Riya + Emi
- Jun 10, 2020
- 22 min read

7: Mega Guide with Tips & Advice to SL Art, Based from My Experience

Hey guys, I took SL Art this year. Was it the class that I expected it to be? No, but it broke my expectations in an interesting way. I was expecting this to be just a studio class, where everything was chill, especially since I was taking it as a SL class.

However, I realized that this class isn’t one I should “chill” about. I realized I could take advantage of the course, considering my love for art being “easy” to express, and to instead view it as a class to double-down on in order to improve my diploma scores. With that, it made me recognize the importance of taking advantage of time, working in an organized and efficient manner, and pacing yourself correctly.

With that, let me introduce my journey on how I tackled IB SL Art.

Also, I think if you are still taking HL Art, this is still a relevant read. The only difference is you have to do “more” work in a sense where you just go further in depth with your analysis and connections, and you do a few more extra components to fulfill that. Since I don’t know much about it, I don’t feel confident enough to advise about it, but the SL and HL both share the same base components, so hopefully reading this is still worthwhile!

Okay so to give some context, we started the 2019-2020 school year thinking things would go to plan, timeline and deadlines and all. However, Coronavirus came in, so those plans were long gone once the second semester started. With that in mind, take my advice about the Comparative Study and Process Portfolio with a grain of salt in terms of urgency. My teacher thought IB would give us extended deadlines, and since the majority of our studio work was finished around April, that it was fine to focus only on our PPs and CSs. However, one week before my school’s due date, my teacher announced in our Google Classroom, that our PPs and CSs must be completed in entirety in the following seven days, hence my memories and experiences with those two components of the course being ~extra~ memorable. So, just a head up with that, haha.

Starting Things Right:

Before you come into this course, or once starting the first few weeks, my first tip is to recognize the task and course rubrics you must “kiss up” to. Read the syllabus back and forth, and see the “minimum work” you’d have to do in order to maximize points. I know, call me lazy, but seeing how IB will value, see, and award you points based on your exhibition work is important. Plus, if you know what you’re getting yourself into, the better prepared you can be going into this course. Speaking of which, here are the core components/submissions for the course:

"Art-Making Forms Table"

Have a solid theme

In the beginning of the year, take it as time to:

Figure what theme you’d like to explore
How to further refine said theme
What mediums would compliment and help better get your message across for your theme

By having a solid theme, you are setting yourself to a great start. Oftentimes, people get stuck trying to figure out what they want to do, wasting time pondering that during studio time rather than using it to create their pieces with the resources in the studio. If you can save that time and come in prepared, it can help you save more time, get more pieces finished, and give you more flexibility and time in deciding which pieces you’d like to include or not display.

Look for artist inspiration & read on art history

Once you have a solid theme for your Exhibition, now it’s time to think about inspiration and artist movements/history; the base grounds of this whole course. IB likes to see how various cultures’ art & style movements can influence and inspire/bounce off one another; not only in historical artists back then, but also artists today, which include YOU! If you can trace back which artists, time periods, artistic movements, etc. you see both in your personal and works of others that you analyze, then that is gold. Having solid examples that you can pull up and “prove” will win the heart of IB.

1. Create a Pinterest account, and start pinning other works, imagery, ideas, etc. that match with your theme

Pinterest suggests similar pins in their algorithm that they think you might like, which is so useful for IB Art, so take advantage of this powerful resource!

2. Get a sketchbook dedicated for IB Art, and create a list (numbered, visual, etc.) of artist figures and styles that you enjoy/find relevant for your exhibition.

Seeing a list of everything not only compiles your thoughts in one neat place, but also helps you remember and further put together more ideas you can generate for your Exhibition later on.

3. Start finding and sourcing the information from other’s pieces you are inspired from, and want to reference in your PP or Exhibition (Good idea to do it for your CS as well)

According to the IBO Visual Arts Teacher Support Material, you will need:

For citations in the CS:

The name of the artist
The title of the work
The date of completion
The media
The size of the work
The current location or owner of the work must be included

I would do this for all pieces referenced in your CS.

ie.) Le Désespéré (1845), Gustave Courbet, Le Désespéré, 45cm × 55cm, Private Collection, Oil on Canvas

For citations in the PP:

The title of the work
The name of the artist
The media
The size of the work
The year it was produced
Simplified website where you got reference/inspiration image from

By having the facts and details out of the way, you save a lot of time and stress when compiling your slides for your components as you go through the year.

