Course Description. Mr. Scorso Cell: East Catholic HS AP Studio Art 2D Design Syllabus Summer Assignments

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1 East Catholic HS AP Studio Art 2D Design Syllabus Summer Assignments Mr. Scorso Cell: Course Description The AP Studio Art 2D Design Portfolio course is intended for the student who is interested in the practical experience of art and would like to develop these interests in concept, composition, and the implementation of ideas. The AP Studio Art 2D Design Portfolio course is not based on a written exam, rather the student will work on developing and submitting a portfolio for evaluation at the end of the school year. While they are developing their portfolios they will be experiencing a variety of techniques, concepts and approaches that are designed to help them demonstrate their abilities as well as their versatility with techniques, problem solving and conception. They will also develop a portfolio of work for the Concentration portion that investigates an idea of personal interest to them. You are expected to investigate three aspects of the portfolio, which include Quality, Concentration and Breadth. You will work on a summer assignment that allows you to work on five projects that you will include in the Breadth portion of your portfolio. This will allow you to experiment with different media and concepts. You will also have an assignment of fifty sketches due within the first week of school that will let you experiment with media and concepts before committing to the final work. The sketchbook assignment is devised to assist you in trying a new medium or technique, as well as, trying a new idea on paper before committing to it. You are expected to develop mastery in concept, concentration and the execution of ideas.

2 Summer Assignment You will complete at least five projects over the summer break and fifty sketches in your sketchbook. This assignment will be due the first day of class. It is recommended that you complete these assignments from the Breadth portion of the AP Studio Art 2D Design Portfolio and begin to think about a Concentration project. You should have five ideas in your sketchbook for your Concentration part of the portfolio for the first day of class. You should also have an idea of what eight Breadth pieces you would like to complete during the first semester. Each of your summer Breadth pieces needs to be done smaller than 18x24 inches, including matte. There are no exceptions to this size but you can choose any type of media. You will complete fifty sketches in your sketchbook, it can be done with a variety of media and the subject matter is open. You can include ideas or the process toward a concept of the Concentration or Breadth portfolios. In fact, it s recommended that a portion of your fifty sketches include new ideas for your Breadth and Concentration portions of your portfolio, however, pages can also include doodles, experimentation with a new medium or practicing with new techniques and quick drawings. The sketchbook is an essential tool in recording ideas, capturing visual information and working on compositional issues. This assignment is meant as a way to warm up your brain so that you can continue to think about the elements and principles that we will use this fall. You must not leave this assignment until the last minute and you should be spending at least thirty minutes on each of your sketches. Your grade will be calculated upon completion of the entire fifty pages of an 8x10 inch or 9x12 inch sketchbook (Fill the entire page). You must consider the formal qualities, such as the 2

3 elements; line, color, space, shape, value, form and texture; and the principles; balance, contrast, emphasis, movement, rhythm, pattern and unity. Concept, craftsmanship, and the creation of a visually successful design will all be components of every grade. Although drawing does involve design, the emphasis in the AP Studio Art 2D Design Portfolio course will be on design. Consider the formal qualities, such as the elements and the principles of design. Your grade does include the formal qualities but concept, craftsmanship, and your effort toward the creation of a visually successful design will also be a part. You will begin to build up an idea of how to create successful skills in concept, composition, as well as, how to execute the elements and principles. As you approach the requirements for this course, you will be expected to use a variety of concepts and approaches to demonstrate your ideas and abilities. Your resourcefulness of techniques is also emphasized as you develop your concepts and solutions to your problems. The sketchbook should be your new best friend this summer. You need to carry it with you every day and everywhere. Open it up first thing in the morning and last thing at night and many times in between. Draw in it, write in it, scribble in it, paint in it, glue things into it, cut the pages, tear the pages, change the way it looks to make it look like your own book. At the end of the summer it should reflect you and your experiences throughout the summer. Work in your sketchbook is an ongoing process that will help you make informed and critical decisions about the progress of your work. Your sketchbook is the perfect place to try a variety of concepts and techniques as you develop your own voice and style. 3

4 Rules for working in your sketchbook: Do not make perfect drawings. Make imperfect drawings, make mistakes and make false starts. Let your hand follow your feelings and not what your brain is telling you to do. Always fill the page. Go off the edges whenever possible. Do not make little drawings in the center of the page. Make every square inch count for something. Do not start something and abandon it. Go back later, change it, and make it into something else. Being able to rescue bad beginnings is the sign of a truly creative mind. Always finish what you start no matter how much you don t like it. Put the date on every page you finish. Do not draw from photographs, magazines, internet, etc. The use of published photographs or the work of other artists for duplication is plagiarism. Draw from observation, things you see in the world. Learn to translate the dynamic three-dimensional world into a two-dimensional world. No cute, pretty, precious, adorable or trite images. This is a college-level art class, not a recreation program to make pretty pictures to hang in your house. Expect your ideas about what makes good art to be challenged. Don t be boring with your work. Challenge us! Avoid showing your work to others unless you know they are going to understand what you are trying to do in your sketchbook. You don t need negative feedback when you are trying out new ideas or experimenting. This is a place for risk taking. Don t invite criticism unless you are confident that it won t derail your free spirit. 4

