STEPHEN F. AUSTIN HIGH SCHOOL AP STUDIO ART - DRAWING SYLLABUS

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1 STEPHEN F. AUSTIN HIGH SCHOOL AP STUDIO ART - DRAWING SYLLABUS Guide for Student Success Instructor: Kevin Bell Room: 336 Phone: (512) kevin.bell@austinisd.org Website: Tutoring Hours: Tuesday-Thursday: 4:30-6:00 Prerequisite The AP Studio Art course is designed for students who are seriously interested in the practical experience of art and wish to develop mastery in the concept, composition, and execution of their ideas. Requirements: Current or previous teacher, counselor, administrator, or parent recommendation, or review of past student artwork. Students must have successfully completed Art I and/or II Studio Art courses. Grade Placement: I. Course Description: AP Studio Art is a college level course taught in high school. Students will study, and/or 2-D design. Students will have the opportunity to compile a portfolio of their best work for submission to and review by the College Board. Students will submit this portfolio in the first week of May; submissions will be in the form of digital images uploaded to the College Board web site and actual work. Students will decide whether to submit a, 2-D or 3D Design portfolio; the finer distinctions between the two portfolios will be discussed in class. Students should be aware that the 2-D Design portfolio may include photography and digitally produced designs with an emphasis on compositional components, while the drawing portfolio is limited to mark making techniques such as drawing, painting, or printmaking. The 3D portfolio has an emphasis on sculptural aspects. All portfolios consist of three sections: Breadth: This section of 12 works in slide form shows a variety of drawing or design approaches using different techniques, compositions, and media. The student s work in this section should demonstrate understanding of the principles of design, including unity/variety, balance, emphasis, contrast, rhythm, repetition, proportion/scale, and figure/ground relationship. Successful works of art require the integration of the elements and principles of design; students must therefore be actively engaged with these concepts while thoughtfully composing their art. The work in this section should show evidence of conceptual, perceptual, expressive, and technical range. Concentration: This section of 12 works in slide form shows the development of a unifying theme or idea. A concentration is a body of related works describing an in-depth exploration of a particular artistic concern. It should reflect a process of investigation of a specific visual idea. It is not a selection of a variety of works produced as solutions to class projects or a collection of works with differing intents. Students should be encouraged to explore a personal, central interest as intensively as possible; they are free to work with any idea in any medium that addresses two-dimensional design issues. The concentration should grow out of the student s idea and demonstrate growth and discovery through a number of conceptually related works. In this section, the evaluators are interested not only in the work presented but also in visual evidence of the student s thinking, selected method of working, and development of the work over time. Quality: This section consists of five actual best works. These works may not exceed 18 by 24 is size. Quality refers to the total work of art. Mastery of design should be apparent in the composition, concept, and execution of the works, whether they are simple or complex. There is no preferred (or unacceptable) style or content. II. Overall Goal:!1

2 To encourage creative as well as systematic investigation of formal and conceptual issues in the Quality, Concentration, and Breadth sections of the AP studio art portfolio. Also, this course includes group and individual student critiques and instructional conversations with the teacher, enabling students to learn to analyze and discuss their own artworks and those of their peers. III. Specific Objectives and Learning Outcomes: Choose which exam portfolio program is appropriate. : Students will expand their drawing and two-dimensional design skills and advance their visual communication skills by exploring a variety of design processes and techniques, and compositional and aesthetic concepts. 2-D Design : Students will expand their two-dimensional design skills and advance their visual communication skills by exploring a variety of design processes and techniques, and compositional and aesthetic concepts. 3-D Design : Students will expand their three-dimensional design skills and advance their visual communication skills by exploring a variety of design processes and techniques, and compositional, aesthetic concepts and sculptural form. Show an understanding of the focus of the portfolio selected. Demonstrate a breadth of high-quality work, 12 pieces. Develop a personal Concentration of 12 pieces. Select five top-quality pieces for presentation, submit to College Board. Discuss and record the development of the Concentration. IV. Course Content: This course has been developed to accommodate students who have expressed an interest in completing either the AP Studio Art. Therefore, all content meets the requirements as stated in the student exam poster. Through direct teacher instruction, emphasis will be placed on the production of a volume of quality pieces of art work. Students will address all three sections of the portfolio: Breadth, Concentration and Quality. Students will be challenged to develop their own personal work. Students will develop mastery of concept, composition, and execution of their personal ideas and themes. Students will also understand that art making is an ongoing process that uses informed and critical decision making to determine outcomes to problems. Students will be expected to develop a comprehensive portfolio that addresses each of these issues in a personal way. Formulaic solutions to problems are discouraged. V. Instructional Goals and Strategies: Students will use a variety of mediums, techniques, and approaches in drawing to develop concepts and ideation. iques and displays of work are ongoing. Students are expected to participate in class critiques of their personal work as well as the work of their peers and master artists. The vocabulary of art will be used to engage in written and verbal critiques of these works. Individual Student iques with the teacher will help students learn to analyze and discuss their own artworks and artworks of their peers. Individual Conferencing will assist students in the development of their Concentration work. Students will develop a body of work that is an investigation of an idea or theme that is of personal interest to them. Ongoing instructional conversations with the teacher will help students develop their work. Assessing the strengths and weaknesses in their images, and will provide feedback on how they can further develop their drawings. This will also help students learn to analyze and discuss their own artworks and the works of their peers. VI. Curriculum Outline: First Semester: Students will focus on completing the Breadth section of the portfolio. The instructor will provide a list of ideas that serve as starting points for works to be included in the portfolio. Students will compile twelve accomplished works of art that show the breadth of each student s ability. 1 Individual Review sign up for a time to meet with the instructor to discuss previous work that may be used for the AP portfolio. 2-D Design Individual Review sign up for a time to meet with the instructor to discuss previous work that may be used for the AP portfolio.!2

