Advanced Placement Studio Art 2D Design

Transcription

1 Advanced Placement Studio Art Advanced Placement Studio Art 2D Design Scoring Components SC1 The course promotes a sustained investigation of all three aspects of portfolio development quality, concentration, and breadth as outlined in the Course Description and Poster throughout the duration of the course. SC2 The course enables students to develop mastery (i.e., quality ) in concept, composition, and execution of 2-D design. SC3 The course enables students to develop a cohesive 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 ). SC4 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. Such conceptual variety can be demonstrated through either the use of one or the use of several media. SC5 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 problem-solving. Such conceptual variety can be demonstrated through either the use of one or the use of several media. SC6 The course teaches students a variety of concepts and approaches so that the student is able to demonstrate a range of abilities and versatility with ideation (i.e. breadth ). Such conceptual variety can be demonstrated through either the use of one or the use of several media. SC7 The course emphasizes making art as an ongoing process that involves the student in informed and critical decision making. SC8 The course includes group critiques, with the teacher, enabling students to learn to analyze and discuss their own artworks as well as artworks of their peers. SC9 The course includes individual student critiques and or instructional conversations with the teacher, enabling students to learn to analyze and discuss their own artworks and better critique artworks of their peers. SC10 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.

2 AP Studio ArtCourse Description Students are required to investigate all three aspects of the portfolio, which include Quality, Concentration, and Breadth. [SC1] Students begin the course the first term by working on their Breadth section to allow them to experiment with media and concepts (see attached Breadth section suggestions). Students are expected to develop mastery in concept, composition, and execution of ideas. [SC2] They are shown examples of past AP portfolios accompanied by the AP Studio Art: 2-D Design scoring guidelines for ideas and inspiration. I start with observational value drawings first and introduce vivid color works as the second assignment. Students then move on to individual preferences such as scratchboard, watercolor, or reduction linoleum prints. After class demonstrations, students choose what to work on and how they wish to work. [SC7] Students need to work on many diverse projects to encourage and ensure portfolio individuality. In the Breadth section, students explore a variety of concepts and approaches in order to demonstrate their abilities and versatility with problem solving, ideation, and techniques. These experiences are also used to develop a plan of action for their concentration as students engage in a variety of art-making experiences in creating their Breadth section, they begin to identify ideas and themes that have strong personal relevance. Students use their sketchbook to document these themes and ideas and, in preparation for work on their Concentration section, start to record plans of investigation for the ideas that have the most potential for development. [SC6] Students are also given homework assignments due several weeks out, and we have class critiques on the due date of the homework. Critiques are a required part of class participation. Students are expected to discuss their own work, the work of their peers, and the work of master artists in written and verbal form. During these class critiques, the vocabulary of art will be used to form decisions about the work being discussed, and the AP Studio Art scoring guidelines will be used to evaluate work and develop ideas for future exploration. [SC8] In the second term, students develop and choose an idea to explore in depth for their Concentration section. In the Concentration section, students are expected to plan for and then develop a body of work that is an investigation of a theme or an idea. It should be well planned through research and sketchbook documentation (writing and images) of ideas and processes they expect to use to investigate an idea that is of personal interest to the student. [SC3] From these total works, we then discuss and select students five Quality examples of excellence to be matted in preparation for evaluation. Students will learn to mat and photograph their art work as part of the AP Studio Art course. Students will be expected to treat their artwork professionally and responsibly. Students understand that making art is an ongoing process that uses informed and critical decision making as these selections are made for their portfolio submission. [SC7] We mat only on 16 x 20 or 18 x 24 neutral-colored mattes to give uniformity to the portfolio presentation. Students are encouraged to develop verbal and written literacy about their works (see attached grading rubric), and we use the AP scoring rubric for individual and group evaluation. Students are encouraged to examine their work and discuss how to move it from a middle-range piece to a high-level one. [SC8] The course is enriched with visits to local galleries and museums to broaden students viewpoints. Portfolios are narrowed down to the most successful works according to the scoring guidelines, and students complete a checkout sheet. The course culminates with a slide show of each student s digital portfolio. In terms of grading, students are expected to produce one work per week of AP quality and create a high-quality digital image of it. We stress that this is the student s personal portfolio, and that outside work and work from other courses can also be included.

