esubmission and interview guidance

File types and file sizes Four types of files may be uploaded for visual arts coursework: document files, audio files, video files and image files.

File sizesFile sizes

Document file type Maximum Size

DOC 20MB

DOCX 20MB

PDF 20MB

RTF 20MB

TXT 20MB

Audio file type Maximum Size

AAC 40 min

M4A 40 min

MP3 40 min

Video file type Maximum Size

F4V 1GB

FLV 1GB

M4V 1GB

MOV 1GB

MP4 1GB

Image file type Maximum Size

JPG 1MB

GIF 1MB

IB Visual Arts e-submissions and interview guidance

Appropriate file types for student work The candidate statement must be uploaded as a document file. Studio works must be uploaded as image and/or video files. The interview between the student and the teacher must be an audio file or a video file, and investigation workbook pages must be document files or image files. Schools are recommended to:

• ensure the candidate statement falls within the 300 word maximum

• ensure the best quality studio work photographs are uploaded in line with the quantity required for the course and level

• scan the required number of investigation workbook pages (for the course and level as shown) into one document - copying and pasting scans into a Word file or a .pdf are some example of how this might take place

• provide one or two additional photographs of the exhibition wherever possible, or if more appropriate to the media chosen by the student a short video, to inform the assessment process

• note that 3D work, for example sculptures or installations, may be represented by a short video in place of a photograph; where students have created more than one 3D work, each video should be limited to one individual studio work

• keep studio work video footage to a minimum, using it sparingly to show an installation or a 3D work


Advice on capturing studio work It is not essential to create large file sizes when photographing work. Cameras with a high megapixel count are not necessary: in general, the more megapixels, the larger the photograph that can be provided. While large photographs are not needed for the electronic upload (they should be big enough to fill a computer monitor), they should be well focused and well lit.

It is in the best interests of the student to ensure the evidence submitted is clear and reflects the work appropriately.

Two-dimensional work should be photographed:

• flat against a surface (wall or table) with the camera parallel with the work

• in soft, even, natural lighting wherever possible

• against a plain, neutral-coloured background

• in sharp focus.

Photographs may be repositioned, cropped and adjusted for brightness, contrast and colour casts, as long as the work is still a true likeness of the original studio work piece.

Three-dimensional work should be photographed:

• in soft, even, natural lighting wherever possible

• against a plain, neutral-coloured background

• in sharp focus

• with an overall shot of each piece plus details as appropriate.

Photographs may be repositioned, cropped and adjusted for brightness, contrast and colour casts, as long as the work is still a true likeness of the original studio work piece.

Electronic animation work should be:

• provided in its original file format, ensuring that the work is supported by thorough documentation showing how it reflects the student’s efforts.

Installation and temporary/transient work should be recorded:

• through a series of still photographs, or

• Through short/concise video footage in good lighting, on a tripod wherever possible.

Please note that a recording of any audio accompanying an installation (for example, music) is not required as only the visual aspect of the work will be assessed.


Excerpt from candidate record booklet: Section 3: candidate statement (300 words maximum) Write below a short critical analysis of your visual arts work.

Consider some or all of the following key words to help you with your statement.

Concerns Sources Influences Context

Skills Techniques Media Scale

Purpose Process Achievements Focus

Section 4: studio—to be completed by the candidate The photographic prints in this booklet will serve as a record of part of your final exhibition or presentation. Discuss with your teacher the selection for the booklet. It is important that the selected photographs show your work as well as possible.

• Prepare photographic colour prints of the works selected: 12–18 (HLA), 8–12 (SLA). Please provide prints of good quality. Do not submit coloured transparencies/slides.

• Glue the prints in the spaces provided in Section 4. Please indicate the top on the back of each print (in case the print comes unstuck from the booklet).

• If you have opted for photography as part or all of your studio exhibition or presentation, you must provide evidence in the record booklet of the total amount of work undertaken.

• This may be achieved by such means as: - a carefully worded candidate statement that outlines the darkroom experiments - the inclusion of two to three contact sheets - the inclusion of photographs that reflect the totality of your exhibition - the inclusion of appropriate evidence in the investigation workbooks.

It is essential that works in digital media, animations or installations are thoroughly documented to show how they reflect your own efforts. In the case of digital artwork for example, print-outs showing stages between the starting points and final products must be included.

