning a final painting using the pointillist method.
Wassily Kandinsky was a Russian artist born in 1866 who helped establish abstract art. He grew up enjoying music and initially pursued a career in law before becoming an artist at age 30. Kandinsky felt that abstract shapes and colors alone could constitute art, and that different colors represented different instruments and emotions. For example, he associated yellow with the trumpet and thought color combinations could be harmonious like musical chords. He often used circles, triangles, and squares in his paintings to represent spiritual, aggressive, and calm feelings respectively. Kandinsky helped pioneer abstract expressionism through his experimentation with form and color divorced from objective reality.
Oil pastels can be used in a variety of techniques including stenciling, blending, impasto, hatching and cross-hatching, parallel brush strokes, using fragmented colors, and scratching. The stencil technique involves using oil pastel as a backdrop covered by an ink wash, watercolor, or diluted acrylic paint, allowing the pastel to show through. Blending involves mixing colors using fingers, stumps, or solvents. Impasto creates thick, dense lines that bring out texture and intensity. Hatching and cross-hatching underline relief and create varied hues and textures.
The document provides instructions for a life drawing class, including multiple short gesture drawings to capture movement and balance using curved lines. Students are told not to worry as life drawing is difficult and the goal is to have fun. Later poses include longer 30 minute standing poses where students are instructed to look for landmarks on the skeleton to help convey volume and perspective more accurately.
The document provides guidance on analysing an artist's work by studying the formal elements, context, content, and mood of their artwork. It outlines key questions to consider under each category to help structure writing and understand the piece. These include examining the medium, colors, shapes, techniques, historical context, subject, message, and feelings evoked. The document also provides tips for annotating analyses and using proper vocabulary.
Collage is a visual art form that combines different materials like paper, photographs, and found objects glued to a backing surface. A collage forms a new whole from disparate parts. Popular collage artists from the early 20th century Dada movement included Kurt Schwitters, Hannah Hoch, and Raoul Hausmann. Later, Henri Matisse and Romare Bearden experimented with paper cutouts and representational collages incorporating social commentary. Today, many contemporary artists continue working in the collage medium.
Mola Art is a traditional art form of the Kuna people from Panama. It involves sewing designs on fabric with motifs of animals or nature symbols. Every inch of the fabric is filled with non-overlapping patterns or textures. Kuna women would create matching pairs of Mola Art pieces to wear on the front and back of their blouses. The document then provides instructions for making a Mola Art project using cutouts of shapes glued onto a background and decorated with patterns and textures using oil pastels.
Basic information on abstract art. What is abstract art? What are you looking at when you see abstract art? is abstract art a type of art at all? abstract art Examples. Abstract art project/ presentation. famous abstract artworks.
Wayne Thiebaud is an American painter born in 1920 in Arizona. He is known for his realistic pop art paintings of everyday objects found in cafeterias and diners, such as pies and pastries. Thiebaud's paintings use elements of art like contour lines, shapes, forms, color, texture, space, and value to create realistic representations of food that explore themes like memories and consumer culture.
This document discusses various artistic techniques used to create the illusion of depth and space in two-dimensional artwork. It describes how artists use size, proportion, overlapping objects, atmospheric perspective, foreground/middleground/background, and linear perspective to make objects appear closer or further away. These techniques allow artists to add the dimensions of distance and depth even on a flat surface.
Lino printing involves drawing an image, tracing it onto lino, cutting out the lines with a woodblock for support, applying ink to the lino with a roller, and printing the image onto paper. The process allows for unique designs but each print must be done individually and it takes a long time. Laser and offset lithography are digital printing processes that can print many high-quality copies quickly but require expensive equipment.
This document provides information about an Art, Craft and Design course, including requirements and deadlines. It discusses learning a range of disciplines like drawing, painting, and photography. Students must be punctual, equipped, and meet deadlines or face detention. The coursework counts towards GCSE grades, so keeping up is important. Students must bring their sketchbook and art pack folder to every lesson. The document also provides assessment objectives, links to art resources, and details assignments on creating a mood board and collecting photography.
