Visual Arts - Paterson, Poppy and Vaughn - Oxford 2017

GLOSS ARY

Isometric perspective: a system synthetic alternatives available sunowers can be seen as a
to describe space where uniform that are easier to cut. metaphor for idyllic rural life in
objects remain the same size, so the south of France. Compare
parallel lines give the illusion of Lithography: a 19th century with “allegory”.
depth. This is often used in plans printing technique. Limestone is
and computer games. drawn on with a waxy substance. Mezzotint (or mezzoprint): an
When water is applied it is intaglio print technique. A nely
Jux tapose: to place one thing resisted by the wax, which can grooved surface of burred lines
against another to achieve then be replaced by printing ink is created on copper plate by
contrast. In art placing different and transferred to paper through systematically rocking it with
images together creates new a press. It allows for a particularly a hard steel edge. This surface
meanings or emphasizes the expressive range of marks that prints as a black, but the artist
intrinsic qualities of each piece. closely imitate the qualities of burnishes and scrapes the surface
drawn marks on paper. In the to create the design in lighter
Kinetic: movement. Some 20th century the principal was tones against this dark ground.
artworks, such as Calder’s developed using thin metal
mobiles, move and can therefore and plastic sheets to become Modelling: in sculpture the
be described as kinetic, but the principal commercial print manipulation of material to
we also move around static technology. create forms. Similarly, in
sculptures in a gallery so we painting forms can be described
experience them kinetically, Local colour: the actual colour of as being modelled in paint.
through movement. an object when unaffected by
reecting light. Modulate: vary the tone.
Lens: the eye of the camera, it
determines how the image will Maquette: French for “model”, Monochromatic: with only one
look. For example, if the subject this refers to a sculptor’s small- colour. The artist may have
is close to a wide angle lens, the scale planning piece completed chosen a single colour to create
face will be slightly distorted, before the main piece is a mood, completing the picture
giving an enhanced sense of undertaken. only in tones of that colour.
closeness. Contrast with “polychromatic”.
Mark-making: this is a term
Line: the trace of a point which used by artists to describe the Monoprint: one of a series of
describes the meeting of planes at character of graphic effects in prints, each with individual
an edge, or the division between both drawing and painting. variations.
light and dark. Think in terms of
silhouettes or contours. Hatched Mass: the body of matter. In Monotype: a unique print
lines can suggest tone and form sculpture you might refer to the made by working freely with
thus describing a plane or curves. physical mass of the forms; in inks or paints on a smooth
Flowing lines can also be used, architecture the sense of weight, surface (metal, plastic or glass).
without the modulation of tone, solidity and force, such as in the Sometimes the paper is laid over
to suggest form. ancient pyramids. the inky surface and the artist
draws on the back to produce a
Linear perspective: when a scene Medium (plural: media): refers to granulated line. Alternatively, the
is viewed from a single viewpoint the more specic materials used paper is pressed onto the inked
with objects shown diminishing in an art-making practice such as surface and a print is pulled.
in size as they become more watercolour, charcoal and plaster. Degas used both monotype and
distant, as in a photograph. In the art-making forms table, monoprint extensively, often
these are listed after the given working onto his prints with
Lino printing: linoleum is a oor forms. pastel to adapt each differently.
covering made from cork and
oil that artists have adapted as a Metaphor: in art an image that Monumental: a work can have a
cheap and grain-free alternative suggests or symbolizes a different monumental effect even if it is
to wood for relief printing (see idea or feeling is metaphorical. relatively small, often through
“wood cuts”). There are now For example, Van Gogh’s the sense of mass. Perhaps the

