AP Studio Art Mrs. Payne

Transcription

1 AP Studio Art Mrs. Payne COURSE DESCRIPTION: This course enables students to prepare a portfolio for submission to the AP Studio Drawing Exam. AP Studio Art develops the personal commitment to visual expression through rigorous problem-solving and demonstration of material and concept mastery. Each of the portfolios asks the student to demonstrate a depth of investigation and process of discover through the concentration section (Section II). In the breadth section (Section III), the student is asked to demonstrate a serious grounding in visual principles and material techniques. The quality section (Section I) permits the student to select the works that best exhibit a synthesis of form, technique, and content. This course provides students with the means to construct a college-level visual art portfolio in accordance with MSDE learner outcomes and advanced placement Studio Art standards. Focus will include drawing, 2-D design, and 3-D design. Students are encouraged to submit for the College Board s Advanced Placement Studio Art examination. Students should expect some financial responsibility for advanced art materials. AP Studio Drawing is designed to address a very broad interpretation of drawing issues and media. Students will explore light and shade, line quality, rendering of form, composition, surface manipulation, and illusion of depth as drawing issues that may be addressed through a variety of means, which could include painting, printmaking and mixed media. Abstract as well as observational works may also be explored to demonstrate drawing competency. REQUIRED MATERIALS: 1. 2 wooden pencils x12 hard bound sketchbook 3. 1 two pocket folder 4. 1 Portfolio with handles 18x84 or larger GRADING POLICY: Formative assignments 30% Summative assignments 70% A= B=89-80 C=70-70 D=69-60 F=59-0 I= incomplete MAKE UP WORK DUE TO ABSENCES: Work missed because of Absences may be made up at a time mutually convenient to teacher and student. Students are expected to take the initiative in planning such a time and students should do so no longer than the second day following their absence. Long term assignments or artworks are due on the date announced regardless of the absences. LATE WORK: 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 late. It is important that students have a discussion with the instructor if work is going to be turned in late or if they will miss a critique. Formative assignments turned in late must be received by the end of the Summative assessment. Assignments turned in late will be reduced by a letter grade. Summative assessments will also be reduced by a letter grade if arrangements are not made with the teacher. HOMEWORK 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. Ideas for projects or solutions to problems should be worked out in a sketchbook/altered book both in class and outside of class. The sketchbook is an essential tool in recording ideas, capturing visual information, working on compositional issues, and just fooling around. Altered books/sketchbooks are checked frequently for progress.

2 SECOND CHANCE LEARNING: Second chance learning is not meant to be used as a substitute for effort on regular assignments, but rather as a safety net. Students will have one opportunity to redo/retake assignments at the teacher s discretion. To qualify, students must have submitted the original assignment by the due date. Students must arrange for remediation during the next available FLEX after the assignment was returned. Students must submit the revised assignment, along with the Second Chance Learning Reflection Form, within ten days following the return of the original assignment. The higher grade shall be the grade of record. Formative assignments may are not eligible for second chance learning after the end of the unit of study. The end of the unit is determined by the deadline of the unit Summative assignment. Summative unit assessments and final marking period or semester assessments are not eligible for second chance learning. No second chance learning will be accepted during the last week of the grading period. Students may request to come to FLEX to work on assignments or meet with the teacher at any time. ACADEMIC INTEGRITY: Academic honesty is an essential part of any school community. Carroll County Public Schools seeks to promote the importance of honesty as a basis of respect and cooperation among all of its members. All parties students, teachers and administrators, and staff have the obligation to act in a consistently honorable manner with one another. Academic dishonesty/cheating, in any form on a graded assignment, will not be tolerated. Examples include, but are not limited to; turning in work as your own when someone else has done all or part of the assignment, knowingly giving or receiving information about answers to homework, quizzes, or tests, and plagiarism. Questions should be directed to school administrators. DEVELOPMENT OF PORTFOLIO SECTIONS BREADTH Students are responsible for any materials they want to use that the school does not supply. Students cannot use the excuse that they haven t been able to collect all of the materials they need, for not working in class. Gather materials in advance as part of the artistic development/planning process. Possible Breadth Assignments Create contour, cross contour, gesture and more realized drawings of comon objects. Look at Jim Dine s tool series. Look at Vija Celmin s early work. Create a drawing of a toy. Explore media: graphite, colored pencil, and crayon. Look at Chris Cosnowski, Cesar Santander and Andy Warhol. Create gridded and distorted self-portraits. Look at Hans Holbein s The Ambassadors. Create a negative space drawing of a group of chairs. Color in the negative space in an interesting way. (Betty Edwards, Drawing on the Right Side of the Brain) Illustrate a well-known story. Create a self-portrait, or several different ones, that expresses a specific mood/emotion e.g., anger/rage, melancholy/loneliness, happiness/joy, etc. Manipulate light and color to enhance the psychological atmosphere. Also, consider the development of the environment/setting. Create a foreshortened self-portrait with pencil modeling techniques. Create a drawing of a reflective object with white prisma or chalk on black board. Create a monochrome self-portrait with prismacolor. Investigate the Principles of Design using various media: scratchboard technique, silver point, India ink, charcoal, graphite, pastel, and conte crayon.