3 Content of the AP Studio Art 2D Design Class The course includes the following three components: A. Study of artists and trends in art making. In addition to class work, students are expected to do research and visit galleries and the local art museums on their own. B. A sketchbook to be composed of visual ideas, notes, photos, doodles, plans, short assignments, quick drawings, and practice of various techniques. Many art schools like to see students sketchbooks as documentation of how their minds and creativity work. C. Development of students submitted portfolios for AP Studio Art: 2-D Design, which has three parts: Breadth This is a set of works showing mastery of varied media, techniques, and subject matter. This should include 12 images of 12 different works. Students are asked to respond to a visual problem in several different ways by incorporating different media and techniques to demonstrate a diversity of solutions to the problem. Likewise, students are required to hone their skills with a medium and technique of their choice, and to show how the media and technique can be applied effectively to depict a variety of subjects or content. For example, students may be asked to represent different aspects of a specific mechanical object like a can opener using digital photography, collage, charcoal drawing, typography, and watercolor (they may choose to combine multiple media in one composition). If a student wishes to become an expert with markers, he or she will be expected to create works of art that demonstrate different marker techniques to create evocative figure studies, dramatic landscapes, and nonobjective compositions. [SC4] Because a portfolio submission of 24 images is needed, each student will need to complete 12 works each term, or roughly one to two works per week. Students should work steadily and have the sufficient number of images by the end of their two terms, because their grade in the course will be based on that work. They can then continue to improve their portfolios until the May submission date. Students who finish early will have an individual project and a school service project. Submission of a portfolio in May is mandatory to receive AP credit. Concentration This should include 12 images of works exploring a single visual concern in depth. It is something like a visual term paper and is an important part of the class. Students reference the compelling ideas they ve been recording in their sketchbooks since the beginning of the course and formulate general plans for how to explore them. When a Concentration subject is settled on by students identifying the idea that is most closely matched with their personal artistic goals, the student should spend considerable time describing how they plan to develop it. Their plans should include details of how they can investigate the idea from many visual and conceptual perspectives to demonstrate growth and discovery as they explore the theme they have chosen. Students can do research by making art; they can also incorporate research into their art. The Concentration is usually completed in the second term. (Students may use close-up images to show details.) [SC3] Quality (Original Works) Five matted works. These should be the student s most successful work with respect to the Quality scoring guidelines and cannot be larger than 18 x 24. [SC2] Works must be at least 8x10

4 2 D Design Portfolio Sections: Breadth, Quality and Concentration Section I: Breadth Twelve images needed of 12 different works; no detail images are permitted. Works emphasizing the elements of design (line, shape, illusion of space, illusion of motion, pattern, texture, value, and color) organized using the principles of design (unity/variety, balance, emphasis, rhythm, and proportion/scale). Media could include graphic design, typography, digital imaging, photography, collage, fabric design, weaving, illustration, painting, or printmaking. [SC4] Suggested Breadth Projects [SC5] Twelve works demonstrating a variety of concepts, media, and approaches. Possibilities for works could include: Abstractions from urban environment Design related to psychological, historical, or narrative events Works showing color theory such as Fauvism, expressionism, or color-field painting Redesign an everyday object with humor Self-portrait as a favorite industrial product Fabric design with symbolic imagery Redesign a current product image or logo Logo-symbol design based on radial balance / kaleidoscope effect Lettering and type design Poster design with literary or conceptual associations travel, national identity, sports, endangered animals CD or album design Seedpods and forms evolving from them Design a deck of cards Graphic designs for school theater productions, yearbooks, and so on Composition based on art historical research Story or poem illustration Game board and game pieces Fashion or costume design Digital altering or layering of photographic images to present multiple perspectives of an image or idea Exploration of line properties; for example, graffiti, Japanese calligraphy Environmental design Section II: Concentration Twelve slides of a series of works organized around the visual concept (some may be details). Look for quality of ideas and quality of execution of work. [SC3] 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

