Advanced Placement Studio Art 2-D Drawing Course Description

Transcription

1 A P Advanced Placement Studio Art 2-D Drawing Course Description The AP Studio Art Drawing/Painting is a course designed for students who are engaged in the practical experience of art, highly motivated and committed to develop mastery in the concept, composition, and execution of their artistic concepts. The course emphasizes that art is an ongoing process that requires committed interest, comprehensive research and constant correct practice with considerable amount of time within and beyond classroom boundaries. The AP Drawing/Painting requires students to produce a minimum of 24 works of art that mirror issues related to Drawing to develop technical and conceptual skills using the elements of art with the integration of principles of design as fundamental to art. Strong design is no mystery it is the result of an attentive, iterative process of ideation, evaluation, and refinement. The course is outlined during the first week of school. The core of the program is essentially a portfolio course involving three sections. The AP portfolio: Quality five actual works of art that represent the student s best work; Concentration 12 pieces that demonstrate an in-depth exploration of a particular artist idea or concept; Breadth 12 pieces that demonstrate an understanding of expressive qualities of art or the Principles of Design. In all areas, students will need to be able to show mastery in relation to idea, and technical skills in formal development of a work of art. The goals of the AP 2D Studio Art course are: [SC7] To encourage creative as well as systematic investigation of formal and conceptual issues in artwork; Emphasize making art as an ongoing process that involves the student as an informed and critical decision maker; Develop technical diversity and skills involving the expressive aspects (elements of art and principles of design) in relation to strong compositions; To encourage young talents and imaginative minds to contribute in the development or advancement of humanity through art; AP Drawing specific objectives: Develop a 12 pieces of personal concentration demonstrating competence in organizing ideas and artistic concepts; Demonstrate a Breadth of a 12 pieces high-quality work demonstrating mastery and exploration in the use of media, technique and expression; Produce 5 quality works that would best represent the AP Drawing portfolio development. 1

2 Scoring Components Pages 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. 1, SC2 The course enables students to develop mastery (i.e., Quality ) in concept, composition, and execution of 2-D design. 2, 10,37 SC3 The course enables students to develop a cohesive body of work investigating a strong underlying visual idea in drawing 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 drawing 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 drawing 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. 2, 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. 7, 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. 7, 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. 4,5,6 2

3 HOMEWORK [SC7] The course requires students to spend a considerable amount of time outside the classroom working on the 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 or working on compositional issues. Altered books are checked frequently for progress. EXHIBITIONS [SC7] AP Studio Art students are encouraged to participate in art exhibitions and competitions. Exhibit is part of the art process. All art is a creation previously conceived in the mind, then performed, and then showed, perhaps to communicate, express or to share. Any artistic creation left suppressed, will remain an imagination in which only the designer can appreciate. - jeco COURSE SCHEDULE [SC1] Classes meet every day for 45 minutes. The course focuses on the development of both sections of the portfolio- The Breadth and Concentration section throughout the year. Then, five (5) of the works either from the Breadth and Concentration works are selected to represent the Quality section of the AP Studio Art portfolio. All AP students are expected to work on their assignments in class and spend extra time after class. CONTENT STANDARDS [SC1]- [SC2] Build a working vocabulary of art, design, and visual communication terminology; Know about and explore various design forms, elements, traits of elements and formal relationships; Develop sensitivity in arts and designing while employing its theories and principles; Develop skills in handling the design challenges; Develop the right skills and techniques in handling drawing and painting tools and media; Produce the best possible design solution within given limits of time and resources. Apply effectively visual design principles to concept development and design analysis; Communicate clearly your design concepts/goals via concise, written concept statements; Practice and develop illustrative sketching and rapid visualization techniques in development sketches, concept presentations and in-process project discussions and critiques; Practice and extend ability to think visually, to develop visual concepts and to communicate visual solutions; 3

4 EXPECTATIONS: Regardless of your concentration area of focus, the AP portfolio should show variety of art skills; The general sense of portfolio should reflect a field of interest or media preference, but not only drawings, paintings, printmaking, mixed media, and sketches should be explored; Sketchbook and journal work will be sustained throughout the year; they are to be carried out as integral part of learning process and skills development. (daily basis); Use appropriate language during critiques; Meet deadlines; failure to do so is tantamount to a point deduction; Participate in extra curricular art related activities; Participate in art related community service including the school art shows; Students are expected to join art exhibitions and art competitions; Be responsible without being reminded and perform random acts of kindness-take initiative; Maintain a respectful environment inside the studio; Plagiarism is strongly not tolerated; [SC10] Artworks must explicitly demonstrates Originality and authenticity; Artworks that explicitly identify other s work are strongly discouraged and will not be accepted; Work both in school and at home throughout the duration of the course; All assignments must be turned in on time and complete (penalties for late work according to the school policy applies). This is a college level class and in most cases, professors will not accept late work; Full reliance on photographs taken by others is directly in contrast to the philosophy of art and, therefore it is unacceptable; Work consistently, responsibly and independently; Commit to working on projects during and outside of class. At least an hour after school. Trips to museums, galleries and other cultural venues are fundamental to the learning process. Final exam (presentation of works) and submission of portfolio are required to receive credit for this course.[sc8]-.[sc9] INTEGRITY [SC10] Students are responsible to make their artwork to develop mastery (i.e., quality ) in concept, composition, and execution of drawing or painting as genuine as they could be. In the event that the work made outside of class is of a questionable integrity, the instructor will require the student to perform various tests that would validate the authenticity of the work. For this sense, it is advised that updates of work must be presented to the instructor frequently. Any work that makes use of photographs, published images and/or other artists works must show substantial and significant development beyond duplication. This is demonstrated through manipulation of the formal qualities, design, and/or concept of the source. 4

5 As an environment that promotes and gives emphasis to values, Individual integrity and, the dream in the actualization of the school core values; it is by principle that certain rules and standards must be internalized. RULES AGAINST: Cheating, Plagiarism and Forgery as defined in the school policy A. Cheating and Plagiarism POLICY AND DEFINITIONS Policy It is the policy of School to be pro-active in dealing with issues of cheating and plagiarism. Teachers are encouraged to discuss academic ethics and the formulation of one's own intellectual material with students. It is also the policy of to have clear consequences for students who cheat or plagiarize. Students are expected to be honest in meeting the requirements of subjects they are taking. Cheating or plagiarism is dishonest, undermines the necessary trust upon which relations between students and teachers are based, and is unacceptable conduct. Students who engage in cheating or plagiarism may be given a Red Card - Level Four infraction. It may also lead to a lowered or failing grade in a subject; and the possibility of an additional administrative sanction, including probation, suspension, or expulsion. Definitions of Cheating and Plagiarism Cheating: Cheating is the act of obtaining or attempting to obtain credit for academic work by using dishonest means. Cheating at includes, but is not limited to: 1. Copying, in part or whole, from another's examination, paper. 2. Consulting notes, sources, or materials, including use of electronic devices, not specifically authorized by the subject teacher during an examination; 3. Employing a tutor, or getting a parent to write a paper or do an assignment; paying someone to write an essay for a student. 4. Committing any act that a reasonable person would conclude, when informed of the evidence, to be a dishonest means of obtaining or attempting to obtain credit for academic work. Plagiarism: Plagiarism is the act of obtaining or attempting to obtain credit for academic work by representing the work of another as one's own without the necessary and appropriate acknowledgment. More specifically, plagiarism is: Purposely incorporating the ideas, words of sentences, paragraphs, or parts thereof without appropriate acknowledgment and representing the product as one's own work; and Representing another's intellectual work such as photographs, paintings, drawings, sculpture, or research, or the like as one's own. 5

