2-D Design Portfolio. Advanced Placement Studio Art 18/19

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1 Advanced Placement Studio Art 18/19 2-D Design Portfolio The overall purpose of the course is to give you the visual design concepts and practical skills that will allow you to confidently develop your personal artistic intuitions. This course is a study of visual fundamentals and here you will investigate how the elements and principles of art/design are used to create unified meaningful images. We will be concerned with investigating the principles and structures we discover, along with the visual qualities our materials suggest and the sources and images of our personal expression. We will use a combination of material and process demonstrations, directed and free design investigations, readings and discussions, presentations and individual and group critiques to meet these ends. We will use both traditional and electronic media. Independent work outside the studio will involve attendance at gallery or museum exhibitions and design work at home. You should realize that successful participation in this course requires a substantial commitment of time and energy. Your ultimate success will depend upon your understanding of our design investigations as an on-going process aimed at discovering the significance of formal order as it applies to your theme. This process will require informed and critical thought as well as spirited, committed execution. I expect all of you to go beyond merely completing an assignment to produce thoughtful engaging work. I expect that you will revise and develop you work in light of critique discussions. You will develop a substantial body of work as you explore each of the three sections of the AP portfolio; Breadth, Concentration and Quality. Each academic quarter will require a specific number of works. Note that you must meet these quarterly deadlines and all other requirements in order to receive a passing grade for the quarter. Necessarily there will be less structure in the studio sessions as the year progresses. This will allow for in-depth concentration on your own work. You are expected to use the time to your advantage. Each section of the portfolio has underlying strategic questions. For Concentration, the focus is within: What are the primary elements of my visual language? How do I develop my visual language? What are the thematic ideas behind my visual concerns? For Breadth, the focus is without: What are the important design ideas and methods outside of my experience and my visual concerns? How do others develop formal order, harmony and overall unity? Are there significant marks, structures and expressive qualities naturally developing out of my uses of materials? For Quality, the focus is the art itself: What constitutes unity, harmony and quality? What counts as evidence of quality in design? Does my work show evidence of this? On the following pages I have outlined the major discussion topics, investigation themes and visual concepts, and assignments quarter #1. You will receive a similar sheet later for each of the other quarters. We will investigate each theme for a number of weeks. The work you do on the theme will be considered a mini-concentration portfolio and will be evaluated for quality, initiative and development. As we begin our work I will provide you with detailed assignment statements and evaluation rubrics. 1

2 Quarter 1 emphasis on BREADTH section Discussion Topics: the continuing conversation Review of portfolio structure: defining breadth, concentration and quality. Studio practices; documentation, critique methods, studio safety, materials. Questions of artistic integrity, defining quality. Underlying questions for breadth, personal responses. Material demonstrations. Conceptual themes: ideas behind the explorations Complementarity is THE fundamental principle of relative contrast. The Gestalt principles. The design process. Figure& ground, active & passive space, the creation of space. Material properties and visual, expressive effects. Abstraction Idea #1 where do images come from? Transposition. Design Explorations: discovery and expression with gestalt principles. Weeks 1, 2, 3, 4 Theme: Figures Transposed, visual dynamics of planes and lines in 3D. and 2D. space. Process: 3D. construction, 2D. collage, drawing, painting. Materials: Cardboard, papers, string Formal emphasis: Plane and line contrast, implied movement in 3D and 2D space, figure/ground. Studio sessions: Week 1 and part of Week 2, cardboard figure construction. Weeks 2,3,4 directed and individual collage design work. Some images will be directed, others free responses. Individual initiatives: Several sketchbook pages per week on this theme including writing. Develop 1 refined individual image based upon a sketchbook discovery. Accountability: Weekly progress and initiative check, individual portfolio evaluations. Design Explorations: vision and invention. Weeks 5, 6, 7, 8 Theme: Portable Funk, design interpretations and the discovery of form qualities. Process: Create a complex assemblage of varied materials. Interpret this assemblage as you invent a design language. You are to make at least 8 images emphasizing different design forms and principles. Materials: Assemblage materials should be as unique and varied as possible and when assembled, mounted onto rigid cardboard. Design interpretations may be drawings, prints, digital photos, paintings any media appropriate for your idea. Formal emphasis: Balance of surface tensions, development of form qualities, color coordination and harmony. Studio sessions: Week 5 and part of week 6, make the portable funk. Week 6, 7 and 8 develop the 6 design images with a variety of processes and media. Some images will be directed, others free responses. Individual initiatives: Several sketchbook pages per week on the theme, including writing. Develop one refined individual image based upon a sketchbook discovery. Accountability: Weekly progress and initiative check, individual portfolio evaluations. 2

