1. Explore the elements and principles of design. 2. Learn about concepts in art. 3. Develop skills and techniques to produce quality art.

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1 Advanced Placement Portfolio - Studio Art Sparta High School Art Elective 2Cr / 1 Year Prerequisites: 2-D Design, 3-D Design, Drawing I, Drawing II, Painting, Pottery I, Pottery II Photography and/or Instructor Approval Grade Level: 11 or 12 This independent study* course will provide experiences to create a portfolio that demonstrates mastery in one of three artistic concerns: Two Dimensional Design, Three Dimensional Design or Drawing. All three choices are further subdivided into 3 sections; Quality, Concentration and Breath. Each section has specific rigorous requirements that demand authenticity and diversity while challenging higher level thought processes. Students are required to develop an individual education plan based on intensive evaluation of current strengths and weaknesses. The plan must include how they will explore new or apply previously learned techniques, concepts and problem solving strategies to develop inventive, creative, original works at a level of mastery comparable to foundation level college courses. *Typically we do not have enough students to fill the required number to run an additional class (25) so all AP Studio Art students are considered Independent Study and are scheduled singly or grouped with other AP students during an hour the instructor has room in another class. Although not an ideal situation, the curriculum accounts for all three types of portfolios and provides the students the opportunity to complete a portfolio. 2-D Design Portfolio Students are asked to demonstrate mastery of 2-D design through any two-dimensional medium or process, including, but not limited to, graphic design, digital imaging, photography, collage, fabric design, weaving, illustration, painting, and printmaking. Video clips, DVDs, CDs, and three dimensional works may not be submitted. Drawing Portfolio The Drawing Portfolio is designed to demonstrate mastery in drawing. Drawings may be abstract or observational and address issues of light and shade, line quality, rendering of form, composition, surface manipulation, and illusion of depth. Which could include the range of marks used to make drawings and materials used may also include painting, printmaking, mixed media, etc. 3-D Design Portfolio Students are to demonstrate mastery in 3-D design through any three-dimensional media that addresses a sculptural approach; including, but not limited to, figurative or nonfigurative sculpture, architectural models, metal work, ceramics, glass work, installation, assemblage, and 3-D fabric/fiber arts. Content Standard A - Art Production is the creation of art, communicating in a visual language. This process involves making decisions about selecting subject matter, tools, media and techniques to solve problems, apply design concepts, interpret what you see and express what you feel. 1. Explore the elements and principles of design. 2. Learn about concepts in art. 3. Develop skills and techniques to produce quality art.

2 4. Work independently and collaboratively to produce works of art. 5. Use the visual arts to create products that express ideas. Skills: Select appropriate media and subject matter to assure high quality pieces. Demonstrate mastery in organizing compositions that integrate all four aesthetic properties: Sensory /elements, (line, color, value, shape, space/form, texture) Formal /principles, (balance, repetition/pattern, rhythm/movement, unity, contrast, emphasis) Technical, (media, tools, and techniques) Expressive properties, (invoke feelings and emotion) Display an advanced level of skill in variety techniques. Develop a plan of action including a timeline to develop one of the three portfolios. Digital Photography and Photo Editing in Photoshop. Demonstrate growth through a series of related works that focus on one concern. Maintain a focused work ethic. Context/Lessons: Breadth - Produce pieces that clearly show experimentation with a range of conceptual, expressive and technical approaches and also demonstrate mastery of compositional organization and aesthetic concerns. If the student chooses to use a single medium the pieces should show proficiency and diversity with a variety of subject matter or aesthetic concerns. Assist students in taking inventory of pieces from previous classes to analyze individual strengths and weaknesses in artistic media or subject matter. Pieces that are of high quality potentially can be included in the portfolio in addition to works generated outside of class. Students compile a list of a minimum of 10 pieces to work on during the semester that will demonstrate direct application of previously acquired knowledge. (Projects are never teacher assigned, they develop from each student s individual plan. Students may derive motivation from potential ideas listed in the AP Poster, previous work, historical research and AP approved textbooks.) Choose subject matter or media that showcase diverse technical skill and artistic creativity to create 20 original pieces paying attention to the four aesthetic properties. Photograph and Edit work according to AP specifications for online submission. Select the required number of images to submit for each portfolio. Do not duplicate images from concentration section. Sample Ideas: Drawing Portfolio - Select 12 images of 12 different works for inclusion in the portfolio Details may not be included. The use of various spatial systems, such as linear perspective, the illusion of three dimensional forms, aerial views, and other ways of creating and organizing space. The use of various subjects, such as the human figure, landscape, and still-life objects. The use of various kinds of content, such as that derived from observation, an expressionistic viewpoint, imaginary or psychological imagery, social commentary, political statements; and other personal interests. Arrangement of forms in a complex visual space. The use of different approaches to represent form and space, such as rendered, gestural, painterly, expressionist, stylized, or abstract form. The investigation of expressive mark-making.