6 RESOLUTION OF PLAGIARISM/ CHEATING ISSUES [SC10] Informal Resolution: An informal resolution is an agreement between the teacher and the student to resolve an allegation of cheating or plagiarism between themselves. This may result in the student either redoing the assignment, or being given a reduced or zero score for the task in question. The final phase of the informal resolution process is the completion of a record of the informal resolution which is then signed by both the teacher and the student. This record will be kept on file and the Prefect of Discipline will be notified. Please Note: This does not apply to exams, formal tests and quizzes. In case of cheating in exams, formal tests or quizzes, the teacher will follow the guidelines for a formal resolution of the incident. Formal Resolution A formal procedure occurs when the teacher catches a student cheating in an exam, formal class test or quiz; if the teacher and student are unable to reach agreement on an alleged violation and informal sanctions; or when the teacher believes that the alleged violation is of a particularly serious nature as to warrant formal proceedings; or if the offence is repeated. A Formal allegation of cheating and plagiarism is a Red Card (Level 4) infraction and will be dealt with in the same way as with other Level 4 infractions. It can result in a zero score for that particular test or task and the possibility of an additional administrative sanction, including probation, suspension, or expulsion. B. FORGERY POLICY AND DEFINITIONS Definition: The act of making a false or misleading written communication to a staff/faculty member with either the intent to deceive or under circumstances which would reasonably be calculated to deceive the staff/faculty member. Producing, possessing, or distributing any false document, item, or record represented to be an authentic school document, item, or record. This will be dealt with as a Level 4 infraction and formal procedure as for cheating and plagiarism will be followed. AP Students are expected to be the best model of the following the characters. On respect Respect must dominate the studio environment: Always maintain favorable and respectful environment conducive for working art; always be fair in dealing individual interest and preferences. On responsibility It must be the responsibility of every art students to: be responsible with their words and actions; be responsible with the school property especially Art room tools, supplies and the work of fellow students; always clean well the tools after use; always be responsible of own mess; work consistently and independently without prompting; participate and do the best in every art activities. On Plagiarism In respect to the School Rules, and on the basis of Integrity and authenticity, Plagiarism in art is strongly not tolerated. It is therefore our obligation to forbid any form of Plagiarism; copying exactly the photographs not taken by you will prompt you to a repeat of work or will not be accepted; copying and gaining credits on other s work; Infraction of these rules is tantamount to a corresponding disciplinary action as stipulated in our school and studio policy. 6

7 C R I T I Q U E [SC8] - [SC9] The course includes group critiques with the teacher. Each student is expected to participate in weekly group critiques of their artwork. Students will demonstrate understanding of vocabulary in classroom discussions and critiques and are reminded to analyze the following during a critique: composition, execution (technique), and concept. Successes and areas of improvement will be discussed with teacher and with their peers. Students interact through critiques of their work as well as the work of other students. It is important to establish and maintain a positive atmosphere that promotes constructive criticism as a strong motivator. Group critiques are conducted throughout the art making process and provide feedback soon enough to make changes or modifications, as necessary. The teacher critiques various aspects of the works. Analysis includes the composition, execution (technique and processes), and intention (concept). The student whose work is being critiqued takes note and offers appropriate explanations. OBJECTIVES: Analyze and identify specific issue concerning the state of the work in order to provide possible suggestions for the development of idea and improvement in the area concern; to share awareness to others about one s own artistic explorations; develop a healthy exchange of intellectual, artistic or personal consciousness significant for building one s maturity, perhaps to present state of society, and for its future; build-up a better sense of responsibility between each person, a strive to eradicate a destructive distinction and virtual differences between individuals; and, to develop a confidence and skill to speak-out and express one s consciousness in mature manner. DETAILED DESCRIPTION OF COURSE CONTENT AREAS SECTION I: THE QUALITY The Quality section of drawing/painting portfolio is the culmination of the mastery that has been developed from the Breadth and Concentration exercises. The five works included in this section should demonstrate a concept, composition and a successful execution or demonstration of the artistic intent. The works may be distinctly different or related and can be done in a variety of drawing and painting media. The actual works must be shown and should not be larger than 18 X24. Emphasis in the mastery developed from Breadth and Concentration should be evident in all of the five quality works for the evaluators to recognize the student s competence. Quality Requirements: 5 - Original Works demonstrating mastery in the process and techniques of using the media and tools, the application of design principles and with a powerful graphical voice will be submitted. The works may include drawings, paintings, prints, digital works or computer aided works, plans, animation cells and other techniques that may be still considered as drawing or painting. The works may be in one or more media; they may be on flat paper, cardboard, canvas board, un-stretched canvas or other suitable material. 7

8 SECTION II: THE CONCENTRATION This section of the course prompts students to commit themselves into an in-depth investigation of a certain artistic concept or subject. This section requires twelve pieces of works translated into digital images that best represent the students interest in an idea that is expressed in visual terms. The works should show exploration and growth while investigating an in-depth problem or theme that is coherent and unified by an underlying artistic concept. The concentration of work should show development of thinking over time and considerable effort should be evident. A written piece describing the nature of the project, the development and sources of ideas and the media is also required. The twelve pieces selected for this section are to be presented in a digital image format. [Concentration is not just a series of drawings of cats, cars, horses, emotions, and so on, appropriated from magazine images that appeal to them. Nor is the Concentration found one week prior to the submission of a portfolio by searching for commonalities in a group of divergent works. The individual must come to "own" her or his imagery, whether objective or non-objective, based on personal contact, history, manipulation, observation, research, or a combination of these. By feeling deeply comfortable or involved with a Concentration, the AP student can continue to explore various approaches to the concept being developed. ] AP Central SECTION III: THE BREADTH This section of the AP studio Art portfolio defines the student s understanding from the exploration and investigation of issues that better concern Drawing or painting. Artworks submitted for this section would show that the student was engaged with the range of drawing concerns that include effective use of the elements of art and the principles of design such as: light and shade, line quality, surface manipulation, composition, various spatial systems, and expressive mark making. Although the students may prefer to use a single medium for work representing the Breadth section, the work must show a range of approaches, techniques, compositions and subjects. SCORING AND GRADING Grading will be done according to the school s template: The Quarter exam, which is based on the presentation and Critique of students work of art; The Homework/Seat work and Project, for the Portfolio; The Quiz for the individual or group critique and discussions; and, The Deportment as student s Personal Integrity, interpersonal Relations and Artistic/Academic Initiative. 8

