AP Art: Drawing, 2-D Design, and 3-D Design Portfolios

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1 AP Art: Drawing, 2-D Design, and 3-D Design Portfolios Prerequisite: There are no specific curricular prerequisites for taking AP Art although it is recommended that students have prior training in art. Teacher approval must be granted in order to take this course. The AP Art programs are not for the casually interested student. Instructor: Royanne Cogburn Room: 43 Description: AP Studio Art is a course of study which allows highly motivated students to do college-level work while still in high school. AP Studio Art credit is based upon a portfolio of work submitted to the College Board for evaluation near the end of the school year, May This class is intended to encourage students to explore a personal, central interest as intensively as possible. This is demonstrated through a sustained investigation of all three aspects of portfolio development quality, concentration, and breadth as outlined in the Course Description and Poster. Students will be required to pursue advanced visual art concepts. The work produced in this course will be more in-depth and move beyond surface exploration. The course seeks to encourage the kind of research that is most comparable to that encountered by artist working independently in the studio and encourages the development of mastery in concept, composition, and execution. Art making is an ongoing process and forces the student to be actively involved in informed and critical decision-making. Much of this course is taught as an open studio which requires students to work independently and make choices. Students will be expected to develop their own personal work. Through this course students will have a deeper understanding of artistic integrity as well as what constitutes plagiarism. Work that is copied from other artists works or published photo is plagiarism and is not allowed. This level of study requires each student to develop his/her own ideas that go beyond the mere duplication of someone else s works of art. Students have specific requirements in the number of works to be completed, but the nature of work is determined through consultation between teacher and student. Teacher critiques and informal conversations are helpful tools during the course. These will aid the students ability to participate in group critiques and discussions with peers. Group and individual student critiques will take place during the development of the AP portfolios. These discussions are necessary to assist the student in realizing the goals of the work, the nature of the technique, as well as to insure student competence with the subject matter. The group critiques enable students to develop their abilities in analyzing and discussing their artworks and the artworks of others. Assessments include self-evaluations, teacher reviews and peer reviews.

2 Summer Assignments for AP Studio Art: Drawing and AP Studio Art: 2D Design 1. Work in a personal sketchbook / visual journal / altered book. You are free to choose your sketchbook to your liking. The one requirement is that the paper size is not smaller than 8x10. Your sketchbook needs to be bound in such a way that pages are not going to easily fall out, but will be secure. This book should be filled with ideas and notes, images, sketches, inspiration, and multiple materials. You should use this book as a place where you experiment, think and express. It should be twice as thick at the end of the summer as it is at the beginning of the summer. 2. Take time over the summer to think about ideas that you may want to pursue as a concentration. A concentration for AP Studio Art is a body of work consisting of 12 completed artworks exploring a single visual concern in depth. Each student will choose his or her theme and develop and present to the teacher, for approval, a specific plan of action for his or her planned investigation of a specific, focused idea. Please return with a list of 20 potential ideas to be discussed with the class during the second week of school. 3. You are to complete at least five of the following assignments over the summer. These pieces will be due at the beginning of the second week of school. Your outside work will constitute a large percent of your grade throughout the year in AP. You will develop mastery in concept, composition, and excellence of your work in 2- D Design, using the Elements of Art and the Principles of Design. [SC2] 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. Versatility of techniques is also emphasized as you develop ideation and solutions to your problems. See the following assignments: [SC4, SC5 & SC6] Do a portrait, self-portrait, landscape, or still life in the style of another artist in which formal aspects of design are emphasized such as Monet/Impressionism, Matisse/Fauvism, Picasso/Cubism, Warhol/Pop, Dali/Surrealism, Van Gogh/ Postimpressionism, and so on. You may have to do a bit of research to understand the stylistic tendencies of these artists/movements. Do a self-portrait, or several different ones, that expresses a specific mood/ emotion for example, anger/rage, melancholy/loneliness, happiness/joy, etc. Manipulate light and color to enhance the psychological atmosphere. Also, consider the development of the environment/setting. 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 such as 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 splitcomplementary 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, Dallas in the year 2050 (keep in mind rules of one-, two-, and three-point perspective). Divide a page, canvas, board i.e., the working surface into three equal inset 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.