3 2-D Portfolio - Select 12 images of 12 different works for inclusion in the portfolio Details may not be included. Work that employs line, shape, or color to create unity or variety in a composition. Work that demonstrates symmetry/asymmetry, balance, or anomaly. Work that explores figure/ground relationships/ Development of a modular or repeat pattern to create rhythm/ Color organization using primary, secondary, tertiary, analogous, or other color relationships for emphasis or contrast in a composition. Work that investigates or exaggerates proportion/scale. 3-D Portfolio - Select digital images of 8 three-dimensional works, with 2 views of each work, for a total of 16 images. Work that embodies line, plane, mass, or volume to activate form in space. Work that suggests rhythm through structure. Work that uses light or shadow to determine form, with particular attention to surface and interior space. Work that demonstrates an understanding of symmetry/asymmetry, balance, anomaly, and implied motion. Assemblage or constructive work that transforms materials or object identity through the manipulation of proportion/scale. Quality - Develop mastery in integrating the elements and principals of design into two and three dimensional compositions/products that are cohesive in concept and execution regardless of content, media, technique or style. Select the required number of originals/images to submit for each portfolio. Originals may be duplicated in the breadth or concentration section, but it is not recommended. Originals may also be pieces created outside of the context of this course. Drawing Portfolio - Select 5 of your highest quality originals. 2-D Portfolio - Select 5 of your highest quality originals. 3-D Portfolio - Select digital images of your 5 highest quality works, with 2 views of each work, for a total of 10 images. Concentration - Work independently to develop a body of related works demonstrating artistic/creative growth through a focused exploration of a specific visual or spatial idea. The concentration should develop from the student s personal artistic experiences and reflect an ongoing discovery of the limitations and possibilities of that particular concern. Create a proposal that outlines the intent of the concentration and explains how your work will support the exploration of that idea and demonstrate personal artistic growth. Select appropriate media, techniques and subject matter to create 7-10 related pieces. Examine the finished concentration and order the images to support the written documentation. Photograph and Edit work according to AP specifications for online submission. Select the required number of images for each portfolio. Do not duplicate images in the Breadth section.

4 Sample Concentration Ideas: Drawing Portfolio - 12 digital images must be submitted, some of which may be details. A series of expressive landscapes based upon personal experience of a particular place. A personal or family history communicated through the content and style of still-life images. Abstractions from mechanical objects that explore mark-making. Interpretive self-portraiture and figure studies that emphasize exaggeration and distortion. A project that explores interior or exterior architectural space, emphasizing principles of perspective, structure, ambiance created by light, etc. A figurative project combining animal and human subjects drawings, studies, and completed works. 2-D Design Portfolio - 12 digital images must be submitted, some of which may be details. An exploration of patterns and designs found in nature and/or culture. Design and execution of a children s book. A series of landscapes based upon personal experience of a particular place in which composition and light are used to intensify artistic expression. A series of works that begins with representational interpretations and evolves into abstraction. Development of a series of identity products (logo, letterhead, signage, and so on) for imaginary businesses. A series of political cartoons using current events and images. Abstractions developed from cells and other microscopic images. Interpretive portraiture or figure studies that emphasize dramatic composition or abstraction. 3-D Design Portfolio - 12 digital images, some of which may be details or second views. A series of three-dimensional works that begins with representational interpretations and evolves into abstraction. A series of site-specific works that affect existing form or space. Abstractions developed from natural or mechanical objects. Figurative studies that emphasize expression and abstraction. Wheel-thrown and hand-built clay objects that allude to human, animal, or manufactured forms. The use of multiples/modules to create and disrupt three-dimensional space. Big Ideas: Dynamic compositions can be arranged by integrating all 4 of the aesthetic properties. Composition is important in both two and three dimensional art. Art production is an ongoing process that requires conscious attention to the relationships between what you have studied, created and plan to explore. Art work may need revisions or modifications to improve quality. Digital Portfolios have specifications that should be followed. Essential Questions: How do you create pieces that are both fundamentally cohesive in ideation, execution and are aesthetically pleasing?