9 STANDARDS FOR EVALUATING WORKS OF ART S C O R E 33% EXCELLENT QUALITY 32% STRONG QUALITY 31% GOOD QUALITY 30% MODERATE QUALITY 29% WEAK QUALITY 28% POOR QUALITY 33% - SUBJECT The what: representational = the subject; nonobjective positive shapes. The subject is also the theme or the topic of art. Originality, Imagination, and Invention of Composition The composition of the works is original, imaginative, and inventive The composition of the works is generally imaginative or inventive The composition of the works includes some imaginative ideas. In the composition of the works, some imaginative ideas appear to be emerging. The composition of the work relies heavily on unoriginal ideas and shows few signs of invention or imagination The composition of the work lacks originality or imagination. 33% - FORM /COMPOSITION The how: arranging the elements or total appearance of the work; (Elements of art: building blocks ; line, shape, value, texture, & color) (How the elements are arranged is the = composition). The form is the technique employed and the use of the elements of art. General Use of Design Elements and Application of the Principles of 2-D Design Technical Competence and Skill with Materials and Media SCORING DESCRIPTION In most works, there is a highly successful use of the elements of design and application of 2-D Design principles. The work generally shows successful use of the elements of design and application of 2-D design principles. The work shows good use of the elements of design, but the application of 2-D design principles is not always successful. The work shows moderately successful use of the elements of design; the application of 2-D design principles is emerging or limited in scope. Some awareness of the elements of design is demonstrated, but there appears to be little understanding of the application of 2-D design principles. Very little awareness of the elements of design is demonstrated, and there appears to be minimal understanding of the application of 2-D design principles 33% - CONTENT/INTENTION The why: psychological or emotional properties felt or implied. The content is the message the artwork communicate and the meaning of the work. Confident, Evocative Work, and Engagement of the Viewer Appropriation and the Student Voice Decision Making and Intention Any apparent appropriation of published or photographic sources or the work of other artists clearly provides a visual reference that is transformed in the service of a larger, personal vision in which the student s voice is prominent. Any apparent appropriation of published or photographic sources or the work of other artists shows a strong sense of the student s voice and individual transformation of the images. With the apparent appropriation of published or photographic sources or the work of other artists, the student s voice is discernible; the images have been manipulated to express the student s individual ideas. If published or photographic sources or the work of other artists have been appropriated, the resulting work appears to be a collection of nearly direct reproductions; even if the work is skillfully rendered, the student s voice and the individual transformation of the images are minimal. The work appears to be direct copies of published or photographic sources or the work of other artists; even if they are of average rendering skill, there is little discernible student voice or individual transformation. The work appears to be unconsidered and to lack discernible intention. The works are obviously direct, poorly rendered copies of published or photographic sources or the work of other artists; there is no discernible student voice or individual transformation NOTE: HIGHEST POSSIBLE GRADE IS 99%. GRADE SHOULD MAINTAIN NOT LOWER THAN 28 %- (POOR) SCORE PER AREA. SPECIFIC SCORING GUIDELINES FOR BREADTH AND CONCENTRATION SUBSCRIBES THE AP STUDIO ART SCORING GUIDELINES. 9

10 C O U R S E T I M E L I N E FIRST QUARTER SECOND QUARTER THIRD QUARTER FOURTH QUARTER AUGUST SEPTEMBER OCTOBER NOVEMBER DECEMBER JANUARY FEBRUARY MARCH APRIL MAY Introduction to the course Exploring Breadth Section Understanding Concentration Breadth/ Concentration Breadth/ Concentration Breadth/ Concentration Breadth/ Concentration Breadth/ Concentration Quality Works Submission Understanding the course In detail At least 4 output demonstrating evidence in exploration and mastery in either Breadth or Concentration section that is developing by nature. At least 4 output demonstrating evidence in exploration and mastery in either Breadth or Concentration section that is developing by nature. At least 4 output demonstrating evidence in exploration and mastery in either Breadth or Concentration section that is developing by nature. At least 4 output demonstrating evidence in exploration and mastery in either Breadth or Concentration section that is developing by nature. At least 4 output demonstrating evidence in exploration and mastery in either Breadth or Concentration section that is developing by nature. At least 4 output demonstrating evidence in exploration and mastery in either Breadth or Concentration section that is developing by nature. At least 4 output demonstrating evidence in exploration and mastery in either Breadth or Concentration section that is developing by nature. Selecting 5 quality works that better represent the face and the attitude of the portfolio. Submission of 12 works for Breadth and 12 works for Concentration section in digital format and, 5 actual works. Q U A R T E R 1 [SC4] - [SC5] During the first quarter of the school year, the students are introduced to the nature of the course. The three aspects of the portfolio- Quality, Concentration, and Breadth section are defined in detail. Various examples from the previous works available from the College Board are shown in slide presentation for a better comprehension of the task and as a reference point in where to set the competence level required. Students are also informed with the course requirements such as the materials needed responsibilities inside and beyond classroom, right attitudes toward work, integrity of the art, critique rules, schedules and the scoring standards. As an assignment, students are asked to organize a certain number of an enduring, powerful and significant artistic concept to be the theme or subject matter for the Concentration section and for the Breadth as well. Based from this assignment, the critique will be initiated to establish connection, exchange of ideas and to encourage skills development. Furthermore, the assignment can be used as medium to identify a specific level of skill the students have and to formulate specific measures appropriate to enhance and encourage student s skills development. Beyond classroom setting, students continue on their understanding of the art. They are to record a potential inspirations and significant subjects. These motivations may be translated into a sketch, photos and other possible ways of taking notes. This is done to update the student s visual diary- to record the development which is a significant part of the learning process. Quarter 1, is fundamentally structured as a teacher oriented instruction. Instructions centered on giving emphasis to the understanding and mastery in the proper use of the arts elements and fundamental principles. A U G U S T Understanding the Course [SC4] WEEK 1 WEEK 2 WEEK 3 WEEK 4 CONCENTRATION BREADTH BREADTH BREADTH Developing a sustained Concentration topic or subject. Review of Drawing/Sketching Techniques Perspective Backgrounds Introduction to AP Drawing/ Painting Course- standards, requirements, assessment, responsibility and integrity; Understanding the elements of art and principles of design; Understanding the student s characteristics through assignments; Understanding the various purposes of art; Detailed look into portfolio development; Tips on how to arrive with an effective art subject; Brainstorming and concept mapping on how to arrive with an effective art subject, topic or theme. 10

11 SKETCHING TECHNIQUES: PERSPECTIVE DRAWING: S E P T E M B E R Exploring Breadth- [SC4] WEEK 1 WEEK 2 WEEK 3 WEEK 4 BREADTH BREADTH BREADTH BREADTH Gesture drawing Watercolor Acrylic painting Oil painting While the whole month of September is intended for the students to explore and focus on Breadth section, exploring the principles of design and the elements of arts are always taken into consideration; and, exploring the effective use of a specific medium and tool. FIGURE 11