4. Create a visual word map with your Exhibition theme in the center, and arrows stemming out to represent each piece you want to do.

Each arrow can represent a piece you’d like to do, where you jot down the medium you’d like to use, subjects or concepts you’d like to explore, etc.

By taking time to research and note all the details that are accounted for in this course ahead of time, you will be able to work much more efficiently, as well as have an easier time tracing your steps back vs. searching through your browser’s search history for citing sources.

Shifting and Focusing on the Exhibition

Once you’re set with a solid foundation, it’ll leave you in a place to easily transition towards working on your exhibition. This is 40% of your credit for your course, so be sure to spend a good effort on your works. This process can look different for every person, so here are some generalized tips on how to work on it:

1. Utilize class/studio time fully, do not use it as a slack/free period.

With the free nature of this class being studio-oriented, it is easy to be “too” flexible with it, and to focus on other HW for other classes, or to get distractacted.
Not everyone has access to materials at home that the studio offers. Take advantage of “studio-time”, and see it as a time to access and use all the materials that your school’s studio has. Clay is a great example of a material that is available at the studio, but not necessarily at home; especially with the kiln being necessary

2. Invest in a secondary planner for Studio time, or dedicate a space in your academic planner for Studio time.

Viewing each day in the studio as a chance to take advantage of materials and resources (teacher advice, peer discussion/help, etc.), it is good to generally plan how you’d like to tackle each project. By setting a generalized plan on how long you’d like to spend on each project doing what (planning, sketching, experimenting mediums, doing the actual project, reflections, etc.), you can be sure that you use each class’s time to the maximum. Plus, by doing this, you can see how many projects or pieces you can produce/crank out for the year.

3. Evaluate which pieces are more “fluff”, while which ones are the backbone of your theme/exhibition.

It is okay if you see that some pieces you’ve worked on weren’t as “strong” to your theme as you wanted. However, if you make sure to stay on track and properly plan out your projects, you will have the flexibility and option to be able to take out weaker projects out of your exhibition. For SL, you will have a required minimum of 4 pieces. However, those 4 must be VERY strong in order to score well with IB. With that, by self-evaluating which ones are worth more “bang for your buck” and make a true statement, you can see which pieces are worth keeping in your exhibition, or which ones may be filler.

4. View the year as a time to make as many pieces as possible.

No matter how strong or weak these pieces are, as long as you have “options” for you to pick through, you can be sure that your strong pieces shine, while those weaker ones can be showcased more as process portfolio experimental pieces. Make as many as you can, so you can choose which ones you’d like to keep and highlight for your exhibition.

5. While you complete your pieces, for ALL pieces, make sure to take pictures, document, and reflect the steps you take in making your artwork. It’ll make doing the Process Portfolio much easier if you document and already record things in the moment, vs “making it up” later on once you start the actual PP.

6. Be sure you use and make pieces from various mediums!

Don’t just stick with watercolor and make all your pieces in your exhibition be from that medium just because you know you are “good at it”. Challenge your artistry to grow. Not only will this hinder your points if you decide to go this route, but the exhibition will be flat as well, and you will not earn credit for the PP component where you must show experimentation with at least two art-making mediums. These “weaker” mediums of yours do not have to be showcased in your Exhibition for sure, but try something new for the sake of your artistry AND your points for the PP. Who knows, your strongest piece might be from a medium that you originally felt very uncomfortable working with?

Starting your Comparative Study

As the year goes by and you slowly create piece by piece, your exhibition, the CS should be the next thing on your mind. I’d recommend starting the CS before the PP, as the research and history you might have to read and analyze may take more time vs. analyzing and annotating your own works. You know, since you know yourself best… Anyways, the CS is worth 20% of the grade, so I’d say focus on creating good analysis, but if it’s a weak point, don’t stress it. If it's a strong point for you, then I’d recommend taking advantage of the platform of this component in order to “show off” your analysis skills to reward maximum points. It’d be worth your time, but if not, do not stress like I said. However, there is a good way to go about your CS if you’d like to score well.

1. The #1 tip here is this: FOLLOW THE RUBRIC.

The nature of this is very easy to get sidetracked and add additional information or context upon. However, it may take up unnecessary space, and not reward you any points. Think of it like this: If you cannot see a component where they’d award you points for what you just said, delete it. No need to keep things unless they reward and guarantee you points. If you are unsure, as it slightly addresses a point or not, keep it, as the examiner may understand your perspective and award you points for it. Whatever it is, be confident and sure in 100% of what you decide to put on your file.