The document provides instructions for art students to develop their final piece for an exam. It instructs students to choose their media and materials for the final piece. Students are then asked to create 2-4 idea boards over the next week developing potential ideas for their final piece. The boards should include images of ideas and annotations explaining how the ideas relate to their theme and the media used. Students can receive extra marks by further exploring their chosen idea, creating a board with the image and explanation and taking process photos during the exam.
This presentation is designed to question what is termed art, what art should look like and what is the role of art. This is aimed at transition yr pupils(aged 15 yrs) and is not dependant on any background in art.
Value refers to the lightness and darkness of a color, which is achieved through shading techniques like stippling, hatching, cross-hatching, and blending. Value scales can be used for shading practice and to determine if the correct values are used in an artwork. Good art incorporates a variety of values, ranging from black to white. The document discusses value and provides examples of common shading techniques.
I.B. Visual Arts: Investigation Workbook support presentationannamartinezbiddulph
The document provides guidance on creating a successful investigation workbook for the IB Diploma Visual Arts program. It emphasizes that studio work and workbook progress should go hand-in-hand, with the studio work being the focus of art historical research. Close comparisons can be made between the student's work and other artists' works. Research can come from a variety of sources to explore different artistic interpretations of a chosen subject. Proper referencing of sources is important.
This document provides advice to IB Visual Arts students on how to achieve a high score on their examination. It emphasizes developing a broad theme that unites all of your artwork. Students are advised to thoroughly document their artistic process, technical skills development, and ideas exploration in their Investigation Workbook to demonstrate their understanding of concepts and progress over time. Personal expression and challenging oneself with increasingly complex concepts and techniques also contribute to a high score. Regular feedback and critique of one's own work is recommended.
The document discusses the evolution of visual arts in colonial India from the 18th century onwards. It notes that European artists introduced new styles of oil painting and depicted India as wild and untamed. Portrait painting of British and Indian elites also became popular. Later, "history paintings" dramatized British imperial victories. In the 19th century, popular art forms like Kalighat paintings emerged, sometimes expressing nationalist ideas. Artists like Raja Ravi Varma and Abanindranath Tagore tried combining Western techniques with Indian themes to create a distinctive national style of painting. The document contains 15 figures of different paintings to illustrate its points.
This document discusses murals and provides examples of medieval and modern murals. It defines a mural as a creative painting on a wall or ceiling. In medieval times, wealthy families would commission artists to paint murals in their homes. The document then gives background on medieval life and examples of medieval murals. It shows different types of modern murals and designs created by students. The rest of the document outlines a project where students painted murals on classroom walls and shares videos and photos of the completed murals.
Andrew Atroshenko was born in 1965 in Russia. He showed artistic talent at a young age and was accepted into several prestigious art schools in Russia. After graduating in 1999, he was invited to participate in exhibitions in the US. This experience influenced his art greatly. Since then, he has exhibited his paintings internationally and had some pieces auctioned by Sotheby's. He continues to find inspiration from his family.
International School Manila Middle School ArtMark Kucharski
This document lists the names of students from grades 5 through 8 who participated in an art exhibition opening. There are over 100 student names listed, along with their grade level. The names appear to be from a diverse range of cultural backgrounds. The document provides a record of participants in a school art show spanning multiple grade levels.
This powerpoint presentation discusses several Surrealist artists who use imagination, dreams, and the unconscious in their work. It profiles Salvador Dali, Rene Magritte, Max Ernst, Man Ray, Frida Kahlo, Joan Miro, Meret Oppenheim, and others. Their works disrupt expectations and create alternative realities through hallucinatory imagery, juxtaposition, symbolism, automatism, and hybrid combinations of objects.