3 Design Exploration: Vectors (force and direction) Weeks 9, 10 (Q.1) and Weeks 1,2, 3 (Q.2) Theme: Vectors as models of space and movement. Visual studies in point, line and apparent plane. Process: Create a point matrix using chance methods. With the point matrix as a guide create a 3D. vector model. Use points and lines to create a group of design images which interpret the vector model. Materials: For vector model use reeds, sticks, wires or any straight and stable linear material. Design interpretations can be prints, collages, drawings, photographs, paintings any material appropriate to your idea. Formal emphasis: Creation of movement and depth using the visual qualities of lines and points. Developing unified design through attention to composition and a balance of contrasts. Studio sessions: Week 9, 10 (Q.1) create chance dot matrix and vector model. Weeks 1,2,3 (Q2) create 6 different point-line composition. Individual initiatives: Several sketchbook pages per week exploring chance compositions with a variety of visual forms. Develop two refined images based upon a sketchbook discovery. Accountability: Weekly progress and initiative check, individual portfolio evaluation. Weeks 4,5,6,7 and 8 Varieties of color interaction, contrast and harmony. 18 x 24 color conmpositions on tag board after multiple (20) 9 x 1`2 color/composition studies. Formal emphasis: Ex.1: Subjective Timbre. Free exercises in uncovering subjective timbre. Paint. Ex.2: Color harmonics. Directed studies in color harmony. Paint. Ex.3: Light Dark contrast. Directed studies. Video capture images, digital photos. Ex.4: Complementary Contrast. Directed studies. Collage. Individual initiatives: 8 to 10 pages per week, free studies on the given themes. Develop one large format image based upon discoveries with one of the color themes. Individual critique weekly. Week 9 Documentation of all work, presentations of portfolios and group critiques, individual written reflections on the quarter s themes and accomplishments. Free exploration in the sketchbook based upon individual portfolio theme. 3

4 Quarter 2 work in Breadth and Concentration sections Discussion topics: the continuing conversation: Underlying questions for concentration, quality, and portfolio standards. Questions of integrity, image sources and appropriation. College visits, art careers, portfolio presentation. Conceptual Themes: the ideas behind the explorations Families of Form, dynamic forces in shape. Structures generate form. Structural units, repetitions of form. Compositional structures in 2D. Design Explorations: discovery and expression Weeks 1, 2 and 3 Ex.1: Directed and free studies with combinations of form families. Collage, painting, digital. Ex.2: Directed studies with 3-D structures and resultant forms, transposition of 3-D structures in to 2-D compositions. Collage, painting,digital images. Ex.3: Directed and free studies, explorations of 2D compositional structures, development of surface tensions and dynamic spaces. Formal emphasis: visual qualities of form families, transposition, surface embellishment. Individual initiatives: 8 to 10 sketchbook pages per week exploring the given visual themes. Develop compositions for independent design project week 4. Write initial concentration statement. Group critique week 3. Individual critiques weekly. Weeks 4 and 5 Independent work. At least 2 compositions based upon discoveries with the previous weeks themes, and 2 works for concentration. Materials and formats by personal requirements. Formal emphasis: develop personally satisfying and unified compositions. Individual initiatives: 8 to 10 sketchbook pages exploring the individual concentration theme. Group critique week 5. Individual critiques weekly. Weeks 6, 7 and 8 Ex.1: Directed studies with composition types and letterforms. Drawing, collage, digital. Ex.2: Directed studies with lattice structures; the invention of signs. Drawing, painting. Ex.3: Directed studies; compositions with modular structural units. Drawing, collage construction. Formal emphasis: Figure/ground, repetition, symmetry, asymmetry, structure. Individual initiatives: 8 to 10 sketchbook pages developing independent concentration projects. Individual critiques as scheduled, preliminary portfolio reviews. Week 9 Group critiques of portfolios, application of AP scoring guides. Written reflections on development of concentration idea and portfolio development. Documentation of the work. 4