5 Ways to work in your sketchbook: Draw, paint, collage, etc. Use pencils, pens, crayons, sticks, charcoal, burnt matches, pastel, watercolor, acrylic, pine straw, fingers, basically anything that will make a mark. Draw what you see in the world. No drawings from published images (plagiarism) or personal photographs. You need to learn to draw without the crutch of someone else s composition or flattening of space. Use gesture, line, and value in your drawings. Try to create a sense of light and depth in your images. Use the principles of perspective to show depth in a drawing. Glue stuff into your sketchbook, for example, ticket stubs, gum wrappers, tin foil, lace, lists, receipts, sand, leaves, twigs, pebbles, shells, earrings, shoelaces, whatever. Make a collage with the stuff. Add these things to pages that you started but don t like. Let your imagination go wild. Build the pages up by layering things, paint on top of collage, newspaper, and drawing. Attach pieces of fabric and photographs and paint over parts of them. What did you do? What are you trying to say? Express yourself! Work to develop mastery in concept, composition, and execution of your ideas. Make decisions about what you do based on how things look. Go for the tough look, not the easy solution. Do not be trite; say something important about the world you live in. Take a news story and interpret it visually, use abstraction to express an idea. Play around with geometric and organic forms, interlocking and 5

6 overlapping to create an interesting composition. Use color to finish the work. Create a self-portrait using Cubism, Impressionism, Minimalism or Pop Art. Create a drawing of the interior of your room but add collage elements for the lamps, and furniture. Glue sheer fabric over the collage. Draw an image on the sheer fabric of yourself moving around the room. Make contour drawings from observation of anything around you. Remember to use the whole page! Fill the space behind the objects you draw. Make a contour drawing of an arrangement of objects. Repeat the drawing four times. Explore different color schemes in each of the four drawings. Write about how the color changes the feeling in each image. Write about your work. Write about what you like about a drawing, what you don t like about it. Write about your hopes for your artwork. Write about why you like to make art. Write about how your artwork could impact another s thinking or feeling. Write about what you want to say with your artwork and what it means to you in the larger sense. Lastly, this experience should be for your growth as an art student and as a person who values art as a means of expression. Keep it for yourself so that you will feel free to work without judgment. Remember this is an ongoing process that uses informed and critical decision making to develop ideas. 6

7 Quality, Breadth and Concentration Quality: Five original works (Can be either Breadth or Concentration pieces and must be matted and slip sheeted) These are the student s best work, selected for excellence, and cannot be larger than 18x24 inches (Including matte). Concentration: This should include twelve different digital slides exploring a single visual concern in depth. It s like a visual term paper. When the student decides on a subject matter, they spend a considerable amount of time developing it. The concentration should be well planned and have a personal interest to the student. It should show investigation, growth and discovery involved with a compelling visual concept. Four works of the Concentration section will be started in the first semester and the last eight will be completed in the second semester. Breadth: This portion of the portfolio will include twelve different digital slides showing mastery of varied media, techniques and subject matter. Five of the twelve projects will be completed for the first day of class and the last eight will be completed by the end of the first semester. Since the AP Studio Art 2D Design course demands the minimum of twenty-four slides, you will need to complete five Breadth pieces over the summer, eight Breadth pieces and four Concentration pieces first semester and eight Concentration pieces the second semester. This works out roughly to one project every one to two weeks. You should budget your time and complete all fifty sketches, five Breadth projects, and have an idea of your area of Concentration, as well as, ideas for the completion of your Breadth portfolio. 7

8 Evaluation 5 Summer Breadth Projects Must not be larger 18x24 inches and can be any media 50 Sketches 5 sketches should be ideas for Concentration portfolio 8 sketches should be ideas for the continuation of your Breadth portfolio 37 sketches that can include doodles, experimentation with a new medium or practicing with new techniques and quick drawings You are free to use any subject matter and any media Must fill the entire page (8x10 or 9x12 inch sketchbook) to receive full credit The Summer Assignment will be 40% of your first semester grade. 20% will be the 5 Breadth projects and the other 20% will be the 50 sketches. Summer Breadth Projects You can choose five projects from the following list for the summer assignment and it will be due at the first class. It is recommended that you work on your Breadth portfolio while taking time over the summer to think about ideas that you may want to pursue as a concentration. The eight remaining Breadth projects will be completed by the end of the first semester. It is suggested that you plan out what you would like to do before the first day of class. Do a self-portrait and arrange interesting side lighting. Be sure to add a background or setting (no floating heads). Make use of dramatic lighting, maybe even a flashlight held from below. 8