This document discusses the concept of appropriation in art, which involves adapting, borrowing, recycling, or sampling aspects of an existing work. To properly appropriate, the appropriated content must be recontextualized by stripping it of its original meaning and giving it a new meaning. As an example, it analyzes Edouard Manet's 1863 painting Olympia, which appropriated elements from Titian's 1576 painting Venus of Urbino by depicting a reclining nude in a similar pose but in a modern context to subvert expectations.
This document discusses the changing depictions of male and female nudes in art over time. It addresses how gender roles were traditionally divided in the art world, with different fields dominated by men or women. It provides links to visual timelines showing how the depiction of males and females in art progressed. It discusses how society and audiences can influence subject matter and how some artists rebelled against traditional norms. One example discussed is the work of the Guerrilla Girls addressing the lack of female artists represented at the Met Museum. The document also directs readers to videos of an art critic discussing gender perspectives in art.
Surrealism was an artistic movement that flourished in Europe between World Wars I and II. It explored ways to express the world of dreams and the unconscious through fantastic imagery from the subconscious mind with no intention of logical comprehensibility. Key figures included Salvador Dali, Joan Miro, and Rene Magritte, who created dreamlike scenes using techniques like automatism to bring together inner and outer reality.
This document outlines Oranuch Rojkarnjanarak's art education and skills from years 6 through 11. It details the various drawing, painting, and design techniques she learned over the years, including pencil, pen, charcoal, watercolor, acrylics, and mixed media. It provides examples of her coursework, projects, and test scores for IGCSE and A-Level art qualifications, showing she consistently achieved A* grades. Her work was inspired by artists and folk tales from Thailand and other countries. The document demonstrates Oranuch has extensive technical skills and a strong portfolio for art and design.
Pablo Picasso was a Spanish artist who helped found the Cubist movement in the early 1900s in Paris. Cubism involved analyzing subjects from multiple perspectives and reassembling them in abstracted forms. This document provides instructions for students to create their own 3D Picasso-inspired portrait by taking photos of a subject from 11 different angles, including front, profile, neck, under chin, lips, nose, and back of head, and arranging the photos in a Photoshop template to assemble an abstracted portrait in the style of Cubist compositions.
The document discusses aesthetic examples and going through the motions. It seems to be about how people can go through daily routines without truly experiencing them or finding meaning and beauty in simple everyday actions and experiences. The document suggests that people should pay more attention to their surroundings and the present moment to find more fulfillment and appreciation in life.
Leonardo Da Vinci was an Italian Renaissance artist born in 1452 in Vinci, Italy and died in 1519 in Amboise, France. He was a polymath known for his expertise and innovation in various fields including painting, drawing, sculpture, architecture, science, music, mathematics, engineering, literature, anatomy, and history. His most famous artwork is the Mona Lisa painted between 1503-1506. Da Vinci's artistic practice focused on achieving realism through techniques like preliminary drawings, studying anatomy and light/shadow, and developing the sfumato style of blending tones without lines. Some of his other major works include The Virgin of the Rocks painted between 1483-1486.
European artists in the 18th century brought new styles of visual art to India under British rule, including techniques like oil painting that enabled realistic depictions. Two popular traditions were picturesque landscape painting that depicted India's scenery for British audiences, and portrait painting of the wealthy and powerful. A third genre called "history painting" dramatized episodes of British imperial history. Meanwhile, local court artists adapted to the new styles while some rulers like Tipu Sultan resisted and promoted traditional miniature painting. In the 19th century, popular art forms like scroll painting emerged in cities and pilgrimage centers. Later artists sought a visual style that was both modern and distinctly Indian.
Elements & Principles of Art Design PowerPointemurfield
The document outlines the elements and principles of art design. The elements are the basic parts that make up a work of art, including line, form, space, texture, shape, and color. The principles are concepts that affect the content and message, such as emphasis, movement, unity, rhythm, contrast, and variety. Elements structure the work and carry the message, while principles impact how the elements are used.