5 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 Section III: Quality Assess your selected portfolio work and score it on the following criteria: [SC8 & SC9] Poor Moderate Good Strong Excellent Materials well used; technique is excellent Inventive/imaginative Evidence of thinking; clear visual intent Purposeful composition Awareness of style and format Sensitive/evocative Identify strengths of your work as well as ideas for improvement. Consider reworking pieces to make them even more successful or to investigate new directions for your art making.as you assess your work, explain your thinking in a paragraph, considering the following: 1. Have you used the elements and principles of design in an effective or innovative way? 2. What are 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? 5. Does the work evoke any feelings? To what do you ascribe the feelings it evokes in viewers the use of colors, shapes, technique, 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 successfully get your message across? Discuss whether the work is a significant success, why or why not, and support your judgment with evidence from the work itself, your experiences creating the work, responses others have shared when viewing the work, and AP Studio Art scoring guidelines. If you don t believe your work was successful, document ideas for improvement. Think about changing the composition, media, technique, style, content, size, and in the Breadth section, students will experience a variety of concepts and approaches to demonstrate their abilities and versatility with techniques, ideation, and problem solving. [SC5] Homework and Home Studio [SC7] As in any college-level course, it is expected that students will spend a considerable amount of time outside the classroom working on completion of assignments during open studio, the summer assignments, and throughout the course. Ideas for projects or solutions to problems should be worked out in a sketchbook both in class and outside of class.

6 The sketchbook is an essential tool in recording ideas, capturing visual information, working on compositional issues, and just fooling around. Sketchbooks are checked frequently for progress. Each week students are expected to append a minimum of hours PER WEEK working independently at home on art projects to build their AP art portfolio. Students must be prepared to spend a significant amount of time each weekend and vacation period developing their artwork in their own studio space at home, even if it is just your bedroom or kitchen table. You will be expected to log your hours, report on your project status weekly and document your progress through writing and photos. Exhibitions/Competitions AP Studio Art students are encouraged to participate in exhibitions and competitions. At the end of the school year, students will organize an exhibition of their work in the Foyer Gallery. Details about this exhibition will be provided toward the end of the second semester. Assignments/Evaluation Assignments that are open ended in nature and that explore a variety of approaches to design are made during the first semester. Assignments have end dates. Students should make every effort to complete work by the end date; however, there may be circumstances that cause an assignment to be delayed. It is important that students have a discussion with the instructor if work is going to be turned in late or they will miss a group peer critique. [SC8] Work is evaluated in progress and in the finished state through group critiques with teacher and peers. Ongoing one-onone conferences, critiques, and discussions will take place between the teacher and each individual student. [SC8] The AP Studio Art: 2-D Design rubric, which is distributed separately, provides the grading criteria. Assessment of student work is based on original compositions and artistic integrity. Grades Work is frequently so individual and experimental that grading is difficult. Yet there are standards of quality in student work, expectations based on the range of accomplishments of other AP art classes, and the evidence of thought, care, and effort demonstrated in the work. All of these elements are discussed with students, individually and in class critiques. [SC2 & SC9] Copyright Issues All work must be original. If students use someone else s work or a published image as a basis for their own pieces, there must be significant alteration to the piece for it to be considered original. During individual as well as group discussions and critiques, students will develop an understanding of what constitutes plagiarism and how to maintain their own artistic integrity. For each work of art students create that directly references works of art created by other artists, students must cite their sources, providing a detailed and specific identification (including a thumbnail image) of each work referenced, and also must write a statement that explains how referencing the work supports their own artistic goals and voice. In this statement, students must explain how they have significantly changed the work they are referencing to serve their own artistic intentions. [SC10]