147

GLOSS ARY

forms have been given solidity Paint: pigment (the colour) plus expensive such as lapis lazuli
and weight, or are seen from a glue (that binds the pigment) blue. In the 19th century the
low viewpoint. and a medium (which makes development of inorganic
the paint ow when it is chemistry led to the invention of
Narrative: storytelling. applied). Types of paint include new stronger, cheaper and more
acrylic, fresco, oil, tempera and lightfast colours.
Negative and positive space: watercolour.
negative space is the area around Plastic: in art this refers to
the forms (void) and positive Palette: Literally the board on something which can be
space is the area taken up by the which an artist mixes paint, modelled or has the qualities
form. In a strong composition but often used guratively, for being transformed, as in
there will be an interesting example, “a palette of colours” sculpture. Design and sculpture
balance between the areas, with means a range of colours, a cool are sometimes referred to as
the negative space being just as palette is blues, a warm palette is the “plastic arts”. Alternatively,
visually arresting as the positive. reds and earth colours, a varied the material plastic is created by
palette or a limited palette has polymerization. It can be made
Objects trouvés: French for few colours. highly transparent, translucent or
“found object”. Rubbish that opaque.
has been collected by the artist Patina: this is the sheen or
is used to make artworks. Look, colouration on an object’s surface Plinth: the base of a sculpture. A
for example, at Rauschenberg’s produced naturally by age or useful synonym is “socle” which
combines. deliberately by the artist. is more often used to describe the
base for classical sculptures.
Obser vational skills: learning Pentimenti: the mistakes or
and knowing how to look at alterations that an artist makes. Polychromatic: many coloured.
something and translate or Modern artists often leave their
express this visually. mistakes; this gives a sense of Polyptych: a work consisting of
movement and a trace of the four or more painted (or carved)
Oil paint: made of pigment, oil thought process they went panels that are normally hinged
and wax. It was developed through as the work developed. together.
from tempera painting in the
15th century, allowing artists Perspective: See “linear Primary colours: red, yellow and
to achieve heightened realism. perspective”, “aerial perspective”, blue. They cannot be created by
Linseed oil is the most commonly “atmospheric perspective” and mixing other colours.
used oil, although a wide variety “isometric perspective”.
of oils have different properties, Process: in art-making, process
for example, some dry faster, Picture plane: the surface of refers to the means to the end (or
others yellow less. By changing a two-dimensional work of product). It is an operation that
the proportions of oil and wax art. Modern paintings often involves a range of cognitive (or
the artist can control the gloss appear at or even to come thinking) and practical methods
or matte of the paint and the forward from the picture plane or techniques that are employed
brilliance of the colour. into the viewer’s space. Artists when you are engaged in an art-
also remind the viewer of the making activity.
Opaque: cannot be seen through. physical surface of the canvas or
Adding white to a colour will paper with rough mark-making. Propor tion: do not confuse scale
make it opaque. Contrast with In the past the picture plane was with proportion, which means
“translucent”. treated as a window through the relationship in size of one
which an illusion of the world thing to another.
Overlapping: this is the simplest was seen.
way of giving the illusion of Protagonist: the main gure in a
depth, for example, used in Pigment: the colour in paint. scene.
the intersecting planes and Originally these were minerals,
overlapping shapes in Cubist some cheap such as the earth Provenance: this is the term used
paintings. colours like ochre, others to describe the history of who
has owned a work of art.

148

GLOSS ARY

Raking: light which falls at an – these lines become the most Scumbling works best on a coarse
acute angle to reveal the surface signicant points at which to canvas and was much favoured
textures or relief of an object. place key elements. Compare by Monet. Compare with “dry
with “golden mean”. brush”.
Readymade: a term developed
by Marcel Duchamp to describe Saturated colour: colour can be Secondary colours: green, orange
manufactured items removed described as being saturated and violet, they are made by
from their original context by the when it is highly pigmented or mixing two primary colours.
artist to become art. at full strength.
Sfumato: a technique in which
Recede: to go back, the illusion Scale: the relative size of an the artist overlays translucent
on a two-dimensional artwork object. layers of colour to create
that there is depth as in “the perceptions of depth, volume and
scene recedes from the picture Scrato: Italian for scratch, form. In particular, it refers to the
plane”. the effect of scratching away a blending of colours or tones so
top layer to reveal the colour subtly that there is no perceptible
Relief: raised from a surface such underneath. This is often used in transition. For example,
as the shallow relief (or bas- ceramics as well as in painting. Leonardo Da Vinci used sfumato
relief) of the design on a coin or to model the Mona Lisa’s face.
the deep relief of Michelangelo’s Screen printing (or silk-screen
tondo carvings of “The Madonna printing or serigraphy): originally Space: the three-dimensional
and Child”. Compare to developed in Japan for printing expanse in which objects are
“emboss”. onto textile. Ink is forced through located.
a frame covered with ne nylon
Rendering: this is the transition or silk mesh onto the print Spectrum: this is white light
or modulation from light to dark surface. The design is prepared refracted into its different
in drawing or painting, usually beforehand as a cut stencil or wavelengths of colours as in a
to create convincing three- applied as an emulsion to block rainbow. The visible spectrum is
dimensional form. Compare with the negative areas of the design. red, orange, yellow, green, blue,
“modelling” and “blending”. indigo, and violet.
Screens: the term “screens” is
Repoussoir: this is when a scene – Stippling: this is an effect
usually a landscape – is framed used throughout the syllabus achieved by the end of the brush
by objects in the foreground to being tapped repeatedly against
emphasize depth and draw the as a constant reminder that the the surface to produce a series of
viewer into the picture. Imagine light dots of colour.
an arching tree and a distant nal product for assessment is a
sunset. Compare with “coulisse”. Subject-specic language: words
digitally uploaded le that will be that are specic to the eld of
Resolved: generally, “resolved” art. The use of subject-specic
means that an artwork is viewed on a computer monitor language is an assessed element
complete and/or nished. of the course and this book
However, it is not a simple idea. as a series of screens. A screen is includes plenty of ideas for how
Sometimes an artist will say to develop your language to
that their artwork is complete a digital page. “Screens” is used analyse art.
when it still looks unnished
to an audience. Ultimately the instead of “pages”, which would Subtractive: subtractive drawing
question of how resolved your is when a tone is applied rst,
work is could come down to a imply that the original format then an eraser is used to draw
discussion with your teacher back into the dark to reveal the
and peers. was in book form, or “slides”, light areas. In subtractive colour
mixing each time you add a
Rule of thirds: imagine a which suggests an electronic colour, such as blue to red to
composition divided into thirds make purple, it becomes darker
presentation using software such