This document discusses the complexities that arise in art critiques when a teacher evaluates a student's artwork while also interacting with the student artist directly. It notes:
1) A teacher inherently forms assumptions about the artist based solely on viewing their artwork, though these assumptions are often incorrect.
2) When the student is present, the teacher must reconcile their assumptions about the artist based on the artwork with their impressions of the student's personality.
3) Having a discussion with the student adds another layer of complexity, as the teacher now has three different impressions to consider - what the artwork implies, what the student looks like, and what they say about their work.
4) Alignment or disconnect between these three
This document provides rules and procedures for students in an art room. It outlines expectations for respectful and safe conduct, including listening to instructions, using an indoor voice, taking responsibility for mistakes, and cleaning up. Students are encouraged to freely explore art but must not distract others. The document introduces a new rubric for evaluating student effort and craftsmanship in artworks. Grade-specific rubrics are also provided to assess student effort, conduct, and participation in art class.
This handbook provides guidance for students taking the International Baccalaureate Visual Arts course at Saigon South International School. It outlines the key components of the course, including studio works, investigation workbooks, and self-assessment. Students are expected to produce a large body of work, including at least 17 pieces for their final exhibition. The handbook also recommends art supplies for students to purchase and tips for setting up a home studio space. It provides details on how to structure and maintain investigation workbooks, which are like sketchbooks used to document artistic processes and ideas.
This document provides instructions for creating a good sketchbook for art students. It recommends including annotations of ideas, inspirations from various sources not just online, research on artists, layout of work, and documentation of one's own artwork. It advises beginning with research, printing things out as you go along rather than waiting until the deadline, and gathering secondary materials while focusing on producing one's own work. It also recommends continuous annotation describing work and linking it to other artists' work, recording techniques, and continuing experimentation and development of ideas towards a final outcome.
The document discusses how artists develop daily studio practices and workspaces. It provides examples of the studios and working methods of artists such as Alexander Calder, Jackson Pollock, and Frida Kahlo. Several contemporary artists then describe their own studio practices and the importance of routines, rituals and being present in creating their work. They discuss using sketchbooks, collaborating with others, and allowing their workspaces to become messy in the creative process.
This document contains interviews with several graphic designers. Key points include:
- Jacques Sebastian-Alton is a 19-year-old self-taught graphics designer based in London who draws inspiration from MTV ads and music videos.
- Jenny Lloyd has a colorful, detailed illustration style and was proud of a recent multi-page spread in British Airways magazine.
- Alex Stamos cites horror elements and storytelling as influences and works through an iterative sketching and refining process.
- Other designers discuss their varied influences, styles, tools, accomplishments and thoughts on DesignDiary magazine.
The document summarizes a presentation given by Allison Kay Walters about who she is outside of her resume. It discusses how her personal experiences as an artist have influenced her work ethic in a positive way and made her the right candidate to hire. Specifically, it describes how being an artist has taught her perseverance through struggles in her artwork. It highlights a large mural project she worked on for over 7 months that showcases her dedication and attention to detail.
Recipe for a good sketchbook Fine Art 2012Netty Foster
This document provides guidelines for creating an effective sketchbook for art students. It recommends including annotations explaining ideas, artist research from various sources not just online, layouts showing the progression of ideas, and documentation of one's own artwork. Students should begin with research, gather materials from various sources, experiment extensively with their own ideas, and annotate their work and artistic influences continuously throughout the sketchbook. The sketchbook should tell the story of the student's creative process and development of ideas over time.
The document discusses non-objective art and abstraction through a series of disjointed phrases and instructions. It touches on key artists like Paul Klee, techniques like line drawing, and exercises focused on sensory awareness and drawing one's mouth from inner perception. The overall content explores abstraction and experimental approaches to seeing, thinking, and representing visual experiences through drawing.
How to create a photography artist statement, bio, resume and CValexandra copley
The document provides guidance on creating an effective artist statement. It explains that an artist statement is a short document written by the artist to give insight into their work and creative process. It should be informative but not a resume or biography. Having an artist statement is important as it helps viewers understand the artist's work and message, building a connection between artist and audience. The document provides tips on what to include in a statement and recommends keeping it concise, between 100-300 words. It also offers exercises to help artists overcome a blank page when starting their statement.