7 Summer Assignments: Summer Finished works This course begins at the end of your junior year. You are to complete twenty (20) pieces of work (not larger than 18 x 24 ) over the summer for the AP 2-D Design class. These must center on the elements and principles of design (value, color, form, shape, line, space and texture) (contrast, rhythm, unity, emphasis, pattern, movement and balance). Use different media (pencil, pastel, ink, watercolor, acrylic, collage, etc) This work will be due at the end of the second week of school in your senior year. Your outside work will constitute 50% of your grade throughout the year in AP. Consequently, if you do not do this work, your average will be negatively impacted. The work you are required to create over the summer is critical to building your Breadth section of your portfolio. The twenty (20) works of art are to be completed over the summer Work no smaller than 8x 10, no larger than 18 x 24. Do not use the same media on all five artwork selections. Do NOT work exclusively from photos!!! When possible work from direct observation! 1. Self-portrait: Work from observation to create at least five different sketches of yourself. Go beyond just showing your head/face. Look in a mirror and other reflective surfaces that capture your image. Pose yourself in different and unusual positions to avoid the deer in the headlights view. Look up, down, to the side; disguise or costume yourself. Arrange interesting side lighting, and be sure to add a background or setting that says something about who you are your personality, your dreams, your experiences (no floating heads). Make use of dramatic lighting, maybe even a flashlight held from below. Combine different features from your sketches to create a complex, composite autobiographical image of yourself that takes time for the viewer to read. 2. Portrait of a friend or family member expressing a mood. How can you use color to convey that mood? What style will work best for you in this work? Do some research online or at an area museum to see how different artists create portraits and what techniques and media they use? Use an odd/extreme angle and consider strong light/dark contrast. Consider what objects might surround your subject and how to express their mood or attitude or status through posture and other external elements. 3. Expressive landscape this can be near your home, a place you visit on vacation Make every effort to work plein air meaning drawing or painting outdoors. You will have better light and will be able to focus on the color you actually see. Do your sketches on location the beach, the park, looking down your street, your backyard. Include perspectives, details, and a style that demonstrates your personal and unique view of the place. What does this place mean to you? What memories do you associate with it? How can you create a composition that communicates your specific experiences with it? Try to go beyond direct, realistic representation to create a story about the place and how it relates to you. Use your sketches to help you make your finished artwork. 4. Drawing of an unusual interior for example, look inside a closet or cabinet, in the refrigerator, under the car s hood or inside the medicine cabinet. 5. A close up of a bicycle/tricycle from and unusual angle with strong light/shadow. Do NOT draw the bicycle from the side view. 6. Dissection: do a study of an object that you have taken apart. Arrange the parts on a surface with other objects related or not related and study the textural qualities and shapes of the pieces. Some ideas would be a mechanical object, a child s toy, a makeup bag, a bin of art supplies, ingredients for cooking a recipe, a cut up watermelon anything where you are creating a still composition out of something dissected or dissembled. 7. Draped Figure: Create a scenario where you have a person friend of family draped in clothing with lots of folds or draped lines. If you can t find clothing that is big and baggy drape them in a towel or bed sheet. The point of this is to show correct proportions of the figure and to carefully render the intricate folds of the fabric. Students should focus on the lines and shading as well as the patterns and shapes created by the drapery. 8. Drawing of people in a place: go to a café, bookstore, beach, sports game etc and make a minimum of 5 sketches of people in the space. Make each sketch an important composition in itself. Select one sketch to develop into a more

8 complex composition. In your artwork capture the essence of the place by capturing the people you see. 3 people minimum in this drawing composition. Use Value to add contrast. 9. Action portrait/figure drawing: have a friend or family member pose for you doing some sort of movement (jumping rope, riding a bike, walking down stairs etc.) Capture the entire sequence of their action in one work or art or a series of photos. How will you portray movement in your work? Look at Nude Descending a Staircase by Dada artist Marcel Duchamp to see an example of an action painting. Also see the work of Futurist artists Giacomo Balla and F.T. Marinetti. 10. A project in the media of your choice that emphasizes pattern or repetition. 11. A mixed media collage, which emphasizes texture. 12. An artwork in which you use at least three different media, a wet medium, a dry medium and some collage element. 13. An abstract artwork inspired by music. 14. A figure drawing that expresses a specific mood/emotion for example, anger/rage melancholy/loneliness, happiness/joy, etc. Consider the development of the environment/setting as well. 15. A piece of art uses text as a design element. 16. A graphite drawing of a still-life arrangement that contains 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. 17. A collection of four black and white drawings or paintings showing the same subject from different points of view. 18. An image made from two or more objects merged together. 19. 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. 20. Create an artwork of an ugly object that you have transformed into something beautiful. Summer Sketch Book The sketchbook you received should be your new best friend this summer. You need to carry it with you every day, 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. [SC7] Your sketchbook is the perfect place to try a variety of concepts and techniques as you develop your own voice and style. [SC4, SC5 & SC6] You can use any type or size sketchbook you desire however it must be heavily utilized! You may find that you fill your pages quick and must start a new book as you progress through the course. Rules for working in your sketchbook: Do not make perfect drawings. Make imperfect drawings; make mistakes; make false starts. Let your hand follow your feelings, not what your brain is telling you to do. Always fill the page you are working on. Go off the edges whenever possible. Do not make dinky 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. Fill at least half your sketchbook before August 23. Seriously, you must work hard this summer to build good habits and be successful in this course. AP Studio Art process more than technical skills, use your sketch book throughout the year as an important tool to work through and document your process.