3 2 3 Movement through Mark-Making experi ment with a variety of markmaking tools and techniques to establish a sense of rhythm and movement in a nonobjective drawing (resources: Cy Twombly, Franz Kline, Alma Thomas, etc.). Contrast Positive/Negative Space Study using Contrasto, create a composition with a visually interesting and balanced use of positive and negative space (resource: Jazz by Henri Matisse). Mark-Making Study still in progress, Create 2 nd Picture, 2 nd Media Emphasis Composition and Balance Contrast in progress. Brth 1 Brth 2 4 Subtractive Charcoal -Portrait with a combi- nation 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). Emphasis - Effective use of Light and Shade Cyanotypes use found objects to create an interesting composition on photosensitized paper and place in the sun to achieve a print (resource: Breaking the Rules: A Photo Media Cookbook by Bea Nettles). Brth 3 5 Dramatic Lighting/Portraits Emphasis Contrast/Dramatic Lighting/Mass Massiveness are found by the Modern French painter Toulouse- Lautrec, and by the Dutch master Rembrandt Emphasis High Constrast Cyanotypes in progress. Brth Gesture create a pen drawing of a person in his or her environment demonstrating your ability to capture reality and movement with relative speed and accuracy. Emphasis Line Quality Photocopy Transfer Collage using black/white imagery and text to create a composition with a range of value and an interesting narrative (use safety with essential oils to transfer images). Cross Hatch or Cross-Contour experiment with crosscontour drawing using a variety of subjects includ- ing still-life objects as well as the human form. Photocopy Transfer Collage in progress. Sharpie on 18x24 paper - Media Cross hatch or scumbled spatial perspective - Process Brth 5 Brth 6 Brth 7!3

4 Text and Image Collage create a traditional or digital collage that communicates both a visual and a literal statement (resources: Barbara Kruger, Kurt Schwitters, Augusto de Campos, James Rosenquist, etc.). Fruit/Vegetable Series create a series of drawings using colored pencils or pastels that capture the fruit or vegetable as it is in varying stages of ripeness to rottenness (or begin with the whole fruit and draw various stages of it being eaten). Digital Anti--Portrait using a digital photo of yourself and Adobe Photoshop, portray yourself as a stereotype (resource: Cindy Sherman). Conte on 18x24 brown paper Still life study of similar forms 2D Digital/Hands-On Adobe Illustrator/Gouache Text as Shape, Figure/ground reversal/activating ground Study of Dine, Noguchi, Indiana, Still, Johns, Motherwell Perspective or Painting Emphasis Unity, The illusion of three dimensional forms Brth 8 Brth 9 Brth 10 Perspective 12 Perspective or Painting in progress. Cont. Brth Perspective in progress. Student Choice Markmaking/sgraffito Perspective Painting Brth Student Choice in Progress. Markmaking/sgraffito Perspective Painting in progress. Figure Unit make a series of drawings utilizing a variety of tools and techniques. Figure Unit make a series of drawings utilizing a variety of tools and techniques. Cont. Brth 11 Brth Figure in progress. Cont. Brth 12!4