The participants provided varied responses about crafting:
- Crafting was defined as making things by hand or creating something new from various materials.
- Popular crafts mentioned included paper mache, textiles, jewelry making, painting and origami.
- Participants enjoyed taking part in crafts like painting and origami for the creative expression and sense of accomplishment.
- Crafting was seen as both a viable career and hobby depending on skill and interest level. Careers in art, textiles, woodworking were noted.
- Cool or trendy crafts mentioned included spray paint art, unique sculptures, and crafts that show skill or inspire admiration.
Some tips on how to discuss art with students adamstepinski
The document provides tips for discussing art with students based on the book "HOW TO TALK TO CHILDREN ABOUT ART" by Francoise Barbe-Gall. It suggests relating art to students' experiences, asking how art makes them feel, and transmitting personal interests. It advises not over-explaining art to allow students own discoveries. It also gives suggestions on what attracts different age groups, such as colors and movement for ages 5-7, stories and conflict for 8-10, and artists' lives and techniques for 11-13. The document stresses making art relevant to students' lives.
Free online lessons on pencil sketch art for beginners. You can take the inspirations and learn through simple instructions on how to turn random strokes of pencil into an art piece. Visit www.drawing-pencil-sketches.com for more info.
Www.drawing-pencil-sketches.com is a free online academy that can teach you how to draw good sketches through easy to understand and simple instructions. Animal sketches might be considered hard to draw but with regular practice and insights this won’t be a problem for you.
Free pencil art sketches tutorial: Drawing-pencil-sketchespencilsketches
Learn techniques and take inspirations on your free pencil art sketches tutorial online at www.drawing-pencil-sketches.com. Pencil art sketches are easy when you have got the motivation and the right techniques under your belt.
Pencil sketch art classes: Drawing-pencil-sketchespencilsketches
Learn the fundamental pencil & charcoal strokes in pencil sketch art classes for free in www.drawing-pencil-sketches.com. Pencil down the wonders of the nature and add them to your collection, it is as simple as it is difficult to draw the elements of nature.
Join free online drawing classes in the USA and sharpen your skills in making pencil art sketches. Visit www.drawing-pencil-sketches.com to learn and surpass your limits as an artist.
Let go of your inhibitions and take up on the pencil sketch drawing lessons in the USA. Let none tell you otherwise. Visit www.drawing-pencil-sketches.com to indulge in your hobby and passion with renewed skills.
The artists develop individual workspaces and processes to support their daily artistic practice. Their studios contain elements that both inspire their work and allow them to build upon ideas from one session to the next. While routines and environments differ, common themes are a dedicated private space, important reference materials, and an ability to be creative anywhere to spark new ideas.
The document discusses various techniques and exercises for abstract art, including blind contour drawing to describe textures by feel alone, using unorthodox tools to create unique brush marks, and contemplative drawings exploring the sensory experience of drinking water and the interior of one's mouth. Students are encouraged to experiment freely with mark making and non-traditional methods to develop their artistic practice.
1. Humble High School
International Baccalaureate
How to achieve the
highest score on
your IB Visual Arts
examination
By Raymundo Delgadillo. HHS IB Class of 2010
2. Art is easy.... right?
INCORRECT.
Actually, according to statistics, it is one of the IB
subjects with the lowest scores...but why? I
mean, art is supposed to be easy isn't it?
Welllllll.... in short, no. A lot more work goes
into good art than you might think.
More than the skills that go into a piece, it is the
research and vision behind it that make art
fantastic in the eyes of a critic.
3. And by critics I don't mean your
classmates...