Section 5: photocopied pages from investigation workbooks—to be completed by the candidate The photocopied pages attached to this booklet will serve as a record of part of your visual arts investigation: 30–40 (HLB), 25–30 (SLB and HLA), 15–20 (SLA). Discuss with your teacher the selection of pages from your investigation workbooks.

The selection must give some evidence of:

• all the assessment criteria • the development of some of the studio works presented in the booklet.

Make sure the copies are:

• legible • of good quality • show each page in its entirety.


Academic HonestyStudio workWhere studio work references the words, work, or ideas of another person, these should be properly referenced in the supporting documentation for the studio work in the student’s investigation workbook. Where examiners raise academic honesty concerns, and the pages were not selected as part of the IWB submission, the IB may request these pages as part of their investigation.

Investigation workbookStudents will probably refer to a lot of different artists’ work during their investigation processes. It is important that students demonstrate best practice in ensuring that any investigation workbook pages submitted for assessment cite sources appropriately and in line with the style included in the school’s own academic honesty policy. In addition to being mentioned within the assessment markband descriptors, the citing of sources is required to maintain academic honesty.


Advice on the student interview Students are not expected to make a prepared speech when talking about their externally assessed work:

• HLA/SLA students should be encouraged to talk about the technical aspects of their studio work and their aims or intentions, focusing on their experience making the studio works exhibited and how they relate to the investigation work undertaken

Although termed an interview, it is not expected that the teacher will work through a scripted list of questions to draw out information, but will support the student in talking appropriately about their work.

Schools often ask what contribution the interview makes to the assessment process. It is true that the interview, like the candidate statement, is not allocated specific marks. The additional information provided in each by the student about their work, provides the examiner with a greater understanding and may allow access to a higher markband, and so a higher mark. For example, if the selected studio works and/or investigation workbook pages did not reveal evidence of an ongoing process of review, modification and refinement, then the student could be encouraged to talk about how they undertook that process in the development of a final piece of studio work.

The student’s interview: • is not expected to follow any particular format

• may be either audio or video as relevant to the school’s context and circumstances

• can be in front of the student’s exhibition, or individual works as appropriate, and is not restricted to being recorded on one individual day

• should provide evidence to address the requirements of the markband descriptors in line with page 3 (studio work) or page 6 (investigation workbook) of the Visual arts assessment clarification

• can usefully build upon formative assessment processes

• should be as relaxed and unthreatening as possible to put students at ease, enable them to feel comfortable and confident, and to talk as easily as possible about their work

• should use open-ended prompts or questions (many examples of which occur on the following pages)

• should not rely on closed prompts or questions (for example, “Did you use oil paint?”)

• should not use questions designed to draw out specific knowledge (for example, “What year was Pablo Picasso born?” or, “If I wanted a warm black which colours would I mix together?”)

• should encourage students to focus on the externally assessed component (studio work for HLA/SLA) and guide them back if they lose focus

• should end when appropriate, up to the maximum time; if the student has delivered all the information they wish to, then it is not necessary to keep talking

• should not include the teacher’s opinion on the work

• does not need to be edited, but schools may remove nervous false starts or superfluous information if they wish.

Focus of the interview Students should talk about the work they have selected to submit for external assessment. They should be reminded that if they are registered for HLA or SLA, their focus will be their studio work.

When facilitating the interview, teachers should avoid the temptation to lead students or to provide information or opinion about the artworks. It is important that students carefully mention by name the artwork or the investigation workbook page number that they are referring to and refer to techniques or media by name, rather than by words such as “it”, “this” or “they”.

Length of the interview recording The maximum time for an HL examination is 40 minutes, and for an SL examination 30 minutes. In order that the examiner has time to properly consider the photographs of the studio works, schools are advised that the recording of the interview should be a maximum of 30 minutes for an HL student and a maximum of 20 minutes for an SL student.


Accompanying notes to interview video clips Please note that the video footage is in each case shorter than the recommended maximum of 30 minutes at HL, or 20 minutes at SL.