2. Be sure the artists and pieces you chose meet the requirements for the CS.

It is very easy to get carried away and to not choose pieces, artists, or cultural backgrounds that don’t necessarily meet the guidelines of the CS. Before getting started and carried away, be sure that your CS analyzes the works of TWO DIFFERENT ARTISTS, in which a minimum of THREE DIFFERENT pieces must be chosen to analyze. Be sure to consult your teacher on which combinations and numbers work best for the theme you’d like to analyze for your CS. However, the very general recommendation is to use three different artists, and choose one work from each three to compare.

3. Don’t just use iconic, well-known art as an easy-ticket out. Take time to look at modern art made in today’s time, or works in the past that aren’t as recognized.

Take some time to invest in looking at artwork that’s not in “mainstream” art history that aren’t made from big name artists we commonly hear. Like Van Gogh, Pablo Picasso, Salvador Dali, Matisse, etc. This can be a double edged sword. Choosing to compare “popular” art or pieces that are recognizable and known can be good, as many analyses and reviews, critiques, observations, etc. have been made for you. However, creating a unique analysis or observation on your own may be hard, or finding a different lense to view the work from may be hard, even though it has the potential to be tied down and show another argument or idea. If you decide to compare the words of a modern, new artist or similarly, an artist in the past that has not been discussed much about, their works have PLENTY of room for discussion and self-interpretations and analysis without it being “wrong” to an extent. However, be sure that YOUR claims/observation/analysis for such are supported with evidence or visual annotations of the work, because it can bite you in the back, as teachers may be unable to help give their input from an art history standpoint. Use the strengths and weaknesses of this to your advantage, and just be smart about which works you decide to include/compare in your CS to your advantage.

4. Be sure to use a good topic/theme to compare and contrast your pieces to.

Even if you choose pieces that are strong on their own, it is only if they share many similarities or differences that allow you to showcase your analysis skills, and therefore a well-made CS. A good way to work around this is to have a general idea, emotion, concept you’d like to explore, and to find three works that speak and relate to those. Save it, and see if you can further refine your original concepts with the three pieces you now chose. Or, go backwards. Choose three pieces that resonate with you, and pinpoint the shared theme/similarities that stuck out to you, and refine your CS topic from there. However you decide to carve your CS topic out, be sure that it is a good, solid one that you can feel confident in the long run with.

5. Look at examples online! See how they portrayed their visual annotations, balanced their picture to text ratio, etc. Looking at examples helps set your expectations and outline for what your CS should look like! Here are some great examples I’ve compiled while creating the CS myself. I looked at these examples many times as reference for what I should be doing, and they helped keep me on track:

6. Organize and structure your Comparative Study to meet the requirements of the rubric.

Generally, and the way I personally went about it, is to see that the CS has two different halves to cover for each piece, then a third overall component in which that's where comparisons are made. In the first half about the piece itself, note the elements and principles of design that the piece implements. This can be things like color, shape, balance, texture, etc. The second half to cover is the context behind the piece, which means the cultural context the piece was made in, and the purpose/function of the piece itself. Within the cultural context, it would be good if you slip in who the artist was, and any important aspects of their identity/view of the world that affected that piece, as that’d tie into the culture component.
Here is a great Reddit thread that uncovered how to best tackle and organize the CS. https://www.reddit.com/r/IBO/comments/fyxqgs/how_to_format_the_comparative_portion_of_my/

7. Compare and Contrast more than just qualities of the art itself.

When comparing things between each piece, the location, cultural context, time period, and other factors/characteristics like so can be some ways to draw comparisons! Many examples I’ve seen online only compare the formal analysis of pieces through the lense of principles of design or elements of art. Expand further than that, and see how those other factors can shed light to more in-depth analysis of your works. Who knows, a new light or purpose may be shed upon by analyzing works this way!

8. Visually annotate the three pieces!

If you sketch out the concepts you are trying to describe/prove on the works you are talking about, not only will it make it easier for the examiner to be on the same page as you, but it further applies and showcases your knowledge of art terminology, principles, and elements. For example, if the artwork implements the Rule of Thirds, add a 3x3 grid atop the piece to help visualize the principle/elements you are talking about. Or, when discussing color palette, you could sample the most relevant colors of a piece and display them in a row or sample. Below are some good sites to learn how to annotate art:
https://www.wikihow.com/Annotate-Art
https://sites.google.com/a/hbuhsd.edu/ib-art/analyzing-artwork

