It's important to have parental and family support when you are in the AP Studio Art program!
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It's important to have parental and family support when you are in the AP Studio Art program! |
Course Overview: This AP Studio Art 2-D Design course will address a very broad interpretation of two-dimensional design issues that will involve purposeful decision-making about how to use the elements and principles of art in an integrative way. The student will expand visual communication through the exploration of design processes, composition, and aesthetic concepts, and develop mastery in concept, composition and execution of ideas. INSTRUCTIONAL GOALS:
PORTFOLIO OVERVIEW: The portfolio is based on a three-section structure: quality, concentration, and breadth. Students must develop quality works in concept, composition and execution of 2-D design. Students are required to investigate a strong, underlying visual idea in 2-D design that grows out of a coherent plan of action or investigation. Students will learn a variety of methods and concepts in 2-D design and demonstrate a fundamental competence and versatility with technique, problem solving, and ideation. The Quality section (Section I) permits the student to select the 5 works that best exhibit a synthesis of form, technique, and content. The Concentration section (Section II) asks the student to demonstrate a depth of investigation and process of discovery. In the Breadth section (Section III), the student is asked to demonstrate a serious grouping in visual principles and material techniques.
SUGGESTED PROCESS APPLICATIONS:
MOTIVATIONAL CONCEPTS:
EVALUATION/ACHIEVEMENT CRITERIA:
SUMMER ASSIGNMENTS: Students are met with prior to the summer in May, and AP art slides are shared from the College Board and past students’ work. Several concentrations are shown, and students are asked to come back with at least four ideas for their concentrations. Students are given handouts that help them to think of their interests, concerns, and areas of curiosity and exploration. Students are also given these assignments to have completed by the second week of their first semester in AP Studio Art. Students are encouraged to use a variety of mediums and to work on 18”x24” paper or in sketchbooks. Students are asked to have a sketchbook or journal to keep ideas about concentrations, explore thoughts, work from life, and to complete assignments.
Homework: Students receive specific assignments to prepare for particular in-class assignments. They will be asked to research pertinent artists and artworks, make drawings from direct observation in their sketchbooks, gather information for their concentrations, and complete class assignments. Students are expected to put in one and a half hours for every hour of class time. PARENTAL INVOLVEMENT: A meeting is held with parents at the beginning of the semester where slides of past work are presented. The College Board AP Studio Art rubric is passed out and the parents and I grade work together. The course syllabus is gone over and I talk with them about the importance of time spent on homework, attending the figure drawing workshop once a week, students not copying from images and having artistic integrity, and the importance of producing quality work while still meeting the deadlines. Parents are told that their children will be reading college-level material and dealing with issues and visual materials that might be controversial. I ask parents to sign an approval form that states students will study classical master figure studies and work with a model in a swimsuit or similar attire. Parents are often unsure how to discuss art with their children, so I give them a copy of the rubric used in the Quality section, and ask them to begin using those questions. I discuss with them the grading policy, and reiterate that it is based on the rubric used by AP Studio Art readers. Parents are invited to attend the workshops and to become involved in our exhibits. Visual Journal: Students will use a sketchbook to make visual and written entries and to map their creative journey throughout the year. The student will be shown examples of sketchbooks of famous artists from the past. Students will be expected to use the sketchbook for research, drawings, and anything that helps them develop ideas for their work. This will enable the student to view art as an ongoing process and demonstrate informed and critical decision-making. Critiques: Group and individual critiques are an integral part of the 2-D Design course. Group critiques are presented as an opportunity for students to use art vocabulary to make informed opinions about their own work, and the work of their peers. Individual and group critiques and instructional conversations with the teacher are ongoing as work is completed. Artistic Integrity: Students will use an honor code and artistic integrity throughout the course. Any work that makes use of photographs, published images and/or other artists’ works must show substantial development beyond duplication. Copying an image belonging to another artist constitutes plagiarism. All students will be expected to do their own work. At times students will be given projects or exams that must be completed outside of class. If a student breaks this honor code, it will give him or her an unfair academic advantage and will result in the student being removed from the course. ASSESSMENT AND EVALUATION: Portfolio Development: (75%)
Lab Participation: (25%)