12 WATER COLOR TECHNIQUES: Wet-in-wet, using alcohol, wax resist, scratching, splattering, salt, masking, plastic wrap and by absorbing using tissue paper. Q U A R T E R 2 [SC1] - [SC2]- [SC3] - [SC4] -[SC5] - [SC6] The Quarter II is intentionally designed to start the Concentration section, and also to continue on exploring and investigating on the Breadth aspect. Shadowing to any of the engaging activities of either Breadth or Concentration is a new idea that is figured out. Both sections work symbiotically. On this premise is where the scheduling of the specific activities for classes rest upon. A time allotted to work on the Breadth and Concentration, is preferably scheduled for week long duration alternate to each other to allow a considerable time to focus and concentrate on a certain subject and to promote communication or connection between these two aspects of portfolio development. Connection between conceptual and a better technique or technical skill of working on a project (art), are two of the main aspects that should be mastered in order come-up with a very effective and powerful visual arts. Essentially, the students are given with series of activities that are leading to the discovery and development towards a new concept or idea. After a new creation, a critique of either individual or group is conducted and viewed as an opportunity for suggestions and improvements to come-in, to ensure and maintain the quality of output. Students are required to finish and submit 4 outputs from either Concentration or Breadth aspect at the end of every month. A critique is then made a soon as they submitted. [SC8]- [SC9] O C T O B E R Developing a Concentration [SC3] WEEK 1 WEEK 2 WEEK 3 WEEK 4 CONCENTRATION CONCENTRATION CONCENTRATION CONCENTRATION Design process Developing a topic Concentration sample Working on the topic As the students gained significant understanding of the Breadth aspect of artistic exploration, then, it s time to reinforce the technical skill with conceptual or theoretical foundations in order to build up a coherent, powerful and effective presentation of concepts. Understanding the Concentration section; Developing a sustained Concentration topic or subject; 12

13 WEEK 1 - C O N C E N T R A T I O N [SC3] - [SC4] [On Design/ Art] As I go through my artistic explorations, I have come to realize with these solutions on developing an art concept. Designing or Art involves the three fundamental elements: Subject, Composition and Function. The Subject, which is the focus of design (Concentration); the Composition, and the process of doing it (Breadth); and the Content, which is the meaning, intention or its function (Concentration). These three fundamental elements must compose the art. [ On Development of the Concept ] To develop a concept, we have to think of the fundamentals. 1. First, we must identify the subject, perhaps the problem. This should answer the question, What? Students were asked to think and gather all the significant ideas to them; it could be a place, things, people or event. Identifying what is significant to us involves all our senses. In this case, note taking can be done in two (2) ways: Verbal in which students are required to take notes through writing words or even audio and, Visual in which students are asked to take notes through sketches on a sketch book and or the use of camera or other visual oriented recording tools. [SC7] 2. Next, is to have a further Research. This allows students to know more and get involve more on the subject. I personally believe that a good design solution must be intellectual, artistic and functional. Intellectual can be attributed to the knowledge and the comprehension of the subject by experience or researches, artistic for the demonstration of skills developed through further explorations and constant correct practice, and the function or how it affects you and the rest that you want to involve in your design or art. All of these require the passion and right attitude towards art; 3. As more and more familiarity to the subject is gained, more connections into it follow. This may conclude that the observer/ artist has gained more idea on how to begin, sustain and end a Concentration section in art development; 4. Gathered more details, from the media to ground, and to the tools. This sought to answer the questions, How? When? or Where?; 5. Plan your work; 6. and, Work your plan; 7. In the working process, students must not to undermine the involvement of the teacher. A critique and discussion is an integral part of the process. [On the Concentration] Concentration is how the artistic creation process and its development must be documented. This must be must be discussed further in writing or visual art expressions. The unfolding and the metamorphosis of idea must be expressed in writing and should be supported with images or sketches. In this sense, we can give a clearer comprehension of what the words cannot show, and what the picture cannot say. Concentration starts from the idea in mind that you are most familiar with. In most cases these ideas are significant to your life or that you have a direct connection with it. Through an indefinite number of hours or even years one can conclude on his own art but, definitely not just overnight. However, if we are more scientific or artistic, we can simplify the process thus, shortening the duration of time required. 13

14 Invention is the product of necessity, curiosity, creativity and desires. - jeco Based on the personal enduring topic of interest, in working with at least 12 coherent concentration works, students were asked to do the following activities for Concentration in their Own- personal approach, style, expression, opinion or interpretation with the emphasis on: NOTE: WORKS MUST DEMONSTRATE EXPLICIT STRING OF CONNECTION AND PROGRESSION THE METAMORPHOSIS OF THE CONCEPT. [SC2, SC3, SC5, SC8, SC9] CONCENTRATION - ACTIVITY 1 [SC3] - [SC9] The first week of the second quarter was design to introduce the Concentration and establishing the course rudiments. Several ways on how to generate ideas and concepts were introduced in order to lead students to come with their own approaches and techniques in confronting with design. CONCEPTMAPPING/ BRAIN STORMING/ INVENTORY OF PERSONAL LIKES AND DISLIKES. [SC3] Begin by writing down all subjects, themes, places, things, activities or issues that has a personal relevance (at least 10) & another. Narrow down topics that are unusual, challenging, controversial, gritty or inspiring: those that fill you with passion. Eliminate those, which do not meet the criteria. Then eliminate those topics for which the source material lacks aesthetic appeal. Eliminate are those, which are common or over-done. Finally, ensure that the topic you choose is something that you really care about: something that can sustain your interest for a year. Work should be presented for critique. [SC9] 14

15 CONCENTRATION - ACTIVITY 2 [SC3] As an example, a slide presentation was done in presenting my idea on how to develop a concentration. A positive interaction with the student teachers and, student - students must take place. The example should be made as simple as possible. The idea is about, Tree of life, the life of a tree this discusses the significant stages in life of a tree, and its significance to life. The thought of the activity should concentrate on the tree and the idea of life. The element of tree and life must dominate the Concentration in all the slides. The1st slide - presents a seed and what possible artistic approach or interpretation; the idea of a seed and its analogy to life must be elaborated. The 2nd slide is about the Germination, the 3rd is the Growth, and the 4th slide is the Flowering stage-another important stage in the life cycle of a tree and to the life of people. The 5th is the Water, the idea on water that supports life. The slide, 6th, 7th, 8th, 9th, 10th and 11th, all present the major uses of a tree to life: How the tree transformed into furniture, paper, ships or vehicle, shelter, even musical instruments that creates music. And fuel for fire. The 12th slide emphasizes on the idea of Tree of Life, and the life of a tree. Every life of a tree means a life of man - Trees has sustained the life of man, from the source of water to the source of fire, from then on to the present; How about in the future? How do we sustain the life of a tree? - Our life? It was ended with an open question for them to think for their own interpretation and solutions. Students also have to work on their assignments and their altered books; A critique at the end of the school week. [SC8] - [SC9] Students have always the right to change or alter their concept topic as long as they are able to meet the challenge of time and quality expectations. [SC7] CONCENTRATION - ACTIVITY 2 Week 3 starts the working on the Design Concentration proper; Students were asked to work on their Concentration as their assignments and homework; [SC7] Students are expected to be independent in their works; however questions and guidance from the teacher is encouraged. In any instances that the teacher sees any explicit basis to have a suggestion or alterations, the teacher always should have the rights to do it; An individual and group critique was done as a regular basis at the end of the week to monitor, assess and follow up students progress and the development of their work; [SC8] - [SC9] Documentation through writing, sketching and using camera should be done to record and tell the changes and development in the working process. [SC7] POSSIBLE MATERIAL/ MEDIA: Pencil and paper, painting media and tools, and camera. 15