3 Summer Assignments for AP Studio Art: 3D Design 1. Work in a personal sketchbook / visual journal / altered book. You are free to choose your sketchbook to your liking. The one requirement is that the paper size is not smaller than 8x10. Your sketchbook needs to be bound in such a way that pages are not going to easily fall out, but will be secure. This book should be filled with ideas and notes, images, sketches, inspiration, and multiple materials. You should use this book as a place where you experiment, think and express. It should be twice as thick at the end of the summer as it is at the beginning of the summer. 2. Take time over the summer to think about ideas that you may want to pursue as a concentration. A concentration for AP Studio Art is a body of work consisting of 12 completed artworks exploring a single visual concern in depth. Each student will choose his or her theme and develop and present to the teacher, for approval, a specific plan of action for his or her planned investigation of a specific, focused idea. Please return with a list of 20 potential ideas to be discussed with the class during the second week of school. 3. Your summer project has three parts: 1. Looking at art 2. Reading and thinking about sculptors whose work you identify with 3. Making at least three sculptures Your work on these summer assignments is due at the beginning of the third week of school. The assignments will be evaluated using a rubric based on the AP Studio Art: 3-D Design portfolio scoring guidelines on AP Central, and they make up a significant portion of your grade for the first nine weeks period. 1. Museum/gallery/studio visit: Visit at least one place where art is being exhibited. Spend some time there and write descriptively about the place and the work you see. In your sketchbook, write about the show in general, including at least a page each about two different 3-D objects that interested you. Do a full-page drawing of each ofthese objects. Describe the objects in detail. Describe materials and techniques employed. Describe how the object made you feel and what it made you think about. 2. Research sculptors: Find three sculptors whose work really interests you. Research their work in books, on the Internet, or in person. Describe the issues they explore in their work in your sketchbook and document with drawings and photographs. You may choose any sculptors that interest you, but a list of ideas is provided below for your convenience: Magdalena Abakanowicz Ana Mendieta Robert Arneson Joan Miró Jean Arp Henry Moore Joseph Beuys Louise Nevelson Christian Boltanski Isamu Noguchi Constantin Brancusi Claes Oldenburg Christo Meret Oppenheim Marcel Duchamp Martin Puryear Andy Goldsworthy Richard Serra Julio González Charles Simonds Ann Hamilton Kiki Smith Eva Hesse Robert Smithson Barbara Hepworth James Turrell Rebecca Horn Peter Voulkos Jeff Koons Fred Wilson Maya Lin Jackie Winsor Jacques Lipchitz

4 3. Choose three of the following projects and complete for critique during the third week of school: A. Using any debris from your life (clothes, papers, food containers, cosmetics, reading material), assemble the materials into a life-size self-portrait bust, actual or metaphorical, in relief or in the round. You can use any means available (tape, glue, string, staples, screws, etc.) for connecting and sculpting the material. B. Using only natural materials (twigs, grasses, pods, stones, leaves) and twine or string, create a container for an object that has special meaning for you. The container must be at least 6 inches in one of its dimensions. C. Make a temporary environmental installation addressing any of the following: time, viewpoint, pathways, celestial events, social issues. Document in photographs and drawings. D. Evolving form create three objects whose forms are related yet different from each other. Each object must be at least 8 inches high. Forms can be vessels, figural, realistic, or abstract. Use natural or synthetic clay. E. Your choice. Anything you want.

5 Do a drawing of an unusual interior for instance, looking inside a closet, cabinet, refrigerator, your car. Use your imagination! 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 members shoes try to convey some sense of each of your individual family member s distinct personalities in your piece. 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. Still life: Set up a still life with a strong light source, near a window or with a flashlight. Try unusual objects or unusual combinations of objects: kids toys, dog/ cat toys, linens (a loud beach towel or wild pillow), jewelry, furniture (outdoor, antique, a lava lamp), holiday decorations, wilted flowers, broken seashells, musical instruments, kitchen tools, candy, pasta, clocks, game boards and pieces, light bulbs, seedpods, hardware, origami. Try to choose objects that are interesting to look at individually, and more so in combination. Be sure to compose the entire page. Focus on negative as well as positive space. Play with perspective show some forms larger than life or depict a close-up of the surface. Your background can be text based, patterned, surreal, fantastic, textured, collaged... Landscape: Do a drawing 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.

6 Students have the option of working on one of three different portfolios; Drawing, 2-D Design, or 3- D design. Each is based upon mastery of different skills, concepts, and composition as addressed in typical college-level foundation courses. The AP poster will provide the outline and format and should clarify the general nature of the format to be followed. Work will be completed in the three major divisions of the portfolio: Quality, Concentration, and Breadth. The Concentration section must also be accompanied by a commentary which clarifies or explains the nature of the student s work in that area. Work may be pulled from the Concentration and Breadth sections to be used in the Quality section: but no work can be shared between the Concentration and Breadth sections. Structure of the Portfolios at a Glance Drawing 2-D Design 3-D Design Section I Quality Five actual drawings submitted Max size is 18 x 24 *Mastery of drawing apparent in composition, concept and execution. Five actual works submitted Max size is 18 x 24 *Mastery of design issues apparent in composition, concept and execution. Five works of art = 10 slides, two views of each piece are submitted *Mastery of design issues apparent in composition, concept and execution. Section II Concentration 12 works of art =12 slides are submitted (some may be details) 12 works of art =12 slide are submitted (some may be details) 12 works of art =12 slides are submitted (some may be details or second views) *Conceptually related works; show growth and discovery. *Principles of design that show growth and discovery within a specific visual idea. *Investigation of a specific visual ideas and use of 3-D design principles. Section III Breadth 12 works of art = 12 slide are submitted *Understanding of fundamental drawing concerns; observation, nonobjective forms, light shade, line quality, surface manipulation, composition, spatial systems, expressive mark making. 12 works of art = 12 slides are submitted *Principles of design; unity/variety, balance, emphasis, contrast, rhythm, repetition, proportion, scale, figure/ground relationship. Eight works of art = 16 slides, two views of each are submitted *principles of 3-D design; unity/variety, balance, emphasis, contrast, rhythm, repetition, proportion, scale, figure/ground relationship.