AP Studio Art Resource Requirements: The school ensures that each student has access to art materials, and resources necessary to meet the standards for the portfolio he or she chooses to submit. However, art students at this advanced level usually require more expensive materials, i.e., Prismacolor pencils, linoleum, illustration board, tube watercolors, canvas, oil paints, etc. A portion of the supply fee is used to cover these extra costs. SUPPLIES: There is a $45 fee for each semester, which includes slide film and processing. This fee, except sketchbooks and any special tools and materials that the student may wish to buy, covers most supplies. A list is provided of optional supplies. AP STUDIO ART PORTFOLIO EXAM FEE: There will be an $83 exam fee, which will be payable to the counseling office in March. Some students may qualify for a discounted cost and may inquire through the counseling office. Research: Research from a variety of sources is integral in designing work and developing a strong concentration. This practice of research and ongoing investigation is part of the art making process. The school ensures that each AP Studio Art classroom has instructional materials that support the formulation of a creative problem and its comprehensive investigation: art books, periodicals, slides, reproductions, and digital images. Many informal fieldtrips to visit museums and galleries are provided for students by the National Art Honor Society. WORKSHOPS: Students are offered a free three-hour figure workshop after school. All students are highly encouraged to attend. It is recommended that students take the summer figure drawing class at COC, attend Saturday High at Pasadena Art Center or the Cal-Arts figure workshop on Sundays. Students are kept apprised of courses and workshops being offered throughout the semester. 2D Design Portfolio Section I: Quality CONCEPT: The Quality section of the portfolio must demonstrate a sense of excellence in art. All pieces must be the actual artwork (no slides or copies). The purpose of this section deals with evaluating the student’s level of achievement. OBJECTIVES/PERFORMANCE CRITERIA:
QUALITY SUBMISSION TIPS :
2D Design Portfolio Section II: Concentration CONCEPT: The Concentration section of the AP Portfolio must define and establish a commitment to a particular vision concern. In this section, the student has the opportunity to pursue individual interests while working independently. They are encouraged to work in depth, explore engaging and meaningful visual dialogue, pursue ideas, subject, media, or approach—to emulate the way the artist truly works. OBJECTIVES/PERFORMANCE CRITERIA:
The second semester of AP 2-D Design Studio Art, students will develop their concentrations. In the prior summer and during the first semester, students choose their concentrations through a group of activities where they work cooperatively with other students, research, use “think sheets,” and meet regularly with the instructor to discuss their progress. At the beginning of the semester, students will create a rough draft of a written commentary; create lists of ideas and the materials needed to begin the concentration projects. SUGGESTED ACTIVITIES:
Motivational Activities :
Presenting Your Concentration: All concentrations must be submitted in slide form. Twelve slides are required; some of them may be details. In most cases, students will probably have completed more than 12 works for a concentration; if so, they must choose the 12 best that represent the process of investigation. Slides should present your concentration as clearly as possible. Students may NOT submit slides of the same work that are submitted for Breadth. Submitting slides of the same work in Section II-Concentration, and Section III-Breadth, may negatively affect scores. In preparing Section II (Concentration) slides, thought must be given to the sequence of the slides in the slide sheet. Students should organize them to best show the development of concentration. In most cases, this would be chronological. Commentary for Concentration: A written commentary describing what concentration is and how it evolved must accompany the work in this section. Responses should be legible and concise (extra sheets should not be attached; commentaries that exceed the allotted space will not be read). The commentary is not graded, but it does help in the evaluation process. The commentary consists of responses to the following: What was your initial idea? Suggestions for Concentrations: The list of possible Concentration topics is infinite. Below are examples of Concentrations that have been submitted in the past. They are intended only to provide a sense of range and should NOT be considered necessarily “better” ideas.
2D Design Portfolio Section III: Breadth CONCEPT: In this section of the AP Portfolio the student must create a variety of original works demonstrating an understanding of the elements and principles of design, which include unity/variety, balance, emphasis, contrast, rhythm, repetition, proportion/scale, and figure/ground relationships. These works should reflect a range of problems, ideas, media, and approaches using the formal, technical and expressive means available to an artist. The best demonstration of breadth clearly shows experimentation and a range of conceptual approaches to the work. It is possible to do this in a single medium or in a variety of media. If a single medium is chosen – for example, if a portfolio consists entirely of photography – the images must show variety of applications of design principles. Media could include graphic design, silk screening, painting, drawing, printmaking, illustration, weaving, digital imaging, photography, collage, typography, or mixed media. For this section, students must submit 12 slides of 12 different works. Detail slides may not be included. It is not necessary to write on the slide mount the principle or problem that the work addresses. Slides may not be submitted of the same work that is being submitted for concentration. Submitting slides of the same work for Section II, Concentration, and Section III, Breadth, may negatively affect scores. Artworks submitted should demonstrate an understanding of the elements and principles of design. Students are asked to demonstrate thoughtful application of these design principles while composing artwork. Students’ work must show substantial development beyond duplication, and may not copy published images or other artists’ work, understanding that this is plagiarism. While the use of appropriated images is common in the professional art world today, many colleges and art schools continue to stress strongly the value of working from direct observation. In aspiring to college-level work, students who make use of borrowed images should demonstrate a creativity and sophistication of approach that transcends mere copying. This policy is clearly stated on the AP Studio Art Poster: “If you submit work that makes use of photographs, published images and/or other artist’s work, you must show development beyond duplication. This may be demonstrated through manipulation of the material(s), formal qualities, design, and/or concept of the original work” OBJECTIVES/PERFORMANCE CRITERIA:
Breadth is taught at the beginning of the year and continues until the end of the first semester. Students have received instruction over the summer, and should have some breadth pieces completed. Students are taught through demonstration, art history, and exploration. Students strengthen their pieces and develop mastery through group and self critiques, conversations and instruction with the teacher. Work must be “slide ready” by January. Breadth should reflect some risk taking, and students should be given the opportunity to learn about and use a variety of media. Projects challenge and engage the student to a higher level of critical thinking and creativity. Works emphasize the elements (line, shape, form, texture, color, space, value) and principles of design (motion, pattern, unity/variety, balance, emphasis, rhythm, contrast, proportion/scale and figure/ground relationship) using a variety of media and techniques. Media
Breadth pieces should include: 1. Color Organization Suggested Projects:
AP Studio Art Curricular Requirements: The course promotes a sustained investigation of all three aspects of portfolio development quality, concentration, and breadth—as outlined in the course Description or Studio Art poster throughout the duration of the course. (Note: the body of work submitted for the portfolio can include art created prior to and outside of the AP Studio Art course.) The course enables students to develop mastery (i.e., “quality”) in concept, composition, and execution of 2-D design. The course enables students to develop a body of work investigating a strong underlying visual idea in 2-D design that grows out of a coherent plan of action or investigation (i.e., a “concentration”). The course teaches students a variety of concepts and approaches in 2-D design so that the student is able to demonstrate a range of abilities and versatility with technique, problem solving, and ideation (i.e., “breadth”). Such conceptual variety can be demonstrated through either the use of one or the use of several media. The course emphasizes making art as an ongoing process that involves the student in informed and critical decision-making. The course includes group and individual student critiques and instructional conversations with the teacher, enabling students to learn to analyze and discuss their own artworks and those of their peers. The course teaches students to understand artistic integrity as well as what constitutes plagiarism. If students produce work that makes use of photographs, published images, and/or other artists’ works, the course teaches students how to develop their own work so that it moves beyond duplication. Bibliography and Resources: Rose, Ted, Discovering Drawing, Davis Publications Brommer, Gerald, Discovering Art History, Davis Publications Mittler, Gene A., Art in Focus, Glencoe Roukes, Nicholas, Art Synectics, Davis Publications Hannah, Gail Greet, Elements of Design, Design Briefs Publications Lauer, David & Pentak, Steve, Design Basics, Harcourt Publications Zelanski, Paul & Fisher, Mary Pat, Shaping Space, Wadsworth Publications Roukes, Nicholas, Design Synectics, Davis Publications AP Program Professional Development for Art, The College Board The AP Vertical Teams Guide for Studio Art, The College Board Lynne Perrella, Artistic Journals & Sketchbooks, Quarry Publications Brommer, Gerald, Watercolor & Collage Workshop, Watson-Guptill Publications Roukes, Nicholas, Acrylics Bold and New, Davis Publications Roukes, Nicholas, Artful Jesters, Davis Publications Bernhard J. Suess, Mastering Black and White Photography Martin, Judy, Color: How to See it, How to Paint it, Chartwell Books Schneider, Norbert, The Art of the Portrait, Taschen Horenstein, Henry, Hart Russell, Photography, Prentice Hall Hausman, Carl, Metaphor & Art, Cambridge Dodson, Bert, Keys to Drawing, North Light Books Mittler, Gene, Howze, James, Creating and Understanding Drawings, Glencoe Vieth, Ken, From Ordinary to Extraordinary, Art & Design Problem Solving, Davis Publications Greenberg, Jan, Jordan, Sandra, The Painter’s Eye: Learning to Look at Contemporary American Art, Delacorte Press, Bantam Doubleday Dell Publishing Group, Inc. Stoops, Jack, Samuelson, Jerry, Design Dialogue, Davis Publications
PERIODICALS: Art and Man, Scholastic monthly publication Juxtapoz, a monthly publication ADDITIONAL RESOURCESBrown Bag Ideas from Many Cultures, Irene Tejado The Twentieth Century Art Book, Phaidons Press Limited The Notebooks of Leonardi da Vinci, Oxford World Classics The Diary of Frida Kahlo, Harry Abrams, Inc. Ansel Adams: The Spirit of Wild Places, Eric Peter Nash Weegee’s World, Miles Barth Brown, Harley, Barrett Lehrman, Lewis, Harley Brown’s Eternal Truths for Every Artist, International Artist Publishing, Inc. AP STUDIO ART ASSESSMENT: QUALITY WORKS
If you have not scored your work consistently in the 4 or 5 categories, now assess what its strengths and weaknesses are, and how to rework the piece and raise it to a 5. Explain your rationale in a paragraph below, considering:
1. Have you done anything special with the use of the art elements (line, color, shape, texture, value)? 2. What are some of the dominant shapes, expressive forms, color schemes, and textures that carry significance in this artwork? 3. Is the work ordered/balanced? Or chaotic/disturbing? What makes for the order or chaos? Would you use words such as unity, variety, contrast, balance, movement, and rhythm to describe formal characteristics of this work? 4. Describe the quality of execution and technique. What gives the work its uniqueness? Does the work evoke any feelings? To what do you ascribe your feeling - the use of colors, shapes, technique, or theme? 6. Is there "symbolism" used in the work to convey meaning other than what one sees? 7. What is your general impression of the work? What did you want the viewer to think about? Did you get your message across successfully?
Discuss whether there is significant success, why or why not, and support your judgment with evidence.
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