5 How do you go beyond work that is obvious or predictable? How do you develop a concentration? What makes a quality piece? How do you develop a digital portfolio to submit online? Take pictures/edit images? How do you demonstrate personal growth? Content Standard B - Art History provides the setting and context that helps us understand the artist and the circumstances in which artworks where created. Examining the social, environmental, and technological influences helps build appreciation of how and why humans create art. 1. Develop a knowledge base of images and vocabulary related to the study of art. 2. Learn about diverse style of art. 3. Know that art serves various purposes. Skills: Research a specific artist or designer. Use research findings to motivate and provide instruction in production of artwork. Context/Lessons: Create pieces inspired by, not copied from others. Big Ideas: Artists need to realize that if they create in a vacuum they ignore the rich history of artists before them. This may lead to simple duplication by wasting time on self proclaimed original ideas or trying to reinvent new techniques. Art of the past can be used as a springboard for investigating new concepts, techniques, media and subject matter uses. It is unethical, constitutes plagiarism, and often violates copyright law simply to copy an image (even in another medium) that was made by someone else and represent it as one s own. Essential Questions: Why do we need to know anything about art to create it? Content Standard C - Art Criticism is analyzing visual communication using the vocabulary of art as criteria. The intent of criticism is to assess the artist s ability to master the dynamic between execution and constructing the meaning/purpose of the art work. 1. Know how to critique and judge art images and objects from various cultures, artists and designers. 2. Connect their experience in art to art careers. 3. Connect knowledge and skills in visual art to other curricular areas. Skills: Analyze artwork to determine the effectiveness of the students efforts and suggest possible modification strategies with the intent of improving any inconsistencies in quality or ideation. Justify criticism using established criteria, (including but not limited to, issues of original thinking, craftsmanship, functionality, technical skill, aesthetics, personal expression,

6 meanings, and work ethic. Model proper conduct during critiques, (The vocabulary of art and proper conduct during critiques was introduced through the foundation classes and is reinforced through practice in all art courses). Self assess and modify their work during production and after completion. Analyze criticism and revise or modify work based on formative assessments. Context/Lessons: Create/edit/modify work according to specifications. Meet individually with the instructor for checkpoint portfolio reviews to reinforce managing a timeline and also establishing grades for report cards. Formative assessments, self assessment, rubrics, class critiques, peer reviews, instructor conferences, conversations and portfolio reviews. Big Ideas: Critiquing art helps to clarify the artist s intent and serves as a mode for refinement. Art work may need revisions or modifications to improve quality. Critiques should be constructive and follow proper guidelines. Critiques that are confrontational cause artists to become emotional and defensive and either shut down or retaliate. Essential Questions: What is a formative assessment? Why do we need critiques? What is the appropriate way to give feedback to artists? Content Standard D - Aesthetics is our response to artwork; a term used to sum up a search for beauty that includes pleasing compositions, thought provoking subject matter, conscientious use of materials and techniques to achieve meaningful artwork. 1. Realize that creating or looking at art can invoke different feelings in self and others. 2. Realize that experiences in art contribute to developing a personal style. Skills: Alter/adopt specific techniques, styles, techniques and subject matter selection that fit with their personal style. Invent new modes of expression. Develop appreciation for artwork from others. Understand copyright issues. Demonstrate personal ethics in using outside resources, (evidence of substantial and significant development beyond duplication can be demonstrated through manipulation of the formal qualities, design, and/or concept of the original) Context/Lessons: Careful observation and analysis of works from other artists that inspire or bore them. Purposeful experimentation and advanced practice with a variety of tools, media, techniques and subject matter. Copyright issues, (fair use vs. plagiarism) news articles, school policy, etc. Big Ideas:

7 Developing a personal style requires making a conscious effort to analyze personal strengths and weakness and define the purpose for their art. Artists have the power to influence others through their art. It is unethical, constitutes plagiarism, and often violates copyright law simply to copy an image (even in another medium) that was made by someone else and represent it as one s own. Essential Questions: How does an artist develop a personal style? Why are Artists considered a powerful influence in society? How can you break the rules of good composition and still produce high quality results? What constitutes fair use in copyright law? Resources: Experimental Drawing, Robert Kaupelis, 1980, Watson Guptill The Art of Drawing, Bernard Chaet, 3rd ed., 1983, Wadsworth Thomson Learning Art Synectics, Nicholas Roukes, 1982, Davis Publications Design Synectics, Nicholas Roukes, 1988, Davis Publications Discovering Art History, Gerald Brommer, 2 nd ed., 1988, Davis Publications Principles of Form and Design, Wucius Wong, 1 st ed., 1993, Wiley, John & Sons Principles of Two Dimensional Design, Wucius Wong, 1972, Wiley, John & Sons, Principles of Three Dimensional Design, Wucius Wong, 1972, Wiley, John & Sons Advanced Placement Portfolio - Studio Art Syllabus September Present the requirements for each of the three portfolios using the AP Poster stressing individual similarities and differences and the expected level of quality as seen in the visual examples. Students will also have access to previous years posters, online samples and catalogs of colleges with degrees in art. Assist students in taking inventory of pieces from previous classes to analyze individual strengths and weaknesses in artistic media or subject matter. Pieces that are of high quality potentially can be included in the portfolio in addition to works generated outside of class. Students submit 3-5 potential ideas for concentrations. Consider previous assignments/techniques/concepts as potential starting points. Ideas must be approved by the instructor before starting. Students compile a list of a minimum of 10 pieces to work on during the semester that will demonstrate direct application of previously acquired knowledge. (Projects are never teacher assigned, they develop from each student s individual plan. Students may derive motivation from potential ideas listed in the AP Poster, previous work, historical research and AP approved textbooks.) Discuss issues of ethics and copyright. Students are allowed and encouraged to use their own photography for resources. Begin production of pieces for breadth. Evaluate each piece as they develop and again on completion through self and peer assessment plus teacher consultation. Establish a storage site for finished pieces. Provide technical support and access to materials as determined by each student s needs. Display pieces publicly in student showcases in the main hall.

8 October Checkpoint for 1 st quarter progress at 4.5 weeks into the semester. 2-5 breadth pieces should already be completed. Students reevaluate their original list adding, subtracting or modifying ideas as needed. Review/Teach basic digital photography and photo editing in Photoshop. Begin to photograph work and establish a storage site for digital images. Set guidelines for editing and file formats, including file type, size and orientation specifications. Week 5 - Begin work on concentration. Practice writing out answers to the required written documentation for this section: What is the central idea of your concentration? How will the work in your concentration demonstrate the exploration of your idea? Continue working on pieces for breadth. November Checkpoint for progress at end of 1 st quarter. 5 pieces minimum must be completed. Evaluate progress toward a concentration. 1-2 pieces of evidence for the concentration must be completed. Modify original idea if needed. Continue to work on breadth, critiquing and photographing work as completed. December Checkpoint for 2nd quarter progress at 4.5 weeks into the quarter breadth pieces should already be completed. Students reevaluate their original list adding, subtracting or modifying ideas as needed. Evaluate progress toward a concentration. Total of 3-4 pieces of evidence for the concentration must be completed. Modify original idea if needed. Select any potential pieces for inclusion in the quality section. Review what quality means for this section. Supervise work on breadth and concentration while continuing to provide technical support and access to materials. January Checkpoint for 1 st semester progress. Minimum total of 10 pieces for breadth. Total of 3-5 pieces for concentration. Students register for on line account. Focus on concentration development during 3 rd quarter. Review questions and reformulate responses, modifying the whole concentration if needed. Students analyze the scope of work already completed and generate a new list of at least 10 potential works to complete the breadth section. Students continue to develop a digital archive of finished pieces. February Checkpoint for 3 rd quarter progress 4.5 weeks into 2 nd semester. Total of 5-7 pieces for concentration. Supervise work on breadth and concentration while continuing to provide technical support and access to materials. March End of 3 rd quarter progress check. Students check the sequencing of the concentration. Analyze cohesiveness of the entire collection, decide to add or subtract pieces to build unity and demonstrate personal growth. Revisit original questions and tweak answers building clarity of purpose. Finish any new pieces. Continue production of breadth pieces, critiquing and photographing work as completed. Minimum total of 15 pieces finished.

9 April Checkpoint for 4 th quarter progress. Total pieces for breadth. Select additional pieces for quality section. Check appropriate number for each portfolio. Continue with production, critiques and photographing work. May Early May, assemble all original works for quality and package originals for 2-D Design or Drawing Portfolios. Edit digital images for 3-D Design. Fill out all paperwork for portfolio. Send all digital images. End of year evaluation. Assess all pieces and overall work ethic to determine course.