5 16 Figure in progress. Individual Review sign up for a time to meet with the instructor to discuss class critiques and previous work that may be used for the AP portfolio D Design Individual Review sign up for a time to meet with the instructor to discuss previous work that may be used for the AP portfolio. Taking Breadth slides. Taking Breadth slides. Breadth Slides Due portfolio review, slide show, and celebration of the first semester s work. Breadth Slides Due portfolio review, slide show, and celebration of the first semester s work II Semester Concentration Second Semester: Students will choose a unifying theme for his/her Concentration by focusing on personal interests and building on personal artistic strengths. This is an opportunity for the student to develop his/her artistic voice. The main focus of this term will be the development of specific personal imagery (beginning, change, conclusion). Considerable time will be devoted to defining and describing successful approaches to the highly personal nature of Concentration work through individual and whole-class assignments. Early in the term students must attend a mentoring appointment at which time they are individually counseled about their choices of plan for a Concentration study. By term end, student will not only have completed a significant portion of the Concentration pieces, but will also have initiated a written statement to describe the intent and development of the project using accurate artistic language. Semester Project: Portrait in a Box, or Students may choose Theme of their choice. Objective: Illustrate twelve pieces of artwork that relates to one theme/subject, idea, or concept that demonstrates best skills, growth over time and cohesiveness. Concentration Growth in Discovery (Beginning, Change, Conclusion), an In-depth Exploration of a Theme Tools for Creative Thinking (Manipulate and Alter Image of one Theme) Add, Subtract Combine Altar Transfer Change Scale Fragment Isolate Animate Empathize Repeat Simplify Delete SCOPE and SEQUENCE SEMESTER I & II!5

6 Aug Sep Oct Nov Dec Jan Feb Mar Apr May 1 B2 Eval Class B5 B8 Wed- B11 & 12 Class Sign up for a time to meet with the teacher to discuss Concentration C4 Catch Up Framing/ Mounting Eval s Cont. Unfinished work Final Exam Due Digital Processing 2 Cont. B2 Evaluation B Slides Due C1 C5 Framing Mounting Rubrics Begin Next Year s Breadth Sketchbook 3 Sign up for a time to meet with the teacher to discuss Concentration Tu-B3 Tu-B6 B9 Class ique C2 Evaluation C6 C8, C9 Conc Wksheet Fr- C11 C12 Entrees 4 B1 Due -Evaluation Class ique Th-B4 Th-B7 M- B10 Eval C3 Evaluation C7 C10 Due Last Slide Day Key: B=Breadth Project, C=Concentration Project, =Class ique session VII. Assessment and Evaluation: Development (75%) Based on finished work as per term quota. Graded using the evaluation rubrics as established by the College Board Both volume and quality will be taken into consideration for final grade Lab Conduct (25%) Regular attendance is mandatory. Use of in-class time and extra classes. Attention to lectures, directions, and demonstrations. Participation in critical discussion. Proper safe use of materials and equipment. Cleanup duties and storage of work. Preparation of finish artwork framing and submission. VIII. Breadth Keyword Mini-Rubric: AP Rubric Descriptor Grade equivalent 6 EXCELLENT AMBITIOUS RISK-TAKING INVENTIVE 96 5 STRONG COMPLEX CONFIDENT DIVERSE 90!6

7 4 GOOD CLEAR EFFORT EMERGING 84 3 MODERATE INCONSISTENT OBVIOUS TENTATIVE 78 2 WEAK LITTLE ENGAGEMENT SIMPLISTIC MINIMAL 72 1 POOR CONFUSED TRITE CLUMSY 66 IX. Written or Oral Peer: Written or Oral Peer ique Form ique Reviewer A: Describe the work in as much detail as possible (Is it a painting, drawing, graphic design, collage, sculpture, etc.)? Media (made from what)? Technique(s) (how is the imaged constructed)? B: Discuss 5 positive or negative aspects of craftsmanship in the work. C: Discuss the formal qualities of the image. (How do the Elements and Principles interact?) D: Discuss the narration of the image. (What kind of story does the work tell? Metaphor? Analogy? Symbology?) X. Artistic Integrity: Students are expected to use artistic integrity throughout the course. Work that is based on published photographs or the work of other artist must move beyond duplication to illustrate an original idea. XI. Homework and Sketchbook: 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 both in class and outside of class. The sketchbook is an essential tool in recording ideas, capturing visual information, working on compositional issues, and/or just exploring. Sketchbooks will be checked frequently for progress. DO NOT DRAW FROM PHOTOGRAPHS, magazines, 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. More Ways to work in your Sketchbook will be further discussed in your STUDENT HANDBOOK. However, Express yourself! Work to develop mastery in concept, composition, and execution of your ideas. XII. Student Readings, Visual Research, and Art History: Participate in class presentations, discussions, and research of artists, art history, art periods/styles, alternative approaches, past and contemporary cultures, and underlying visual issues. Research self-selected artists and visual issues Present the research and resulting art products to the class as a teach-back. AP Studio Art Poster AP Scoring Guidelines XIII. Selections from texts: Mittler, G. Art in Focus. Mission Hills, Calif.: Glencoe/McGraw-Hill, Mittler & Howze. Creating and Understanding. Mission Hills, Calif.: Glencoe/McGraw-Hill, Discovering. Worcester, Mass.: Davis Publications, Inc., Stewart, M. Launching the Imagination, A Guide to Two-Dimensional Design. Third Edition, New York: McGraw-Hill Companies, Goldstein, N. Figure, The Structure, Anatomy, and Expressive Design of Human Form. Seventh Edition, New Jersey: Pearson Education Inc., 2011.!7