16 BREADTH - WEEK 2 [SC5] - [SC6] DIP PAPER DIRECTLY INTO PAINT / INK Splashing liquid paint or dye onto a surface is one of the most unpredictable and exciting means of applying color. Take turns at the classroom sink, dipping whole sheets of paper into watered down acrylic, splashing and flicking water across your work: holding paper, canvas or other painting surfaces in the air and letting the paint run down. Once an appealing wash of color has been achieved, placed the artwork flat to dry, so the paint or ink pools and dries in naturally occurring swirls. This image depicts simple geometric blocks on a watery Indian ink ground that has dried on the paper surface. Irregular smears of black ink added to the right-hand edge of the work create a varied and interesting drawing surface (by Amiria MATERIALS / TOOLS: Acrylic/Watercolor, watercolor paper and brushes, canvas, hair blower ACTIVITY/INSTRUCTION: 1. Prepare the materials and tools needed: 2. Soak the watercolor paper or canvas into water with one color acrylic paint; 3. Slightly dry it using hair blower; 4. Soak the watercolor paper or canvas into water with one color acrylic paint, this time in different color. 5. Do the same process until you can arrive to what you can imagine; 6. Make at least 3 explorations of the technique. 7. Present your work for critiquing at the end of the week. [SC8] - [SC9] CONCENTRATION - WEEK 3 [SC3] - [SC4] P E R S P E C T I V E Erik van Hannen / Getty Images Photo by Andrew Medichini 16

17 In the 3 rd week, students were asked to work as an assignment using their chosen concentration topic following the sequence that they have-a sketch, drawing / painting or using the camera, a (5) different interpretations and approaches exhibiting emphasis on perspective. Students then chose their best work to be the model or basis to continue their concentration works. This was done to guide students in working their Concentration; [SC3] An example about Traffic in different perspective and approaches in a slide presentation was made. Supervision and individual critique is done at the end of the week and while the work is going on. [SC8] - [SC9] BREADTH - WEEK 4 [SC5] - [SC6] PAINT USING DRIPS Week 4, Introduces another definition of a tool for art- Gravity. In this activity, I demonstrated an expressive painting made famous by Jackson Pollock.- Dripping of paints. Abstract expressionist Jackson Pollock is well known for large drip paintings that are made by pouring, dripping and flicking household enamel paint directly onto canvases tacked to his studio floor, using sticks, trowels and painting knives. Dripping effects can be achieved in various ways such as: using painting tools to load a paint and allow it to drip on a painting ground following a certain form; using a masking fluid to seal a certain areas of a painting ground- to guide a free flowing wet paint to a specific direction; or, using a devised tool loaded with paint to create a pattern of dripping paints. Dripping of paints is another technique of painting to create a spontaneous effect and uncontrolled appearance. Using these examples, students were asked to explore further than what they have seen. Using their chosen topic, students were asked to create work employing their learning from this activity. Black Hole by photographer Fabian Oefner Dripping paints by Cecile Agnes POSSIBLE MATERIALS/ TOOLS: A stretched canvas, acrylic paint or watercolor, a sprayer, a piece of cloth, texturing materials, papers, etc. 17

18 STUDENTS ACTIVITY: Students may refer to their chosen Concentration topic. 1. Prepare a ground for painting- a stretched canvas, a paper or a board; 2. You may apply some texturing materials; 2. Get some paints and create your art. Use a paint to create a form you desire; 3. You may use other tools to designate paints. Sprayer can also be used to throw paints; 4. Be expressive, use colors and just free your body to move; 5. You can even play music and paint in the rhythm of the music. 6. Explore further on this technique- 7. Present your explorations at the end of the week for critique. [SC8] - [SC9] N O V E M B E R At this point, it is presumed that the students have gained significant understanding and skill enough to sustain a concentration within competence; Students are exploring the Breadth at the same time developing their sustained Concentration section. WEEK 1 WEEK 2 WEEK 3 WEEK 4 CONCENTRATION BREADTH CONCENTRATION BREADTH Society and people, places and events Unconventional tools Positive-Negative Painting beyond brush CONCENTRATION - WEEK 5 [SC3] - [SC4] SOCIETY AND PEOPLE, PLACES OR EVENTS Edited Photo of Ambergris Today In the 5 th week, students were asked to give focus on society and places in different perspective. They were assigned to work on a (3) different interpretations and approaches exhibiting emphasis on their chosen idea relating to Society and People, Places or Events with the demonstration of ideas in visual perspective. An example of works giving focus on society, people or events was made through a slide presentation. As an assignment, students were asked to have a firsthand experience on the said topic. Documentation can be done in various tools and media such as: pencil or pen on paper, in painting, camera and other possible media and tools at hand. Supervision and individual critique was done at the end of the week and while the work was going on. [SC8] - [SC9] 18

19 BREADTH - WEEK 6 [SC5]-[SC6] APPLY PAINT WITH CARD Week 4 introduces alternative way to transfer paints to the painting ground aside from using brushes and palette knives alone. This activity encourages students to explore further techniques and be more interested in employing other ways of doing art-bringing creativity to another level. An alternative to applying paint with a palette knife is to use the flat edge of a piece of cardboard. This is a cheaper and much more accessible strategy for a high school art student. Able to be cut, bent or folded as required, card is a great material for applying flat areas of color to a work. Cardboard can be used to achieve flat hard-edged areas of color, or to apply paint to the raised up portions of a textured area. (Mike Bernard). -@ MATERIALS/ TOOLS NEEDED: A stretched canvas, pieces of card boards, acrylic or oil paints a glue, gesso or epoxy. ACTIVITY: Using your chosen concept in the concentration 1. Prepare any of the possible grounds: a stretched canvas, a piece of wood, a cardboard or paper. 2. We chose the canvas; apply some textures using a gesso, glue or even an epoxy. 3. After it dries, you can now start painting using personalized shape cardboard. 4. Explore the possibility of the tool. Just be creative and enjoy what you re doing 5. If it s too formal, make it a bit messy to make it appear more natural; 6. Present your work for critique at the end of the week. [SC8] - [SC9] CONCENTRATION - WEEK 7 [SC3]-[SC4] NEGATIVE- POSITIVE SPACE ARTIST FEATURED: Tang Yau Hoong an artist, illustrator, graphic designer living in Kuala Lumpur, Malaysia. 19

20 In this activity, students were asked to work on their chosen concentration topic giving emphasis on the NEGATIVE- POSITVE space in different techniques suggested: Paper cut outs, painting or drawing, mixed-media, collage, photography or computer aided work. BREADTH - WEEK 8 [SC5]-[SC6] PAINT WITH A ROLLER This activity introduces another tool ideal for working on backgrounds. Using rollers is a great tool to distribute paints of different colors, layering, and merging layers on the painting ground. ACTIVITY: This activity guide students on working at their background for 2D arts. They were asked to work either on a canvas, a piece of paper from a sketch book, piece of wood or other grounds available. 1. Students were asked to spread paints on their painting ground. Wait sometimes for paints to dry and have another layer using a different color; 2. At this point, they were asked to explore on different colors while the paints are wet. Just roll and blend; 3. Another option was to make some textures. They were asked to make some textures on the ground by putting some shapes to stencil or they can use a roller designed for creating patterns or textures; 4. Students they were asked to explore further on the possibility of using roller as a tool for painting; 5. Five different results were asked to be made as assignment which is to be critiqued at the end of the week. [SC8] - [SC9] Material/Tools Necessary: Canvas, large thick papers or boards, painting roller of different uses and paints. Other materials that can be use defends on the students-they were asked to experiment. 20