® ®

as Microsoft’s PowerPoint or

® ®

Apple’s Keynote . While all of

these are valid tools for generating

potential screens for the process

portfolio or comparative study

submission, they are not, in any

way, prescribed.

Scumble: literally scrubbing one
opaque colour roughly over
another so that both can be seen.

149

GLOSS ARY

(hence subtractive); add yellow Translucent: light can be seen Wax: wax in paint gives it body
to make it brown and it becomes through, as in a stained glass and thickness. Wax is opaque
darker still. Subtractive sculpture window or a translucent glaze of and dull. Its properties are
is when you start with a mass of paint. opposite to those of oil which is
material, such as a block of stone, translucent and shiny, so an artist
and take away from it to reveal Triptych: a work consisting of can increase the quantity of wax
the sculpture. three panels usually painted and to create a denser, matt surface.
hinged together. It is also good for creating an
Suppor t: the surface that a impasto effect.
drawing or painting is made on. Trompe l’oeil: is French for “trick
of the eye”, for example, when Wet into wet: wet paint is applied
Technical and material practice: objects appear to be real in to previous layers of wet paint to
this refers to the aspects of an painting. create soft owing marks. This
artist’s art-making practice that technique requires a fast way of
are concerned with the form Underpainting: this term refers working, because the artwork
of the work, specically, the to the base colours that an artist has to be nished before the rst
choices and decisions made about uses to block out the main areas layers have dried. If a colour is
media and materials, as well as of the composition. applied onto wet paint it tends
technique and application. to mix in a smooth way, creating
Value: degrees of tonal variation. an intense and soft effect. This
Tempera: a painting medium is difcult to achieve without
where egg yolk is used as a Viewpoint: the real, or imagined, the colours becoming muddied.
binder for pigment. (Do not position from which the spectator Compare to “alla prima”.
confuse with tempura which is looks at a painting. Consider
good to eat!) viewpoint in relation to illusions of Wood cut: a relief print technique.
depth and the use of perspective. The side grain of wood is cut
Ter tiary colours: these are into to create a relief surface,
mixtures of the three primaries, Visual literacy: the ability to which is then inked and printed.
used to make browns and the understand, interpret and make Wood cuts can be highly intricate
wide range of neutral colours in meaning from information as in Ukiyo-e or very rough
nature such as skin, plants, wood presented in the form of an in character as in the German
and so on. Along with pink and image. expressionist tradition.
mauve, they do not occur in the
spectrum. Void: nothingness, or the empty Wood engraving: a relief print
space that is the opposite of mass, technique. The hard end grain of
Tex ture: the tactile qualities of substance and form. wood is cut into to create a relief
surfaces, in other words, the surface, which is then inked and
qualities of touch. Voyeur: someone who gets printed. Wood engravings are
pleasure from spying on others. often characterized by very ne
Tint: created by adding white to a Sometimes the artist makes us details.
colour, for example, pink is a tint unseen onlookers into people’s
of red. private lives.