9. Clearly label what each slide is focused about. Each slide you have on the CS should remain consistent, just differing in the subject you look through; the lenses you observe each piece should be the same though. Here are the “lenses” I labeled for each of my slides:

Title Slide with following information:

SL/HL IB Art - Comparative Study
CS Theme
Brief summary/context paragraph of your CS Theme
Picture of all three pieces you’re comparing

Formal Analysis

Purpose & Function

Cultural Significance

Comparison of Formal Qualities (Huge T-Chart to summarize)

Conclusion

10. Compare characteristics of art works through unique properties/vocabulary/principles of art. Don’t just compare it through easy, generic factors - compare intriguing, new factors such as composition, lighting, viewpoint and pose, etc.

When comparing artwork, generic comparisons such as color, space, or pattern may be common ways to identify characteristics of artwork. However, everyone, including you and I, know that that is completely boring, and won’t bring any good insight to the matter. Instead, use some of the links I’ve included in the “Other Formal Qualities of Art + IB Syllabus Clarification” section of my Link Dump. There are so many words and ways to describe things that I didn’t know about until later. One example is composition. It described things such as portrait or landscape orientation, foreground/background, negative, positive space, and more. Here is a link to the article I am referring to here. Overall good read to learn new words to describe the things you’ve always wanted to.

Finishing the Exhibition Pieces & Finishing the Last Parts of It

Once you get to this point of the course/year, it feels very tiring. It feels like you’ve already done so much, but we aren’t finished just yet. Now comes the point of polishing and adding the final “embellishments” or “notes” to your works. With that, segway into the Exhibition Text and Curatorial Rationale. These two are mini components within your Exhibition that are required in order to fully complete the “exhibition experience”, and to bring all your pieces and ideas together into one.

Writing the Exhibition Text

When writing your Exhibition text, there are a few guidelines or factors you should make sure to consider to include. The ET should be a section where you can explain what it means in terms of your exhibition theme; basically your artistic intention. You can explain the relevance of the medium you chose to better convey the concepts you had, color palette, the subject in it, etc. However, it is 500 characters MAXIMUM, so keep your ideas concise, and only include information you think is relevant and essential in order to convey your ideas. Here is a great resource on anonymising work, describing the used medium, and more.

https://ibpublishing.ibo.org/server2/rest/app/tsm.xqldoc=d_6_visar_tsm_1408_1_e&part=4&chapter=3 (Writing exhibition text)
https://drive.google.com/file/d/1KbqgbeFplugTKcZkZiBa1pdgezMQJl7T/view (Page 7)
https://mrchads.weebly.com/exhibition.html

Writing the Curatorial Rationale

You might wonder, what is a “Curatorial Rationale”? Well, it is an artist statement that basically sums up what your exhibition overall is about. It puts into words and declares in this component, what your Exhibition theme is. It also covers aspects such as how your pieces and mediums chosen help better convey your theme’s ideas, and how the placement/arrangement of your pieces further add to the meaning of your Exhibition. There are various online sources that outline this through three paragraphs. However, what’s covered in each paragraph varies source to source. So, to consider and include every scope that might come into question/might be good to address, read multiple outlines to see what’d be relevant for you to include. Here are some sources I drew from as guides to my Curatorial Rationale:

https://sites.google.com/a/hbuhsd.edu/ib-art/artist-statement
https://drive.google.com/file/d/1KbqgbeFplugTKcZkZiBa1pdgezMQJl7T/view (Page 5)
https://ibpublishing.ibo.org/server2/rest/app/tsm.xqldoc=d_6_visar_tsm_1408_1_e&part=4&chapter=3 (“Writing a curatorial statement)

Taking Photos of Your Exhibition

The way you decide to assemble and showcase your pieces is up to you. Of course, you may be limited based on the available resources and locations that are near you. However, your teacher should have allocated some sort of space in which your artwork is displayed. In this step, you must decide how you’d like to arrange your pieces. If you have a 3D work, putting it next to a similar, 2D sister-piece would make sense, as they’re related in scope. If you’d like to arrange it by color, heck, do it. Whatever you do, be sure to explain and reconnect this in your Curatorial Rationale in the third paragraph. Here is a handy Exhibition Display Guide that breaks down display techniques used in museums. Although the purpose may not be for IB nor students, the techniques and options they unveil in the realm of Display Techniques are relevant to the Exhibition Portion of this course. Read through it and see if you can find a unique way to display your pieces to further highlight its message or qualities.