21 D E C E M B E R Sustained Exploration and investigation of the Breadth and the Concentration; Students were assigned to work further on the exploration and better understanding of Breadth and Concentration aspect of their portfolio. WEEK 9 WEEK 10 WEEK 11 WEEK 12 CONCENTRATION BREADTH CONCENTRATION BREADTH Daily interesting activities Sponge/ cloth Into details Masking CONCENTRATION WEEK 9 [SC3]-[SC4] DAILY INTERESTING ACTIVITIES The week 9, sought to bring students consciousness to the reality of life, being aware and conscious to interesting moments that takes place in our lives. In this sense, they are trained to develop skills in identifying possible interesting and effective subjects for their art and at the same time developing their maturity in handling design issues. [SC8] - [SC9] BREADTH - WEEK 10 [SC5]-[SC6] PAINT WITH A SPONGE Sponges of all kinds make excellent painting accessories. Whether you use specialist artist sponges, cleaning sponges or naturally occurring sea sponges (able to be purchased from most art shops), sponges can be used to apply beautiful textural mark-making to a painting. Pierre Finkelstein 21

22 This activity introduces sponge as another tool in painting. Sponge, as an ideal tool for spreading paints, making effects (glazing), absorbing paints, working on smooth effects and other possibilities. ACTIVITY: Working on Watercolor Sponge was used to absorb some paints for creating highlights and creating textures and other effects. Working with Acrylic and Oil paints 1. Using sponge, students were asked to spread the paints in their canvas. 2. They were asked to work with colors. 3. After their paints were dried, they were asked to create various effects depending on the design of the sponge. 4. On a dried paint, load your sponge with this paint, preferably more of solvent to reduce the paint s intensity. Squeeze it. 5. They spread it over their dried earlier paint to create a thin layer or a glaze. 6. They were asked to create (5) different effects of using sponge. 7. Presentation of output was done at the end of the week. [SC8] - [SC9] CONCENTRATION WEEK 11 [SC3]-[SC4] MAGNIFIED FIELD OF INTEREST Week 11, presents the idea on giving close attention to details. Looking through common subjects in different perspective is the focus of this topic. For me, there is no ordinary subject in art; anything can be interesting.-another idea that I want to highlight with the students. 22

23 Students were asked to take an In-depth physical and virtual investigation or study using their chosen theme or subject for concentration; Students might choose to bring or based their study and work from any organic form that they prefer; Students were asked to work on (3) different explorations giving emphasis to details demonstrating an in-depth investigation on their chosen topic for Concentration. Out from these works, students can choose a better art piece for Concentration section. [SC8] - [SC9] BREADTH - WEEK 12 [SC5]-[SC6] MASKING Lace resists painting: lay lace on paper, spray with clear gloss spray paint. Another great technique is painting over masking fluid. This technique is often use in watercolor paintings but this can be done always to acrylic, oil painting, or even in drawing. MATERIALS/ TOOLS NEEDED: Any preferred ground, painting tools, paint of different colors, patterned template, a clear gloss spray or masking fluids. ACTIVITY: 1. Students were instructed to prepare a background on their painting ground; 2. They were asked to laid their patterned template(stencil) over their painting ground; 3. Then, they were asked to spray their clear gloss on their stencil. An alternative to using a spray is by using a masking fluid that would be used to mask on a certain areas of the painting ground; 4. Then, as soon as the masking or clear gloss has dried, then the template can be removed.(removing of the stencil can be done while the masking is wet or dry); 23

24 5. Then, the ground can be painted; 6. For this process, when everything has dried, another layers/ applications can be made. In the case of masking fluid, the artist may choose to peel it off first before another application should be made, or they may choose to leave it while having another applications; 7. Lastly, explorations should be presented to the teacher for some discussions. Q U A R T E R 3 [SC3] - [SC4]- [SC5] - [SC6] Quarter III, is basically the continuation of the Quarter II activities. Students are still engaged into the exploration and investigation of both the Concentration and the Breadth section. Essentially, the students are given with series of activities that are leading to the discovery and development towards a new concept or idea. After a new creation, a critique of either individual or group is conducted and viewed as an opportunity for suggestions and improvements to come-in to ensure and maintain the quality of output. Students are also given the opportunity to work back on their previously made works to apply some enhancements if it is necessary. Students are required to submit at least 4 quality works at the end of every month. A critique is then made a soon as they submitted their finished works. J A N U A R Y Sustained exploration and investigation of the breadth and the concentration aspect. WEEK 13 WEEK 14 WEEK 15 WEEK 16 CONCENTRATION BREADTH CONCENTRATION BREADTH Distortion Unconventional painting media Color emphasis Texturing CONCENTRATION WEEK 13 [SC3] - [SC4] DISTORTION 24

25 Week 13, presents the idea of distorting image, illusion or projection as another way of looking through things. Certain idea can be viewed and interpreted in so many perspectives depending on the beholder. Another idea about distorting images is to give emphasis to the emotion and expression of the subject, and the artist. Perspective projection distortion is the inevitable misrepresentation of three-dimensional space when drawn or "projected" onto a two-dimensional surface. It is impossible to accurately depict 3D reality on a 2D plane. However, there are several constructs available which allow for seemingly accurate representation. Perspective projection can be used to mirror how the eye sees by the use of one or more vanishing points. Although distortion can be irregular or follow many patterns, the most commonly encountered distortions in composition, especially in photography, are radially symmetric, or approximately so, arising from the symmetry of a photographic lens. TERMS Foreshortening A technique for creating the appearance that the object of a drawing is extending into space by shortening the lines with which that object is drawn. Projection Something which projects, protrudes, juts out, sticks out, or stands out. The face of the cliff had many projections which are big enough for birds to nest on. The action of projecting, throwing or propelling something. The display of an image by devices such as movie projector, video projector, overhead projector or slide projector. (Photography) The image that a translucent object casts onto another object. (Geometry) An image of an object on a surface of fewer dimensions. (Mathematics) A transformation of one thing into something else, e.g. Applications of functions. Radial Arranged like rays that radiate from, or converge to a common center moving along a radius (anatomy) of, or relating to the radius bone. Source: Boundless. Distortions of Space and ACTIVITY: It was emphasized that this activity is another opportunity for the students to see better the different perspective of their subject to be more aware of it. With the reference to the Concentration topic, students were asked to: 1. See their subject in different perspective. Take a more conscious investigation of your subject with the emphasis to expressions and emotion involving it; 2. Use distortion to express or to illustrate; 3. Make at least 3 different interpretations using distortion; 4. Present your explorations on this for critique at the end of the week. [SC8] - [SC9] Materials / Tools: Canvas and paper for painting and drawing, various materials for mixed -media or collage. 25