3 Create an Architectural Myth with Photomontage: Collect photographs/photocopies of city skylines, landscapes, and seascapes. Also collect photos/copies of household and technical objects e.g., 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). Create a drawing based on the montage. Create compositions that involve the use of inset imagery (image within image such as details/close up views). Create 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. Create tromp l oeil drawings of objects. Create a value drawing of a still life with an exaggerated lighting set up. Draw from unusual perspectives. Create a pattern drawing. Draw outlines of shapes to create a composition. Then create at least 5 different patterns, and fill in the outlines with these patterns. Create a value drawing of drapery. Change the rhythm, speed and pressure of your mark making. Create a pencil or charcoal value drawing of part of an insect. Create a drawing of cakes or candy. Look at the work of Wayne Thiebaud. Create drawings of structures or landscapes employing one-point, two-point or three-point perspective. Subtractive Charcoal Self-Portrait using a combination of vine and compressed charcoal, use the dark field method to create a self-portrait (lay a field of charcoal over the entire surface of the page and use an eraser to create a range of values). Explore liquid media: pen and ink, brush and wash and monotype. CONCENTRATION The students are encouraged from the beginning of the class to formulate ideas for their Concentrations and, where allowable, to start working on those ideas. The concept of working in a series is explained by looking at various artists. Possible Concentration Topics: A series created by drawing a still life and abstracting it and creating variations. Look at Picasso. A series of tool drawings starting as simple investigation and broadening into complexity of composition and use of media. A series of drawings from everyday life from altered book exploring perspectives and media. A series of illustrations based on a well-known story or stories. A series of portraits that grow in complexity. A variety of mark-making, distortions and unusual perspectives explored. A series of drawings from observing the inside of things which grow in complexity of media and perspectives. A series of work as an ode to the ordinary. Based on work of Vija Celmins and Jim Dine. A series of environments drawn in different lighting situations. A series which explores interior and exterior spaces, emphasizing Principles of Design. A series of abstractions from subjects that explore mark-making and various drawing media. DIGITAL PORTFOLIO DUE DATE: Thursday, April 28 QUALITY SECTION DUE DATE: Friday, May 6

4 PED POLICY AND EXPECTATIONS: Use of a personal electronic devise is at the teacher s discretion. When entering the art classroom all devises are away and on silent. Earbuds should also be removed from both ears. WEARING HATS DURING THE SCHOOL DAY Allowed prior to 7:30 bell, during class changes, and at lunch, only. If teacher or staff member tells student to remove his/her hat, student must do so or face consequences for insubordination PERFORMANCE AND WORK EXPECTATIONS: In the art room we RESPECT each other, bring the REQUIRED MATERIALS, work as a TEAM, TRY OUR BEST, LEARN from mistakes, CREATE, CELEBRATE each other s successes. CONSEQUENCES FOR NOT MEETING EXPECTATIONS FOLLOW THE SAME FORMAT AS THE SCHOOL S

5 AP Studio Art Syllabus/Policy and Procedures Mrs. Payne Remember good art takes time and effort, so budget your time wisely. There are no excuses. Please sign and return this form by Friday, February 5th acknowledging that you have read and understood the Policies and Procedures for this class. Student s Name Student s Signature Parent s Name Parent s Signature Is there anything I need to know about how you learn best? Is there someone in the class you want to sit with or not sit with? Do you have access to the internet outside of school? Do you have any suggestions or interests for objects or topics to be included in the art assignments? Formative or Summative. List below.