We mean educated adults who are
knowledgeable in the field of fine arts. Yes,
your classmates might be a great source of
ideas, but remember, you're in IB art, you need
more than simply ideas...you need concepts,
visions, series, themes. You need to be able to
develop and transform ideas into something
much deeper, you need to be able to transform
thoughts into visuals, emotions into colors, and
actions into shapes.
4. That is all of course, if you want a
high grade on your exam....
If you don't....then you can just stay with ideas.
5. And how do I develop concepts?
Well....that is the not-so-easy part.
First you have to figure out what the focus of
your art will be. You need to come up with a
theme that ALL of your work will somehow
incorporate. Yes, I just said ALL of your work.
“Omg, how am I gonna do that?” is what you're
probably thinking, but it is actually easier than
you think. Figuring out the theme of your art is
what will take you some time.
6. And...what is a theme?
Well a theme is a broad idea or a message that all
of your art will convey. Notice I said “broad”.
Your theme should allow flexibility, it should
not be something restricting but simply an idea
to focus your work. The IB examiner doesn't
want to see a circus, she wants to see a Paris
fashion show. She wants something deep,
something focused, something visually
appealing.
7. I still don't get it.
Well you must be special.
Just kidding, it is actually not an easy concept to
grasp. So let me give you some examples of
themes:
• Dreaming The human body Plants
Confusion Love
• Intimacy
Animal cruelty Food
• Mythical figures Russian culture Pleasure
• Happiness Pain Textures
8. And how do I develop a theme?
Well, let's take one of the themes and I'll
show some concepts or art piece ideas you
can ramify from simply a word.
To make it kind of fun, I chose pleasure ;)
9. Money
The female figure
Judgment of others
Sex PLEASURE Music
Masochism
Materialism Chocolate
Accomplishment,
Beauty Victory
10. Well...that was random
I wasn't kidding when I said themes could be
broad...if you go back a slide you will notice that
all the words derived from “pleasure” are
extremely different from each other yet all of them
are united because in one way or another they
create pleasure...that is exactly what a theme
should be. It should allow you to freely explore
ideas yet unite all of your work in a way.
11. What does the exam consist of?
The infamous IWB...Investigation Workbook,
from which a number of pages (varies
depending on type of test) will be photocopied at
the end of the year and internally as well as
externally graded.
And
Your Studio Work...which should reflect the
number of hours spent on classroom, no
matter what medium. Art will be assessed at
the end of the year by an IB examiner.
12. Investigation Workbook
Chances are, you have probably heard your
classmates talk about how horrible writing
in their IWBs is...well from experience I will
tell you it isn't fun, but it is not as bad as
students make it sound. How interesting
and fun it is depends on you. Ultimately,
YOU and only you decide what goes in it,
whether research or sketches, you have the
ultimate freedom to investigate any topic. So
if doing pages on your IWB is boring, blame
yourself.
13. What is an IWB for?
Before you create a studio piece you must do a
little research.
That is just the way IB and the real art world
works. Most good artist don't just pick up a
paper or canvas and start drawing...for art to
have a value it has to have a purpose, and
the way you find that purpose is by doing
research and focusing your ideas on paper
before starting the piece. That is what your
IWB is for.
14. I don't need an IWB to focus my art
or show research...
In IB you do; and that's not up for discussion.
IB needs to see that you've put work into your
art and that you've gained knowledge in the
arts, and since there isn't an actual test in IB
Visual Arts asides from your interview with
the examiner, they need to see proof of your
exploration...all 240 hrs of it. (HL)
15. How do I start my IWB?
In the first few pages you should talk about
yourself and what in the field of arts
interests you. Don't go on saying “I have
brown hair & I love cookies” because IB
couldn't care less. Unless it relates arts or
what you mention somehow turns into an
art piece later, it won't get you anywhere.
For example it would be fine to have a few
pages talking about your brown hair, and
how it makes you who you are IF you plan
to do a piece about hair, otherwise, no.
16. Once you get started with your
art...