Tone: the intensity of light Watercolours: paints made from
and dark. Shading is a way of pigment and gum arabic as a
applying tone to a drawing. binder (a natural resin) plus, of
course, water!

150

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152

Index

Abstracted Face 73 blind contour drawings 73–4 conceptual qualities 127–32
block printing 28
academic honesty 118–19 Bloom’s thinking questions 35–6 conict, impact of 115
blue (colour) 22, 24
acrylics 24, 138 Botticelli appropriation 107 contextual function 49
brain dumping/brainstorming 84
Adam and Eve 68 Bresson, Henri Cartier 27 contour 20
bronze sculpture 26
Adobe products 88, 92 brushwork 24 contrast, complementary 21
buildings, contrasts in 64
aesthetic beauty 55 “contrived” work 130

ambiguous 53 convention, questioning 54

American land 33 corsets 10

analogous colours 21 cotton 25

analysis of art 35, 47, 49, 80, 81, creativity box 4

93 critical analysis model 93

Anime lms 61 Calder’s mobiles 16 criticism 87, 91

annotation 42, 44, 46–7, 52 call–outs 80 crochet (coral reef) 54

®

Apple Keynote 88 canvas surface 25 cropping 16, 27

appliqué 23 Cartier–Bresson, Henri 27 cross hatching 17

appropriation 23, 106–107, carvings 24 Cubism 19, 86

118 Makonde 30, 37, 38, 41, 58, cultural hegemony 35

architecture 18, 32, 49, 64 60 cultural signicance of art 53

armature 26 from Mali 23 culture 32, 34, 35, 116–17

art analysis 35, 47, 49, 80, 81, 93 cast sculpture 26 curation 47

art, eastern viewpoints 19 ceramics 23 curatorial documentation 99

art galleries, visiting 45, 48, 49, Cézanne 21 curatorial practice 133, 135, 136

78, 98–9 Chapman Brothers’ sculptures curatorial rationale 99 , 118,

Art Gallery, Leicester 13 30, 37 133, 135–6, 137

art icons 107 chiaroscuro 17, 18 curatorial statement 11, 13, 137

art interpretation 80 childhood, visions of 33

art museums 33, 37, 40, 41 Chinese painting 7, 19 Dali, Salvador 7, 30, 40–1, 42,
37, 58
Art Nouveau 32 citation 75, 89
darkness 17
“artistic voice” 79 ‘City is Transparent, The’ 103 decorative art 55
Degas, Edward 35
art–making forms table 72 cityscape 113 depth, illusion of 18, 19
depth of eld 27
art–making, inuence on 80 class critique 87 de–saturated colours 21
diptych 105
artwork 6, 24, 99, 116 clay 138 display panels 140
“Distortion of the Human Form”
function of 53–5 coherence 77, 89, 121–5
37
obvious/literal 84, 130 collaborative art 105 documentary art 53
domain names (URL) 38
photographing 142 collage 5, 10, 11, 49 Dragon Robe 57
drawings, blind contour 73–4
presentation 136 collective pieces 105 dresses, designed 118
dry point 28
provocative 117 collograph 28 Duchamp, Marcel 26
duplication of work 75
size 125 colour 20–1, 22

assemblage 26 colour contrast 21

assessment criteria 39, 121 communicating ideas 83–5

assessment weighting iv communicating meaning 103

audience for art 55, 57, 103, 136 comparisons, making 61–2, 63

competence, technical 104,

Bacon, Francis 69, 138 125–7

Banyan sculptures 54 composition 16–17

Beuys, Joseph 24 concept maps and webs 43, 84

bibliography 151 conceptual art 129

bibliography referencing 119 conceptual framework 60 editions 26, 27
emboss 23
black (colour) 20 conceptual practice 70