9 Set up a still life with a strong light source, near a window or with a flashlight. Try eggs on torn or crumpled paper, tin cans or glass jars, or fruit on drapery, or raid the vegetable bin of the refrigerator. Again, be sure to compose the entire page. Magnify a metallic object. Zero in on a section of metallic objects, such as a close up part of a bike or motorcycle, or spoons or an eggbeater. Make use of hardedge metal reflections and cast shadows. Do a Landscape drawing on location. For example, the beach, the park, looking down your street, your backyard, or a study of part of a tree form. Do a portrait, self-portrait, landscape, or still-life in the style of another artist in which formal aspects of design are emphasized i.e. Monet/Impressionism, Matisse/Fauvism, Picasso/Cubism, Warhol/Pop, Dali/Surrealism, Van Gogh/Postimpressionism, etc. You may have to do a bit of research to understand the stylistic tendencies of these artists/movements. Do some exploration with mixed media. Do a piece (portrait, self-portrait, landscape, or still life) in which you use at least three different media i.e., a wet medium, a dry medium and some collage element. Do a portrait, self-portrait, still life, or landscape using either a complementary, analogous, or split-complementary color scheme (You may use black and white as well as shades and tints of the chosen hues). Do a drawing of a futuristic cityscape, for example, Hartford in the year 2050 (Keep in mind rules of one, two, and three-point perspective). 9

10 Create a linear perspective drawing of an existing architecture structure. Your observation should be a real life study and use the background to create depth. Try to incorporate a color scheme (Analogous, warm/cool, monochromatic, etc.) Divide a page, canvas, board or the working surface into three equal spaces. Do three views of one landscape. Limit yourself to a specific color scheme. Do a graphite drawing of a still-life arrangement that consists of reflective objects your goal is to convey a convincing representation with a full range of values. To add interest to the composition, you might also want to render yourself being reflected in the objects. Do a drawing of an unusual interior for instance, looking inside a closet, cabinet, refrigerator, inside your car, etc. Do a drawing of your worldly treasures arranged in an interesting still-life composition. Do a drawing of your worldly treasures as they come to life animate them. Do a drawing of your hands arranged in a variety of poses. You must carefully plan your composition in order for the separate units to work together visually. Do a color rendering of a still-life arrangement consisting of your family member s shoes try to convey some sense of each of your individual family member s distinct personalities in your piece. Abstractions from an urban environment Design related to psychological, historical, or narrative events Redesign an everyday object with humor Self-portrait as a favorite industrial product 10

11 Positive-negative shapes study in color Redesign a current product image or logo Story or poem illustration Game board and game pieces Fashion design or costume design Environmental design Historical signs, for example, pub signs Create a self-portrait of yourself engaged in some imagined activity that holds special personal meaning. Think of all the places you have lived or visited, and make a list of the significant landscape features you recall. Include features you remember with fear or distaste as well as those you loved. Make sketches of those features from memory. After you have assembled a number of images, combine them together in a finished piece. Paint an invented interior from your imagination. Attempt to create spatial and color relationships that enhance a connection between the physical and psychic structure of the interior. Use the painting as an opportunity to express or explore some of your thoughts about the issue of public versus private space. Adhere/attach (paste, sew, staple, gesso, or gloss medium) a selection of collage elements of varying thickness onto several painting supports (For example, stretched canvas, canvas board, masonite, plywood, cardboard, matt board, pegboard, etc.). Make figure studies across the surface of the painting and collage materials. After completing the figure studies, continue working on each artwork attempting to build bridges that link collage material within structure of each overall composition, paying attention to formal elements of line, shape, value, and 11

12 texture. For example, can a pattern found in a collaged fragment of a newspaper be made to flow into a painted pattern? Developing a Composition that Shows Progressive Magnification of a Subject: Select either an organic or inorganic object to draw. Divide a large piece of drawing paper into nine equal sections. Starting in the top-left box, draw a representational, overall view of the object as accurately as you can. In the next box to the right, imagine that you have a camera with a zoom lens and draw a close-up portion of the object in accurate detail. In the remaining sections, continue zooming in on the object and enlarging finer details. The last frame should be an enlarged detail created with the aid of a magnifying glass or microscope. Redoing an Old Masterpiece: Select a painting, sculpture, or well-known image from art history for interpretation. Redo the work, update it, or change colors, media, characters, etc. Creating an Architectural Myth with Photomontage: Collect photographs/photocopies of city skylines, landscapes, and seascapes. Also collect photos/copies of household and technical objects (For example, eggbeater, toothbrush, toaster, electric fan, automobile grill, etc.). Carefully implant the photo of the technical gadget within the photo of the environment to create a surreal cityscape or landscape. (You might want to look at the work of the artist Max Ernst who took printed images and recombined them to create hybrid forms). Making a Nonverbal Book: Using a three-ring binder with threeinch rings to serve as book cover and spine for the book. Cut out three to five pieces of cardboard to serve as pages. Punch holes to accommodate the binder rings. Select a title for your book based on an emotion: The Fear Book, The Happy Book, The Book 12