26 BREADTH - WEEK 14 [SC5] - [SC6] PAINT USING UNCONVENTIONAL MEDIA Although care needs to be taken when using materials that are not purpose built for art-making, avoiding sticky mediums that do not dry cleanly, or those which decay / rot over time, there are plenty of exciting, unusual products that can be used, which are found outside of the art supplies cupboard. Dye from walnut skins, stains from coffee cups, brightly colored food dyes, splashes of shellac (varnish) and so on, can create wonderful outcomes. The brightly colored food dye from M&Ms has been used as a painting medium in this example, with the chocolate candy photographed in place (photography is a good option when using mediums that might erode or decay over time). Painting with M&Ms by: Nikau -mixed-media-techniques This topic presents the idea of using unconventional media for painting. It also urged students to think of other alternative medium for art or painting. This requires research and experimentation. Art and science have their meeting point in method. Earl Edward George Bulwer-Lytton Indeed, an ideal art always requires science, and an ideal science always requires art. Inventions often times start from necessity. Artistic creation has been a need especially for artist, and in order to fulfill this needs we have to create. And, that something new, requires experiment-an in depth study of a specific subject. Creating something new, something different, or something of need is a challenge that always haunts creative people. But, with the significant amount of knowledge, skills and passion developed through time and courage, these are made possible. POSSIBLE MATERIALS NEEDED: A piece of white cloth, brushes of various sizes, coffee powder (preferably dark) water and water heater and natural dye of different colors. ACTIVITY: 1. Prepared the materials; 2. boiled the coffee and the dyes separately; 3. mounted the canvas ready for painting; 4. prepared my tools; 5. then, I started to paint using dyes and coffee as a medium.. As an assignment, students were required to: 1. Think of possible medium or ingredients that can use for art. Research was emphasized as a key; 2. experiment if necessary; 3. test and test again; 4. Then, use it. 5. Students were asked to present their explorations when they are done. [SC8] - [SC9] 26

27 CONCENTRATION WEEK 15 [SC3]-[SC4] EMPHASIS IN Carol Nelson Fine Art Colors may suggest beauty or mood of the subject. Colors also highlights focal point. This activity, gives emphasis to colors of the subject as a means for conveying impresion, expression and, mood or emphasis. this activity, attempts to bring students consciousness to the world of colorsassigning colors to to better express their voice in relation to their subject of Concentration. ACTIVITY: Using the subject of concentration, with preferred ground, demonstrate the impression, expression or mood in terms of colors in 3 different approaches. MATERIALS/TOOLS: Stretched canvas, sketchbook, Watercolor paper, brushes, colored pencils, acrylic, aquarelle, and oil for painting. Magazines, multi-colored cloth for mixed- media and collage. Camera, Photoshop 6 for computer aided art/digital art. BREADTH - WEEK 16 [SC5]-[SC-6] PRESS PLASTIC WRAP INTO WATERBASED MEDIA Pressing crinkled plastic wrap into wet acrylic paint results in intriguing patterns once the plastic is peeled off while still wet or nearly 27

28 BREADTH - WEEK 17 [SC5]-[SC-6] SPRINKLED WATERCOLOR WITH ALCOHOL OR SALT Artists have long known that certain chemicals resist wet paint and can be used to create textural surface patterns. Sprinkle semi-wet washes of watercolor with alcohol, salt, dishwashing soap or bleach etc., and the result will be an organic, intricate pattern. Example of salt sprinkled onto watercolors by Sarah Knight: MATERIALS/TOOLS: Acrylic, Watercolor, Salt, Alcohol, Dishwashing Soap, Sprayer and Watercolor Paper ACTIVITY: With given materials, students were asked to experiment in Watercolor and in Acrylic. 1. Using a Watercolor, make a wet-on-wet watercolor on a watercolor paper; while it s still wet, sprinkle a salt. Wait until it fully dries and remove the salts. 2. Make a wet-on-wet watercolor on a watercolor paper, while it s wet, spray an alcohol. See what happens. 3. Make a wet-on-wet watercolor on a watercolor paper, then this time they were asked to use soap; 4. After that, they combined all those processes in on application. 5. They were asked to explore further and had to come up with at least 3 solutions. 6. Presented their explorations for critique. [SC8]-[SC9] F E B R U A R Y [SC3] - [SC4] Sustained Exploration and investigation of the Breadth and the Concentration WEEK 18 WEEK 19 WEEK 20 WEEK 21 CONCENTRATION BREADTH CONCENTRATION BREADTH Light, Shade & Shadow Stenciling Emphasis in Movement Stenciling 28

29 CONCENTRATION WEEK 1 8 [SC3] - [SC4] LIGHT, SHADE & SHADOW ACTIVITY: A slide presentation of different art and in different approaches that give emphasis on the lighting shading and shadowing. With the reference to the Concentration subject, students were asked to: 1. Show higher level of using light, shade and shadow. 2. Take a picture of ( relate to your concentration) their subject that emphasis to lighting and shadowing is at its best; 3. They were asked to demonstrate emphasis to lighting, shading, and shadowing in watercolor, acrylic, oil paint, collage or mixed media, digital art and photographs. 4. They were asked to employ unusual of lighting and shadowing effects to their work; 5. They were asked to create at least 3 outputs on this topic which was presented for critiquing at the end of the week. [SC8]-[SC9] MATERIALS/ TOOLS: Watercolor, Acrylic, Oil Paint, various materials Collage and Mixed Media, Digital Art and Camera for Photograph BREADTH - WEEK [SC5]-[SC6] SPRAY PAINT THROUGH HOLES TO CREATE TEXTURE OR PATTERNS Stencils offer exciting possibilities. Stenciling as technique is very helpful when you re planning to multiply your pattern result. Items with gaps or holes can act as a stencil through which paint can be sprayed or flicked, creating repeating patterns, textures or irregular marks. Various found objects (leaves, branches, feathers, lace, mesh, fabric) or purposefully created items (card templates or paper with holes cut or ripped through it) can be suitable. Utilize what is available before buying from stores. Week engaged students to work on creating and exploring various patterns techniques. In this activity, students were asked to create patterns using their Concentration subject. ACTIVITY: 1. They were asked to look for a possible pattern as their stencil. A leaf, textile patterns and other possible patterns that they can use for their subject; 2. Then, they did their stencil using spray paints to create an interesting effect on their ground; 3. After that, they were asked to explore further and had to create 5 different patterns. 29

30 Application of spray paint through lace by Tara Spraying through patterned lace can result in exciting and beautiful ornate patterns. This technique works well when the patterns created seamlessly integrate with your subject-matter. - See more at: Leaf prints by Diamara: Prints and stencils created by natural forms can be used to create backgrounds for detailed observational drawings, or to add textural elements within a painting. (Note: this should be used with care and not as means to trace objects). CONCENTRATION WEEK 22 [SC3]-[SC4] EMPHASIS IN JL DESIGN.TV/KORB.TV by: Evans Roth 30

31 Activity 12, gives emphasis to the sense of visual movement. Art exists in time as well as space. Time implies change and movement; movement implies the passage of time. Movement and time, whether actual or an illusion, are crucial elements in art although we may not be aware of it. An art work may incorporate actual motion; that is, the artwork itself moves in some way. Or it may incorporate the illusion of, or implied movement. Implied Movement or Motion Movement can be suggested visually in a variety of ways: through the use of diagonal, gestural, and directional lines; repetition; position and size of objects; the position or implied eye line of a figure, a symbolic representation of movement Viewer Driven Movement in Art. Contemporary artists have been exploring the concept of how a viewer experiences an artwork, and either forcing the viewer to become aware of their process of experiencing the artwork, or inviting them to become part of the artwork itself. Time in art can be actual time or implied time. Actual time includes time-based work and media, artwork that changes through time, and the effect of time on artwork and how that affects its meaning. Implied time can be represented in the captured moment, an illusion of time passing, or the evidence of time already passed. ACTIVITY: In order to show emphasis on the movement to my students, I showed them a video that emphasizes on movement. This is a great example of an art that captures movement at certain moment. a motion picture for CCTV Documentary JL DESIGN.TV/KORB.TV I showed some examples of different art that highlights and capture movements. Students were asked to work on (3) explorations that would give emphasis to movement: 1. Work on art that shows implied movement. Work on art that shows movement through Gestural movement; 2. Create a design giving emphasis to movement using Directional Lines; 3. their interpretation of movement in Repetition; 4. create a Symbolic representation of movement; 5. and, present the work for critique. [SC8]-[SC9] BREADTH - WEEK 21 [SC5]-[SC6] CUTTING PATERNS (STENCIL) 31