Starting the Process Portfolio

The last component to complete is now here! This should be done towards the end of your journey/momentum with your exhibition pieces. When you get to this point, this is a great time to recognize which pieces are strong and which aren’t, which pieces you feel best express your exhibition’s theme. By this point, hopefully it's one or two months before everything is due, where you can adequately write the final Exhibition Texts and Curitoriale Rational. By doing those two mini-components before starting the Process Portfolio, you can have full closure and a complete exhibition to work with while reflecting back and working on the Process Portfolio. This component is implemented in the course to show the growth of your skill sets over time, and how improvements or refinement is seen. You do not have to be a master artist to be rewarded credit for neither the Exhibition nor PP portion! As long as you have the thought and meaning layed out behind each piece, the visual execution of it does not hinder the points you receive. This weighs 40% of your final credit for the class, so be sure to complete this strongly with much thought and care. With that, here are the key components on how to tackle the PP.

1. Collect all your sketches, photos, and other “test-drafts” you experimented with before tackling your final piece. These can count towards documentation/pictures you can use in your PP. Anything counts and does help!

2. Compile all the process/step pictures into one location/file, and name them accordingly so you know which photo comes first. This will make creating your slides much easier.

3. Annotate and analyze your own works as you did with the CS.

Prove the works and thought you put behind your pieces by visually annotating your pictures of your pieces. Similar to the CS, use the same way of presenting information to your advantage.

4. Be sure to reference on each slide which photos were taken by yourself (candidate) or whether those pictures are inspiration photos by others. Use these phrases to describe either two:

For slides ALL/ONLY with pictures of work that are your own/works in progress, use the phrase: “All photos taken of candidate's own work by themselves.”, or something similar. DO NOT USE YOUR NAME IN THIS. ANONYMITY IS REQUIRED FOR NO BIAS, SO USE THE WORD “CANDIDATE” ANYTIME A REFERENCE TO YOURSELF MUST BE MADE.
For slides with some your own, some from other artists, citate underneath the works of others all information, and add this phrase to “cover” the rest of your photos: “All photos taken by candidate unless stated.”, stated referring to the citation you put on works from other artists, so you are good to go.
For slides ALL/ONLY with works of other artists, citate under each photo the information. No further dialogue/clarification is needed.

5. When showcasing each picture of a process, for the final picture, be sure to clearly state that the photo is the final version used in the exhibition!

This is something that I haven’t seen many other resources cover. If you show a picture of each step in the process, be sure to clarify which one is the final version/step that you stopped at. Years before, the PP did not allow the final product/piece to be shown, and only focused purely on the process of it. Only recently did they allow the final stage of pieces to be shown. With that, you must state somewhere near the picture of your final product that it was the, “Final version displayed in the exhibition”. That way, if you “double-dip” and use the same photo you submitted for the Exhibition of the piece also in your PP, it’s “safe”/”covered” for.

6. So what actually goes into the PP? What do they want from me?

That’s a great question. If you boil it down, there are six components within the PP that you have to make sure to meet. As this Reddit Thread covers, they are:

Artist research
Image/conceptual search
Design idea development (Do at least 3 sketches)
Finalized idea proposal
Material testing (Test with at least 3 different mediums)
Process of making the piece

If you can break your slides apart based on these six components, you will be sure to hit the rubric’s points, even if you don’t realize it! I found myself grouping points 1 and 2 on one slide, 3 and 4 on another, and 5 and 6 on the last one. I condensed as needed if I ran out of slides, or took out experimentation if it was already discussed before for the same medium. You can figure which pieces are important to do all six on. For others that are more simpler projects, covering all six may be a stretch, so follow as necessary.

7. Add a reflection at the end of every piece completed, where you summarize all steps taken and how you felt about it. During this reflection, if cultural significance is addressed in this piece, talk about that in your reflection as well. According to the rubric, to get maximum points on Criterion A, the student must, “...and demonstrates thorough understanding of the function and purpose of the selected pieces from at least two contrasting cultural contexts.” Bring up cultural relevance whenever possible; a reflection is just the easiest time to do so.

8. Write critically - don’t just state what you did. State WHY you did what you did.

IB loves when you can describe what’s happening in your mind onto paper. Explain how everything in your exhibition and pieces connect to one another. From the reason you chose the medium you did, to the color scheme, to the last details. Find a way to tie down and even, double down, on all you present.