13 of Rage, The Book of Angst, etc. Used mixed media to render the designs on each page (Incorporate both two- and threedimensional components such as photographs, relatively flat objects, yarn, string, collage papers, drawings). Also, design a cover for the book. Creating a Mythological Event: Think up a story involving the imaginary revolt of one of the following: domestic animals, computers, machines, kitchen appliances, elevators, flowers, etc. Visualize your idea by making a convincing illustration of the event. Stimulating Imaginative Fantasy: Can you visualize the following situations and create a dialogue for them? Old shoes are waiting for repair in a cobbler s shop. What do they have to say when the cobbler isn t around? Cigarette butts in an ashtray have a conversation after a party. What do they say? Wrecked autos in a junkyard talk to each other. What do they say? An artist leaves his studio for a coffee break. While the artist is gone, the brushes, paints, canvas, and shop tools in the studio start a conversation. What do they say? Think of your own situations and make a drawing or cartoon of one of the scenarios. Creating New Symbolic Inferences by Switching Images and Photo Captions: Cut out selected photographs from newspapers and magazines. Also cut out the accompanying caption, along with captions and headlines from other articles that are completely unrelated. Mix and match... paste the new headlines or captions under the photos to create new symbolic inferences. Strengthening Intuitive Creativity: Arbitrarily cut out one to four lines of text from a magazine article (A provocative statement or 13

14 portion of dialogue). Make a collage. Seek out black-and-white photographs and designs from magazines that you intuitively feel support the text. Use a glue stick and attach images to a sheet of white drawing paper. Add lines, shapes, tone, and color with pencil, ink, and/or felt-tip pens to heighten the emotional effect and to unify the composition. (Note: Transparent decals or transparencies can be made from magazine images and superimposed over each other to achieve multiple images.) You may also do a gloss medium transfer of a photocopied image. (Apply gloss medium to surface you are working on. Let dry thoroughly. Take photocopied image and coat it with gloss medium. While it is still wet, place it on the area of your working surface that you have already treated with the gloss medium [face down]. Apply water to the back of the image and rub the paper away.) Creating Symbols that Portray Our Lifestyle: Create a symbolic message using graphic designs and images to be carried aboard a spaceship and directed to other forms of intelligent life in the universe. Use the symbols to tell such things as who we are, what we look like, what we do, the things we have created, the places we live in, the technology, science, games, inventions, sports, transportation systems, dances, and so on, that are part of our world. Cut-paper self-portraits, interiors, landscapes, etc. Distorted interiors (Use of lines, colors or shapes) Gridded and distorted self-portraits (Chuck Close Project) Illustrations of imaginary places (Sometimes we use specific colors schemes to emphasize scenery, for example, cool color palette for underwater scene) 14

15 Visual puns (Word Illustrations) Leger- or futurist-inspired drawing of an engine or the inside of a mechanical object (Sometimes we magnify to change the project) Pop Art inspired pieces that work with personal symbols or words (Robert Indiana, Ed Ruscha) Photocopied body parts (face, hands, feet) with anatomical drawings Acrylic painting using analogous or complementary color scheme Metaphorical or symbolic self-portrait superimposed on top of another surface (The result is a textured background. The student cuts out eight contour self-portraits. They decide how they will arrange the eight portraits and whether they are revealed in the final piece or they remain as transparent images for more depth and texture.) Radial or Shaped Designs Color studies with torn pieces of paper Compositions that combine illusionary space with flat space (M. C. Escher Project) Contour line drawing that turns into a fully rendered drawing Grid composition Neutral tones of torn paper composition collaged on a surface to define areas of a still life. The student then draws a contour line drawing on the collage with black, sanguine, or white conté Portrait in an environment using thick and bold contour lines and areas of flat shapes Reverse perspective composition (Images within an image, such as, details/close up views) 15

16 Summer Concentration Projects The following is a list of Concentration project ideas. The concentration should be well planned and have a personal interest to the student. You must have five ideas sketched in your sketchbook by the first day of class. Design and execution of a children s book A series of identity products for imaginary business (logo, letterhead, signs, boxes) Political cartoons using current events and images Series of works starting with representational interpretations and evolving into abstraction Exploration of pattern and designs found in nature and/or culture Abstractions developed from cells and other microscopic images A personal or family history communicated through symbols or imagery A series of fabric designs, apparel designs, or weavings on a theme Use of multiple modules to create compositions that reflect narrative or psychological events Series of landscapes that use color and composition to intensify artistic expression 16