Index 153

embroidery 23 Gage, John 22 Kahnweiler, Daniel–Henry 86
emotion and meaning 15 galleries, visits to 45, 48, 49, 78, kimonos 33
engravings 27, 28 kinetic 16, 18, 31, 45
etching 28 98–9
evidence of work 72, 88 Gaudi 32, 64 La Casa Milà 64
gaze 27, 57 ‘La Pedrera’ 32, 64
experimentation and skills genres 108–17 labels on own work 91
76–7 Girl with a Pearl Earring, landscapes 113
lapis lazuli blue 24
photographic 77 appropriation 107 lens–based media 74
process portfolio 92–3 glossary 143–50 Les Demoiselles d’Avignon 35, 86
reviewing and rening 86 golden mean 16 life model 13
exhibition criterion A 121–5 Goldsworthy, Andy 1 light 17–18
criterion B 125–7 Gormley sculptures 46 line 20
criterion C 127–32 Gramsci 35 lino printing 28
criterion D 133, 135, 136 grey (colour) 20 lithography 28
exhibition, digital submission grotesque 30, 33, 40, 112 local colour 21
140–2 group work 105
exhibition documents 99 Makonde sculpture 30, 37, 38,
exhibition photographs 141 hands 9, 12, 59, 102, 132
exhibition, selecting artworks handwriting 89 41, 58, 60
133–4 hanging hardware 140
exhibition space 139 hatching 17 Mali carving 23
exhibition texts 99, 137–8 head scarves 33
exhibitions 31, 94–5, 135 Hockney, David 138 Maori woodcarvings 63
“satellite” 139 homage 23, 107, 107, 118
visiting 45, 48, 49, 98–9 horse images 51 mark–making 20
“Experiment on a Bird in the Air hue 20, 90
Pump” 138 human body 122 mass 19
experimentation evidence 76–7 human condition 53, 55
experiments 7, 10 human form 10, 102, 108–10 materials 24–5, 26, 47, 51
eye led to 16–17
distortion of 30 Matisse 6

McFee, June King 60

medium/media 70

metacognition 87

metalanguage 15, 88, 90

metaphor 18

failures, interesting 77, 82 icons 53, 56, 107 Mexican revolutionary artists 66
feedback, negative 87 ideas, developing 100
feet 81 identity, sense of 117 mezzotint 28
Feldman, Edmund Burke 93 illness and mortality 59
lm, working with 105 imagery 125, 129 ®
lming sculptures 141, 142 images, size 141
ne art 27 ‘In the House of my Father’ 59 Microsoft PowerPoint 77, 88
ow charts 42 intaglio processes 28
owers 17, 114 intent 90, 100–1, 124, 136 mind maps 42, 43, 84
focus 27 interesting failures 77, 82
fonts to use 89 interiors 13, 14 Ming Dynasty vase 61
foreshortening 19 interpretation of art 80
form (3–D aspect) 18 irony in art 54 mini–exhibition 133
formal analysis 15, 49, 51
formal qualities 15, 52, 50, 127 Jain statue 56 modern art, beginnings 35
formal requirements, SL and HL joiners 105
journal format 3 modernists 107
71 judging art, debate 119
forms 71 “justify” 135, 136 monoprint 27
“found objects” 119 juxtapositioning 54
“fountain” 48 monotype 27
fresco 24
monuments 33