7 Quality: The Quality section asks the students to submit the highest quality works completed. These works should clearly demonstrate the student s mastery of concept, composition and execution (skills). These may be works that are also included in either the Concentration or the Breadth section of the portfolio. Concentration: A Concentration is an in depth study with a strong underlying visual idea such as a particular subject matter, concept, style, historical period, or idea related to art or art history. The development of your concentration is one in which a body of work will grow from a coherent plan of investigation and reflection. A mastery of concept, composition, and execution is expected in all of your completed works of art. Students should work on ideas and concepts for their Concentration over the summer and be ready to discuss their ideas with the teacher at the beginning of the school year. Things to consider while you are developing ideas for your concentration are: What interests you? What subject, medium, and or idea would you enjoy spending the next year exploring? Breadth: The Breadth section will require students to explore the elements and principles of art as well as demonstrate mastery within the works of art. While working on art for this section students will be expected to use a variety of concepts, approaches, and mediums. Students will be given a number of open-ended assignments in order to successfully complete this section of the portfolio. These assignments are carefully chosen to enable students to develop their skills with technique, problem solving, and creative thought or ideation. Sketchbook/ Journals: Students are required to maintain a sketchbook starting the day after they register for AP Studio Art. The sketchbook should be with the student each day in class. This book should be filled with ideas and notes, images, sketches, inspiration and multiple materials. Students should use this book as a place where they experiment, think and express. Goals for AP Art: 1. To participate in the sustained investigation of formal and conceptual issues in Quality, Concentration and Breadth. 2. To immerse students in the creative process and mastery of concept, composition, and execution in drawing, 2-D design or 3-D design. 3. To develop a body of work investigating a strong underlying visual idea in drawing, 2-D design or 3-D design that grows out of a coherent plan of action or investigation. 4. To develop, strengthen and demonstrate their skills and approaches for various concepts using a variety of media. This will show the students ability and versatility with technique, problem solving and creative ideas.

8 5. To emphasize art making as an ongoing process in which critical decision making is taking place throughout the development of each piece. 6. To participation in group and individual critiques enables students to learn to analyze and discuss their own artworks as well as the artworks of their peers. 7. To understand artistic integrity as well as what constitutes plagiarism. If a student produces 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. Requirements: 1. Students will follow all district and school rules as stated in the student handbook or otherwise announced. 2. Students will maintain a positive and patient attitude in class and be on task at all times. 3. Students will follow all safety instructions of all tools and equipment. 4. Students will attend classes, regular attendance is mandatory. Expectations: o Maintain a strong work ethic o Work through and solve visual problems o Refine the ability to draw what you see (render) o Understand how art elements and principles communicate meaning o Become aware of the creative process o Increase knowledge of art tools, materials, processes Supplies: Most supplies and equipment will be provided by the school, but the following supplies will need to be purchased by students. It is recommended (but optional) that students purchase a set of Prismacolor colored Pencils (at least a set of 24) All Students: - Sketchbook/Visual journal - Pencils - Erasers - Two black Sharpie markers 2D Design and Drawing students: - Set of drawing pens - Set of drawing pencils - Kneaded eraser - A Portfolio (to carry work to and from school, recommended size 20x26 inches, can be purchased at Hobby Lobby or Walmart.com and picked up in the store.)

9 Course Outline: During the first quarter of the school year, students will be working on various open ended assignments geared toward the completion of the Breadth. In the second week of school individual conferences with the teacher will begin and students will choose their idea for their Concentration. Students will also have critiques with peers and with the teacher over their completed summer homework assignments. The art elements and principles will be reviewed and incorporated into plans for artworks as well as conversations about artworks in progress. Outside of class, students will be expected to research and begin developing a list of ideas for artworks that they want to investigate further as part of their Concentration. Second quarter will include more work on the Breadth with the addition of beginning work on pieces of art for the Concentration. Critiques will continue. Students will create folders and files on the network to store photographs of their artworks. Students will also be expected to write personal reflections of their artworks. Third quarter will be a time of deep thought and intense work on the portfolios. Students will be asked to work diligently and independently as their peers will all be working on separate projects. This is a time for focus. Some peer critiques will take place, but the majority will be individual critiques and conferences with the instructor. Students will write personal reflections and learn to write about the creative process. The fourth quarter of the school year will be busy. There will be a few weeks to create artworks, but the majority of time will consist of finishing touches to art, compiling the physical portfolio, compiling the digital portfolio, writing reflections and critiques of works and sending off the portfolios to the College Board.