You should keep your IWB updated. Make
sure you throughly record at least half of
your studio pieces from start to finish. And
by that I mean:
Background research
Piece design (sketch or diagram)
Continuous updates
A picture of the finished piece
AND MOST IMPORTANTLY: Reflection
17. How should I write in my IWB?
A lot of people fall under the impression that their
IWB is like a diary..and it's not. You
are not supposed to simply talk about how your
artwork is in progress, but also continuously
research things (artists, techniques, etc.) that are directly
related to your current and future artwork. You
should also practice techniques in it, but be sure
that when you do it doesn't take the whole page
and on the side you describe what you did and
how it relates to yourself and your work .
18. What is considered good research?
Well....in simple words, if your IWB looks like the
pages of the bible, or like a photo album...
you're not researching right.
You have to find a balance of both visuals and
writing. Do not allow either to overpower
your book, there should be equal amounts of
each. If you do a whole page of writing, make
sure you balance it by doing a whole page of
visuals that DIRECTLY relates to the writing.
But preferably it should be half and half.
19. Let me show you...
Unaccceptable
What IB is looking for
I like apples.
Apples are one of the most widely
cultivated tree fruits. They are
Decent sweet and crunchy and come in
different colors.Since I was
Apples are sweet, young, I've always had a
red fruits I have fascination for the fruit because
always liked. my dad owned an apple
plantation. I would
Good Like to do a painting
Since I was young I have showing the natural
always liked apples, beauty of apples,
which are sweet, red fruits emphasizing on the
generally grown in color and shine of their skin,
20. Enough about the IWB...
Now let's move on to....YOUR ART!!!
I will not go into much detail on this section
because it is pretty self-explanatory. There are
only a few things IB specifically looks for.
Also, let me remind you that to be successful in IB
you DONT have to be a great artist technique-
wise, it is all about deep ideas and executing
them successfully
21. IB likes to see progress.
IB loves to see progress. It does not matter if you
start out as the worst painter in your class,
you can still do well on your exam because
what matters to IB is how much you develop
your skills and progress as an artist. And the
way you show progress is through your IWB
and the INCREASING QUALITY in your art
work. As you practice more the quality of
your artwork will chronologically increase
and IB loves that, so do not expect your first
pieces to be Michaelangelo quality.
22. Your artwork should be personal
One of the IB markbands is “Artwork is directly
personal to the student” if you don't meet that
markband, you will never obtain a high score.
Personal? You might ask...Yes. Yes. Yes.
Through your IWB and interview show IB that
your artwork has a direct connection to you.
Whether your grandma died (which I sincerely
hope didn't) or you have always been interested
in painting, make sure you record the passion
behind every piece.
23. Artwork should chronologically
increase in depth.
And by depth I do not mean the thickness of your
canvas.
Your studio pieces should ideally be more
challenging and conceptual as time passes by.
Don't expect to get away with the same level
of challenge all year(s). That will not get you a
high score. If you want to score high, your
later pieces should not only be of deeper
meaning, but should involve more
craftsmanship. This shows your progress.
24. TIPS:
• When you start researching something new,
ALWAYS make titles. Also, use your headings
to bring interest to your pages...try some cool
fonts, color letters, play with size...your goal is
to entertain the examiner...make her go
“whoa” when she goes through your book. A
simple change of color and font on your titles
will add that “whoa” and create interest.
• Challenge yourself!
25. TIPS:
• Instead of printing images from the web, go
buy yourself an art book/magazine from half-
price-books and cut out your visuals from
there...everything is already cited for you, so
all you do is cut out the picture with the
bottom citation and you're done!
• When making a new piece, take gradual
pictures of your work on it...it's all about
progress.
26. TIPS:
• Criticize yourself!!! As horrible as it sounds, it
is great to write down “I need to improve on
my painting skills, they are definitely not the
best”....it shows the examiner that you are
aware of your weaknesses and are willing to
work on them.
• Go to art museums/galleries and record your
visits on your IWB...IB loves to see you
exploring the world of arts. I recommend the
Menil Collection...