32 MATERIALS/TOOLS NEEDED: various colors. cutting tools, pieces of paper ideal for stencil, spray paints of INSTRUCTIONS: 1. Get that piece of paper, and draw your design; 2. Start cutting; make sure that the blade is sharp enough to cut fine details; 3. After you re done cutting, position your design to a piece of paper to for stencil; 4. Start to spray, play with colors; 5. Explore further techniques. 6. Present your explorations after a week. [SC8]-[SC9] Q U A R T E R 4 [SC5]-[SC6] The Quarter 4 was intended for students to explore further on their techniques and to prepare their works for their portfolio submission. Artist statement of works will also be done in this quarter. Students also had to come up with a body of works and organized an exhibit/s within or outside the school. M A R C H Sustained Exploration and investigation of the Breadth and the Concentration WEEK 23 WEEK 24 WEEK 25 WEEK 26 BREADTH BREADTH BREADTH BREADTH Printing Printing Stenciling Transparency BREADTH - WEEK 23 [SC5]-[SC6] APPLY INK DIRECTLY TO OBJECTS AND PRINT THEM There are many natural forms (i.e. leaves, fish, and mushrooms, eroding sticks) and manmade materials (i.e. corrugated cardboard) which can act as printable objects themselves. While objects should only be used if they support your theme or subject, this can be an exciting method for introducing textural elements to painted turtlemoonimpressions 32

33 Printing is one of the most fascinating art creations we can have. The results are sometimes unpredictable and uncontrollable- another beauty in art that things may result to beyond our expectations. POSSIBLE MATERIALS/TOOLS: Various interesting patterned objects, rare kinds of leaves (a skeleton), different colors of paint, a canvas or paper, roller. ACTIVITY: 1. Prepare the materials and tools needed; 2. Next, get a model and load with just enough of paint on it; 3. Create a print of it; 4. Try in different colors; 5. Explore further with this technique. 6. Present your work for a critique if done. [SC8]-[SC9] BREADTH - WEEK 24 [SC5]-[SC6] TEXTURAL MATERIALS TO PRINT Another, excellent possible tools for creating prints are materials from natural or organic patterns. Patterns from wood/ stick eaten by termite, textured trunk of a tree are just some of the few options. In this activity, students were introduced to reach out and immerse with their outside environment taking into attention to things that most would see as a trash. INSTRUCTIONS/ ACTIVITY: 1. Students were asked to look for interesting things that can be a good tool for printing from unwanted places. 2. They were asked to prepare it ready for use, cleaning and scraping of some unnecessary portions; 3. After the cleaning, they were told to stamp it to an ink or paint and start to print; 4. Another way was to load a roller a paint, then roll it over the printing tool and print. 5. Students were asked to explore further on the technique; 6. They presented their product of explorations for critique at the end of the week. [SC8]-[SC9] Cylindrical items are ideal for creating a wide area of repeating textural pattern: A rotated a termite eaten stick to create a beautifully irregular series of marks. Print from a rotated termite eaten stick by: Christina Leung 33

34 Another, technique of making print is by using a cylindrical shaped object and using it as a roller to create a print in your ground. For example, we used a naturally textured cylindrical wood to create a textured print as background. We rolled it to a different color of paints and rolled it to our canvas and paper. We have tried it in different ways. It is always fascinating to see beautiful artistic creations from those things that are most often unnoticed. ACTIVITY: Students were asked to explore further on printing techniques out of these unnoticed materials. They were asked to create at least 5 different techniques. BREADTH - WEEK 25 [SC5]-[SC6] STENCILLING ON PATTERNS Some of the common and ordinary material often times has extraordinary functions. This has been put into no argument always by an artistic mind. Interesting and extraordinary results in art are not just only derivative from extraordinary tools. One of those is stenciling using found materials that have simple patterns but, very useful and effective in creating extraordinary effects. This technique is always effective when working on mixed-media paintings. In this activity, students were suggested also to explore stenciling as a technique to express creativity. Possible Materials: Stencil or patterned templates, spray paints or sponge, any painting ground, and paints. BREADTH - WEEK 26 [SC5]-[SC6] TRANPARENCY There are various ways to achieve layered or transparent results in painting. Some of those are by, using transparent media, layers of thin application, applying more thinning agents to painting medium, and thin application on opaque under paint. In this activity, students were presented to another way of achieving results-transparent results. Possible Materials Needed: watercolor, Acrylic, Oil paint, linseed Oil, Piece of cloth, wide brush and canvas or paper as ground. 34

35 A P R I L Sustained Exploration and investigation of the Breadth and the Concentration. WEEK 1 WEEK 2 WEEK 3 WEEK 4 BREADTH BREADTH BREADTH BREADTH Creating extraordinary effects Creating textures Deconstruct-Construct BREADTH - WEEK 28 [SC5]-[SC6] CREATING EXTRAORDINARY EFFECTS 35

36 Kroma Crackle is a versatile, professional quality material suitable for all kinds of fine art applications and craft projects. It is a semi-opaque gel that develops fine cracking patterns as it dries. It can be applied to both rigid and flexible surfaces and once dry and sealed is both durable and highly flexible. KROMA crackle can be colored by adding small amounts of acrylic paint before application or by painting over the crackle once it has dried. Experimenting with application methods can influence the texture of the crackle to achieve different looks with limitless creative possibilities. Creating extraordinary effects in painting encourages a more interactive visual art. This activity promotes a more creative and scientific engagement to drawing and painting or art. This allows artistic expressions to expand and mature any further. BREADTH - WEEK 29 [SC5]-[SC6] TEXTURING Week 29 introduced another technique of creating backgrounds. It is by the pasting another material to achieve texture such as: a piece of cloth, strings, or indigenous material. Working on this is not only to working on background but, to the whole composition of painting mixed-media. Artist: Mary Beth Shaw 36

37 BREADTH - WEEK 30 [SC5]-[SC6] DECONSTRUCT- CONSTRUCT Dario Moschetta's paintings - mixed media application of photography and traditional painting technique. 37

38 Another technique of a painting or 2D art is to work on existing creations such as photos, painting, interesting printed images or texts, etc. by attempting to create or apply overlapping effects, applications that could postulate a mystery, impressive results and that would stimulate further investigations. Other subjects explored were: Architecture, Graphic arts and Industrial arts. 38

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41 M A Y The month of May is scheduled for the submission of portfolio Breadth Concentration and the actual submission of quality works to AP Central. This is also the period in which the AP students are scheduled to hold an art exhibit within or outside the school. 41