5 Quarter 3 Breadth, Concentration and Quality (1/22/2018-3/22/2018) Discussion Topics: the continuing conversation Portfolio reviews for college scholarship, effective presentation. Underlying questions for breadth, concentration and quality; further inquiry. Conceptual Themes: the ideas behind the explorations Visual kinetics, stasis and motion. Dynamic forces in composition, natural and manmade form generators. Repetition and Rhythm, and the projection of time into space. Design Explorations: discovery and expression Weeks 1, 2, 3 and 4 Ex.1 Directed and free small compositions on the contrast of movement and stasis. Drawing, painting, collage and digital. Ex.2 Directed and free compositions developed from natural and manmade form generators. Drawing, painting, collage, digital. Ex.3 Explorations of repetition and rhythm as compositional structuring devices. Development of a 2-minute video recording applying the visual themes and of a unique book based upon the imagery in the video. Formal emphasis: Develop unified and personally expressive compositions based upon the given themes. Individual initiatives: 8 to 10 sketchbook pages weekly of compositions exploring the visual themes, visual studies for the concentration projects. Completion of at least three concentration works. Written reflections on portfolio themes and refinement of concentration theme. Individual critiques weekly. Week 5 Exhibition and group critique of videos, books and directed compositions. Group critique of concentration works and sketchbook development. Individual initiatives: 8 to 10 sketchbook pages of studies and work towards concentration themes. Weeks 6 and 7 Ex.1 Directed and free studies in pattern and color compositions. Paint, collage, digital. Formal emphasis: Repetition, rhythm, symmetry, asymmetry. Individual initiatives: 8 to 10 pages weekly of pattern studies applying various color organization schemes. Paint, collage. Completion of at least two concentration works. Group critique week 7. Individual critiques as requested. Week 8 and 9 Individual work on concentration projects. Documentation of design work. Continuation of weekly sketchbook studies. Scheduled portfolio presentations for group critique focused on portfolio development and AP standards. Written reflections/reactions. 5

6 Quarter 4 Finalizing Breadth, Concentration and Quality All work for the AP 2-D. design portfolio must be completed by April 30, The AP/College Board deadline for upload of digital portions of the portfolio and packing and shipping of the artwork is during the first week in May. No extensions on either deadline. Discussion Topics; the continuing conversation Further inquiries into breadth, concentration and quality. Art careers, design applications. The requirements of design and personal expression. Conceptual themes: the ideas behind the explorations: Complementarity, the fundamental form of contrast. Form generation Metamorphosis Design explorations: Weeks 1, 2 Metamorphic scroll composition. Vertical or horizontal scroll at least 6 feet long presenting combinations and transformations of visual elements. Formal emphasis: Balance of the many types of complementary contrast along the length of the scroll. Weeks 3, 4,5 Completion of all remaining tasks for AP portfolio. The CRHS deadline for each section of the portfolio, including all documentation, all aspects of digital registration, and all preparation of quality-section work is Monday, April 30, There will be no extensions to this deadline. Failure to meet this deadline will result in a grade of F for the quarter. Weeks 6, 7, 8, 9 Portable Funk :20 small drawings/paintings investigating the transposition of the physical and visual characteristics of an assemblage of contrasting forms. Each drawing should be 6 x 6, or of a similar size. Use the widest possible variety of drawing media and drawing surfaces.. Present the 50 drawings as one composition mounted. Formal emphasis: Creation of space through strong color, tonal, line and material contrasts. Development of visual, formal equivalents for the visual characteristics of the forms in the assemblage. Exhibition of Portable Funk. Studio clean up. Curate and install Pallet: Version 4 end of year exhibit. 6