1. Anna, HLA The teacher settled this student’s nerves by guiding her thinking until he was satisfied that she was focused. (0:00) Initially, she was asked to explain how she started the course, and then when she was more settled (2:39) he suggested that she talk about pieces that were more personal. After the student (4:35) explained the reason she developed the piece “Under”, the teacher encouraged her to talk about the process of creating the work (5:38). The student then moved on to talk about the creation of the piece “Postcards” (8:40), before being directed to talk about her version of the “Bar at the Folies-Bergère” (12:02). Finally, with a little time left, she was invited to talk about something that had not yet been discussed (15:02); she chose to discuss “Old and New”. Teacher input I’d like you to tell me a little bit about how you started the course.

The pieces you’ve talked about so far were inspired by assignments. Show me some pieces that were more personal to you and that you came up with the idea and the planning for.

I’d like you to tell us a little bit about this painting called “Under”.

It’s a very finished piece and I’m sure there must have been a lot of process involved before you got to this stage. Can you tell us about the process …

What would you like to talk about next …

Could you tell us about your version of “Bar at the Folies-Bergère” …

We have a few minutes left and I wondered if there were other things in the exhibition that you would like to talk about that we’ve not discussed yet.

Additional notes Texture was discussed and identified in video. A close-up, detailed photograph could document this aspect of the work where an audio recording was produced.

The names of the studio works and page numbers from the investigation workbook need to be stated clearly so that the examiner is aware of what is being discussed.

Where particular pages from the investigation workbooks are referred to, if they support the work they could be selected to provide evidence against relevant markband descriptors.

Where the student talked about particular features of the work, for example, this student talked about the use of varnish and Pollock type splashes, a detailed photograph or a clear explanation in an audio track would provide evidence.

Gallery visits were mentioned and although not part of the markband descriptors the information was relevant in the context of the topics being discussed.

2. Franzi, HLA Knowing that this student preferred to direct her own thinking and follow her own path, the teacher suggested that she started in her own way (0:00). He brought her back to refocus by directing her to the next piece(s) of work (4:08 and 7:06), and attempted to encourage her to talk about processes (5:08 and 11:43). The teacher knew the best way to work with this student, and did not want to put words into her mouth, so there are one or two silences that would not have happened with a different student who worked in a different way.

Teacher input How would you like to start …

You discovered these illustrators and felt their styles matched the kind of things you wanted to say, so transferred some of those into your own artworks. Can we focus on two men …

It’s got a great texture, how did you apply the paint …


Tell us about some of the things on display here.

In terms of the process, who took the photographs …You stationed the camera somewhere on self-timer …

Additional notes It is not necessary to discuss the theme. The student explains that her theme came about from the work she was interested in following, and that the theme wasn’t imposed upon the work.

The student was aware of the markband descriptors and able to talk about cultural issues without prompting.

Some issues may be politically and/or culturally sensitive in some parts of the world. This is a school/location issue rather than an IB issue. The location of this school did not prohibit open discussion.

Names of studio works and page numbers from the investigation workbook would have been usefully stated, and essential if an audio recording was made.

It is useful to discuss links to other areas of study.

The teacher waited through a silence knowing that the student would be encouraged to talk more because of its non-threatening nature, rather than being moved on to another artwork because of the silence.

3. Filip, SLA This student needed to be focused more by the teacher than the previous two HLA students in order to order his thoughts and relay the information that was required, rather than being left to his own direction. This resulted in more prompts than the previous two students. From the beginning (0:00), the student talks about “Kill Count” and its relevance to the context of the morality of warfare. He is prompted to talk about the black and white scheme (1:08) that works through much of his body of work in relation to this piece and to talk about the studies and preparatory pieces (although the complete exposition is not seen on the tape) (1:50), some of the content of the piece (1:58) and the process (2:24). The student talks about the piece “Three Separate Images” (3:28), is prompted to talk about the development (5:35), before showing the planning in the investigation workbook (6:14). He then talks at more length about the piece “Putin-Medvadev” (8:45) and its influence, before finishing with explaining “Self Portrait“(14:07). Teacher input Tell me a bit about this artwork.

You’ve obviously restricted the colours to black and white.

These are the studies and preparatory pieces are they …

Tell me what the soldier is doing.

It’s quite a large piece, so presumably there was quite a lot of process involved in making it that large and to fit into the space.

Continuing the black and white theme—this is one piece of three separate images. Tell us about these.

Did you have any process or plans for these, any development of ideas, or did these ideas come to you fully formed in terms of what you made …

So you have done some planning in the investigation workbook. Can you show me the relevant pages …

Let’s talk now about this piece.