movement 16, 18, 31, 45

Munch, Edvard 35, 36, 55

Murakami 61

mural 66

museums of art 33, 37, 40, 41

visits to 45, 48, 49, 78

narrative art 53, 115
negative space 16
netsuke 24

154 Index

INDE X

note taking 46 criteria 75–90 sealants 25
nudes 14, 73, 86, 109, 110 self–expression 55
criterion A 76–8, 92 self–plagiarism 75
attitudes to 117 self–portraits 97, 111
criterion B 78–82, 92 Self–Portrait with Palette 86
observational skills 104 sensitive issues 117
oceanic forms 128 criterion C 82–5, 93 ‘Seven Formal Points’ 15, 50
‘Oceans Sphere’ 128 shell theme 128
oil paint 22, 24, 25 criterion D 85–7, 93 shock in art 30, 33, 55, 69, 117
opaque 24 silk 25
orientalism 34 criterion E 88–90 Siqueiros mural 66
sketches, annotated 42, 44, 46–7
paint 22, 24, 25 propaganda art 53 skin 59, 81, 122
painting 24–5 Sklarsky, Ian 73
painting, Chinese 7, 19 provenance 47 sociopolitical ideas 115–16
patina 23, 26 socle 18, 140
paying for art 55 puppet theatre 31 “Soft Construction with Boiled
PDF les 88, 91–2
perspective 19 purposes of art 83 Beans” 30, 38, 40–1, 42, 48
phenomenological aspects of sources, reliability 38
Pye, William 48 space 16, 18, 19
colour 21 spray paint 12, 23
Philadelphia Museum of Art 40, quilting 23 Stedlijk Art Museum 6
steel sculpture 26
41 raking 17 still–life 114
philosophy in art 96 readymade 26 stone sculpture 26
photographic media 74 rening 85–6 Story of Art, The 34
photographic records 2 reecting 85, 87 street artists 17, 23
photographing artworks 142 relationships between artworks style 123, 124
photographing own work 77, stylistic relationships 124
123 subject–specic language 15 ,
115 relief printmaking 28
photographs of children 33 religious icons 56 88, 90
photographs, exhibition 141 religious ritual 53 sunowers 17, 114
photography 9, 26, 27, 72, 138 Renoir, Jean 35 support 25
Picasso, Pablo 6, 35, 86, 124 representation, styles of 79 symbolism 129, 132
picture plane 18, 19 research referencing 39, 40, 41 synthesizing 62
Pignon, Ernest 17 researching 35–8
plagiarism 40, 78 resolved 96 tattoos 32
plinth 18, 140 reviews 85–6, 134 teacher feedback 91
Pollock, Jackson 24 Rodney, Donald 59 technical and material
polyptych 105 rule of thirds 16
Pop Art 130 Ruskin, John 24 practice 70
portraits 62, 106, 107, 109, technical competence 104, 125–7
“satellite” exhibitions 139 techniques 24–5, 47, 51
110–12 saturation 20, 21 tempera 24
of self 86, 97, 111 scale 16 text, adding 89
positive space 16 scanners 89, 91–2 textiles 25, 33, 57
postmodernism 107 schematic 45 texture 22–3
predictable art 84, 130 screen–based forms 72 thematic relationships 123
presentation 47, 65, 88–9 screenprinting 28 themes 103, 123
printing, 3-D 119 screens 29, 75, 88–9 thought boxes 31
printmaking 27–8, 72 screenshots, ‘work in progress’ ‘Three Figures at the Base of a
process 24, 25, 51, 71, 119
process portfolio 8, 70–1, 76–82, 77 Crucixion’ 69
90–3 sculpture 12, 18, 22, 26, 54, 68, three–dimensional forms 72
process portfolio, assessment
72
Chapman Brothers’ 30, 37
displays 99
documenting 142
lming 141, 142
Gormley 46
Jain marble 56
with wire 73, 74

Index 155

time and motion 23 Venn diagrams 60, 61 websites 15, 58, 129, 138
timelines 42 white (colour) 20
tonal contrast 19, 21 Vermeer appropriation 107 ‘Windmill, The’ 105
tondo 130 ‘Windsor Castle’ 113
tone 17, 18 Victoria and Albert Museum 33 wood cuts 27, 28
transcriptions 23, 107, 106, 118 wood engraving 28
translucent 24 video 138 wood as sculpture 26
trees, photography 9
trigger phrases 68 video les 141, 142 see also carvings
triptych 105 wool 25
two–dimensional forms 72 viewpoints 19–20, 136 ‘work in progress’ screenshots 77

Ukiyo–e prints 52 visiting museums, exhibitions Xi, Guo 22
urinal 48
and galleries 45, 48, 49, 78, yellow 22
value 17 Yoshitora, Utagawa 52
Van Gogh, Vincent 17, 35, 39, 55 98–9
vases 20, 61
visual and text balance 89

visual literacy 131

Vitória, Duarte 81

void 16, 18

war memorials 33

Warhol, Andy 130

watercolours 24

weaving 23

156 Index

VISUAL ARTS

Written by leading workshop leaders and IB educators, this course book fully Authors
unpacks and explains the assessment components and requirements through a Jayson Paterson
highly visual approach. Guiding learners through each assessment task, a wealth of Simon Poppy
case studies contextualises the assessment criteria, building assessment potential. Andrew Vaughan
Tips and key terms throughout the book support students’ understanding of the
expectations and terminology of art, building student confidence. FOR FIRST ASSESSMENT
Oxford course books are the only DP resources developed with the IB. IN 2016
This means that they are:
➜ The most comprehensive and accurate match to IB specifications
➜ Written by expert and experienced workshop leaders and teachers
➜ Packed with accurate assessment support, directly from the IB
➜ Truly aligned with the IB philosophy, equipping learners to tackle ATL and TOK

A highly visual approach that includes
numerous examples of students’ work

Case studies and tips throughout the book to
suppor t students’ understanding

Also available: Print and online pack:
Online book 978 0 19 837794 8
978 0 19 837793 1

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