9. Look at a wide variety of places for inspiration! Refer to your old Pinterest Boards at this time!

Your inspiration for your pieces all came from your Word Map and Pinterest (if you did that, remember?). Refer back to those if you need, and tie down your thought process completely.
If you did not do this, no threat! Find some inspiration you had in the back of your head while making it, and pinpoint an artist or artistic movement that encapsulated your vision before making your piece.
Look into a wide range of artistic movements, eras, etc.
Look to various sources of art for inspiration. Fashion, movies, clothing, pop culture, movies, museums you’ve visited before, etc.

10. Look at a bunch of examples on how to format everything!

Examples help to visualize and outline what is expected of you. Feel free to look at the Link Dump below this article to see some examples of PPs.

11. Be sure to include an artist investigation SOMEWHERE in the PP, or else full credit for Criterion B.

Criterion B evaluates how other artists’ techniques or styles influence your own art making. By analyzing the works of others, they want you to recognize the role that inspiration from others plays in your own artmaking. With the Pinterest tip I provided earlier on, on top of collecting inspiration sources before with full citations, this should come in handy for this step.

Double Checking Every File Before Submission

Finally, you made it to this point of your SL art journey. But, before you finally seal it off, be sure to read over ALL your files that you are submitting, for any grammar errors, misspellings, or confusing explanations. Your teacher may not be able to give you a full read, since they have other obligations to do. Share your files to parents, friends, or other siblings who can help proof-read everything for you.

Submitting your Files!

Once you are at this step, you are complete with your SL IB Art course! Double-check with your teacher that you met all the steps on this checklist, and see if you have anything else missing to give to your teacher. Ensure that they have the right version of your documents if you have been making multiple versions each time you edit. Here is a handy-dandy file submission checklist. Ignore the FormVA/PFF, as that is something your IB Coordinator will fill for you.

Random Tips/You Should Know Facts:

The CS requires a Works Cited that is separate from the Slides, in a separate document.
The PP doesn’t require a Work Cited, but instead allows for a “sources” slide at the end that DOESN’T count for the final slide count. It is not required you add this additional “sources” slide, but it’ll be safer if you do, and further adds validity to your references.
Try and make your text to picture ratio 50/50. The way you format your slides can have a huge impact on your marks. One IB Redditor wrote, “First, when I had submitted my draft, it was very text-heavy. and my teacher gave me quite low marks, around a high 5. Then with the same information, slightly making it more concise, I edited the images. Like if you are analyzing one particular section, crop it, create a shape around it so the examiner feels like you've done some formal analysis. and for contextual, it's the icing on the cake if you put images for the context like if its war-based, then you put images of that war, or if it has some sort of religious symbolism, show it through pics. this is how I jumped to a 7 in my final mocks and I somehow have a feeling, art teachers just grade based on how you present your info. So formatting is KEY, and this isn't just for cs, it's very very helpful for pp as well.”
Search up Quizlets for vocab terminology of whatever medium you are discussing, in order to show knowledge about what you’re working with for Criterion D and E. For example, if I made wire art, I’d search “Wire art quizlet vocabulary”, in which tons of vocab sets come up for that medium. Words such as “gauge” or “form” come up, which have their own definitions and meanings within the medium’s own realm.

I hope I was able to streamline what SL Art was like for me, and how to best combat the course. I know my experience with the course was unique, as I rushed many important components due to COVID-19, along with limited resources. However, I hope that those who are entering the course have a better grasp for how the course is structured in order to get the best credit and experience out of it. This class can seem easy to slack off in, but if not carefully planned, can turn stressful quite easily. But, the analysis skills, art history, and further passion I’ve discovered for art in turn was nice to get out of the course. Take advantage of the “chill” mindset everyone has towards it, and use it to get a head boost on your own work. Best of luck to those in SL and HL Art, and leave comments down below if you guys ever have any questions!

Resources & Link Dumps (All Useful, Search & Use as Needed)

Rubric/Guide: Process Portfolio

https://drive.google.com/file/d/11ajMKREWFZeUGyy9tmS5vsc5Y3E7TxZK/view

Rubric/Guide: Comparative Study

https://drive.google.com/file/d/11ZeF-l3PIYozdwB8wKTnZKXomH8rUngA/view

Rubric/Guide: Exhibition

https://drive.google.com/file/d/1KbqgbeFplugTKcZkZiBa1pdgezMQJl7T/view

Official Examples: IBO Official (For all PP, CS, & Exhibition Components)

https://ibpublishing.ibo.org/server2/rest/app/tsm.xqldoc=d_6_visar_tsm_1408_1_e&part=5&chapter=1

Examples: Process Portfolios