9 Put the date on every page you finish. Do not draw from photographs, magazines, or the like. The use of published photographs or the work of other artists or individuals is plagiarism. [SC10] Draw from observation, things you see in the world. Learn to translate the dynamic three dimensional world into a two-dimensional world. By August 23, your sketchbook should be twice as thick as it was when you got it. No cute, pretty, precious, adorable, or trite images. This is a college-level art class. Expect your ideas about what makes good art to be challenged. Don t be boring with your work. Challenge yourself! 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. Ways to work in your sketchbook: Draw, draw, draw, draw, draw, paint, paint, paint, draw, paint, draw, collage, and so on. Use pencils, pens, crayons, sticks, charcoal, burnt matches, pastel, watercolor, acrylic, pine straw, fingers basically anything that will make a mark. You have the power to make a mark. Work on paper, canvas, sandpaper, or the like. Use wet paper and dry paper to see how specific art mediums and techniques respond and/ or interact. 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. [SC10] 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, such as 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 and mark 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. [SC2, SC4, SC5 & SC6] 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 overlapping to create an interesting composition. Use color to finish the work. Create a self-portrait using distortion, or cubism, or impressionism, or minimalism, or pop. 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 at least 100 gesture drawings from observation of the figure. Use wet and dry paper. Try Conté crayons and sticks, vine and pressed charcoal, and Prismacolor sticks and see how these respond and how they help you convey gestures in you images of the figure. Change scale; work small and work large. Work with your opposite hand. Tie your crayon or charcoal to a long stick and draw with that. Make at least 25 contour drawings from observation of anything around you. Remember to use the whole page. Fill the space behind the objects you draw. Make it count for something.

10 Make a simple contour drawing of an arrangement of objects. Repeat the drawing four times. Using transparent watercolors, Prismacolors, and opaque watercolor, 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, 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. [SC7] Bring the book to the first meeting in August. You will have an opportunity to select the pages you want to share. We will use your experience as an introduction to some of the thinking that you will be engaged in during the course. There will be prizes for: Thickest Sketchbook Most Pages Filled Most Expressive/Imaginative Use of Media Most Risk Taking Best Cover Design Best Sketchbook Experience Story Suggested Media for Summer Work (both Finished work and sketch book ) Work in a WIDE VARIETY of media! Do not do all thesketch book works in pencil. When you use pencil it must be used darkly to make an effective image. On both finished work and sketch book try to be experimental with your media and technique. Try black ballpoint pen, crosshatching, colored pencils, acrylic paint, water color, charcoal pencil, pastels, markers, or any assorted materials you may have at home. BUT REMEMBER TO USE THE ENTIRE PAGE! You may work in your sketchbook if it is at least 8 x 10, or you may take home paper from our classroom. USE A WIDE VARIETY OF MEDIA!!!! This is important for succeeding in your breadth section! Be prepared to build your own home studio supply and plan ahead so that you can take material home from school to work on your assignments independently on non-school time. Last words During the school year you will have 28 weeks (2 14 weeks each) to complete 24 or more quality artworks. You may use quality work from past classes, but assuming that all work will be done during the school year, you will need to complete approximately one quality, college-level artwork each week. As you might imagine, this can be a challenging and strenuous journey when combined with other commitments during the school year (and now you know why AP assignments are given during the summer!) So summer break is the perfect time to sharpen your drawing and design skills and to work on some quality pieces for your portfolio! Plus you have the additional bonus of having some spectacular scenery and resources of your home area a nice change of scene from campus. Take advantage of it! There are a number of things that you can do over the summer to make your time in AP Studio more meaningful. Here is a list of requirements for work to do during the summer. This work will be due during the first full week of school when we return in the fall. The grade you receive will be based on your level of completion and participation in each item. DO NOT WAIT UNTIL THE END OF SUMMER TO DO THIS!!! Please become very familiar with the Collegeboard site for the AP Studio Art exam!!!