The process of making an optical illusion can be time consuming. Do you have records of the process and documentation of how you did this …

Is there anything that you’d like to talk about that you’ve not already said or covered …

Additional notes Even in this interview where the teacher spoke more than in the others, the student spoke for about 90% of the time, reflecting that it is the student who should do most of the talking.

The teacher balanced the need to direct the student with the concern of not providing information himself by putting words into the student’s mouth.


The student was aware of the requirements of the assessment descriptors and was able to speak about, for example, cultural and historical aspects without prompts.

The student refers to the names of works well. It would have been helpful to quote the investigation workbook page numbers.

Studies and preparatory pieces would need to be included in the investigation workbook pages if they were needed to support the studio work.

Investigation workbook pages referring to process might be useful to support studio work piece(s).

4. Michaela, HLB (0:00) The student talks about how through looking at portraits and the human form she studied styles and interpretations of other artists. She goes on to explain about mixing her two personal cultures through her study of culture (1:33), media experiments (3:41), linking investigation to works produced in studio (5:43), and then how she applied what she had learned to a studio work (6:48). The student talks about the presentation of her pages (7:29), including inspiration from a gallery visit, before going on to talk about the purpose and significance of artworks (9:53). She talks about ideas that she had studied and how they were incorporated into her own work (11:39), and using the internet when primary sources were unavailable (13:40). The use of art to make political points is talked about (14:17) and finally the student talks about how the investigation has influenced her (16:02).

Teacher input Would you like to tell us about some of the investigation that you have carried out … What other investigations have led through the process of planning to some studio pieces …

Would you like to show me some pages that demonstrate how you have experimented with different media …

Tell me a bit more of the media of [the artist] you decided to change to the media and techniques that you used.

Many of the pages show a strong, effective, creative presentation, particularly this page. Could you tell us what is going on here …

You’re talking about the purpose and significance of artworks: their importance and what the artist was originally aiming for. Can you show some examples of that …

Does anything else spring to mind that you’d like to talk about …

Let’s see some examples of what the internet has enabled you to do.

You are covering a lot of ideas—clearly cultural and historical and also political. Do you think this has given you a venue or facilitated you to talk about these ideas in your investigation …

We’re coming to the end of the time for the interview. Is there anything you wanted to talk about in terms of the investigation that we’ve not covered, or anything in terms of the investigation and the studio …

Additional notes HLB/SLB students should talk primarily about the pages they have selected to be assessed, although other pages may be referenced occasionally where necessary in support of those pages.

Page numbers should be quoted throughout the discussion; watching/listening to this clip where it did not take place shows the importance of this.

HLB/SLB students may need to be guided through their pages to ensure coverage of the bullet points contained on page 6, “The examiner is looking for evidence of” of the Visual arts assessment clarification document.

The student was aware of the requirements of the markband descriptors and ensured she raised points in respect of particular ones that might not have been covered otherwise.

Gallery visits were mentioned and although not part of the markband descriptors the information was relevant in the context of the topics being discussed.


Additional possible prompts for the student interview As well as the prompts that were used in the video clips by the teacher, there will be many others that are relevant to the individual student and the context of the externally assessed component. The following are some ideas to allow the student to reveal their coverage of the points the examiners is looking for evidence of, that are not revealed in the studio works/investigation workbook pages. Teachers will be aware of the course of study the student has taken, and will be able to create prompts appropriately for the context and need at the time.

To start the process • Would you like to start by talking about your most successful piece, telling me why you think it is

successful …

• Would you like to start by talking about your favourite piece of work, telling me if you think it was successful and why it is your favourite …

To reveal information relating to the markband descriptors • How did you develop your ideas in relation to studio work X …

• Perhaps you could talk about your developmental process for this work.

• You encountered a problem of Y when you were working on this. Can you talk about how you resolved it …

• You talked about [artist/s name] in relation to [studio work name]. Can you explain what it was that influenced you...

• The work you selected for the examination shows an influence by [medium, technique, art movement, culture, historical period]. Would you like to talk a bit about it …

• [Name of studio work] was developed from [other work/investigation/process]. Can you explain about how you refined your idea to create the final piece …

• In the pages you’ve talked about so far you mention [gallery visits/internet/books] a lot. Can you talk about the other sources that you used …

• The finished work has an interesting [texture/use of x]. Can you talk about that …


esubmission and interview guidance

Documents