AP Studio Art Summer Assignments for 2D Design and Drawing Portfolio

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1 AP Studio Art Summer Assignments for 2D Design and Drawing Portfolio Preparing for the AP Studio Art Class Summer work: Students will meet at the end of the previous school year. To meet the high aptitude of studio work, summer drawing assignments must be completed by the start of the school year. Your work outside of class will constitute 50% of your grade throughout the year. This summer assignment should be taken very seriously and you should be approaching each task with the desire to show your skills and creativity to the fullest. You will need to purchase two drawing pads/books. A visual journal will be required throughout the year. This will be used to record ideas, thumbnail sketches, design problems, visual inspirations, swatches of collage images and general drawing practice. It should be with you at ALL times. You should choose the format (Hardcover, spiral, etc ) of this journal. The hard covered sketchbooks are excellent when it comes to stability. Just be sure it has good quality paper in it. (Buy cheap get cheap!) It pays to get higher quality paper as it will allow you to achieve better results in your drawings. The second sketchpad should be of good quality paper. 90lb paper weight that is described as good surface for a variety of media is the best bet. This pad should not be larger than 18 x 24, and no smaller than 9 x 12. Assignment #1 Fill 35 pages of your new sketchbook. At least half of the sketchbook assignment will utilize both pages of the book (meaning, the artwork will start on the back of the left page, across binding and connect visually onto the right page.) Refer to the following ideas and suggestions: Pre-prepare many of your pages with washes, newspaper collage, b/w image collage, transfers, etc. Draw from imagination Record your day through images (like a diary but with pictures) Draw self-portraits using different expressions Draw to music Draw gestures at the pool or in a restaurant on scraps of paper and attach to your sketchbook later Pick an ism from art history and draw or paint something that represents it. Simply doodle or attach doodles from other places like napkins, notebooks from other classes Draw something sitting in front of your a fork, cup food, your hand, etc. Make abstractions of things from life Write random thoughts, poetry, lyrics, or famous quotes or collaged or water colored paper. Attach flyers, postcards, text, graphics that are visually interesting to you. Cut out parts of the sketchbook pages to create windows or patterns that reveal the next page. Restructure the edges of some pages, add extensions, pop-ups, doors and secret compartments. 1

2 Assignment #2 image collection Bring 30 examples of images that are interesting to you for the first week of school. They can be collected in 2 ways: photos taken by you or photos torn from magazines or whatever. Avoid the internet unless your printer is awesome! Assignment #3 PART I: REGISTER WITH COLLEGE BOARD PART II: CHOOSE A FAVORITE PORTFOLIO, WRITE. PART I: GETTING REGISTERED AT THE COLLEGE BOARD WEBSITE Register at Here you will find information about AP Studio Art classes, the exam, scoring rubrics used, and examples of past student work in each of the portfolio areas. From the homepage, click on the For Students tab on the top left. Under My organizer you can create a free user account you can use this account to access information about any AP exams and classes Under the College Board Tests section, you can click on AP which will take you to the AP homepage Here is a direct link to the AP subjects homepage, where you will find links to all of the AP course descriptions: Here is a link to the Studio Art homepage: PART II: CHOOSE A FAVORITE PORTFOLIO, LOOK AT THE STUDENT SAMPLES, COMMENTARIES IN CONCENTRATION AND STUDY THE SCORING RATIONALES FOR EACH SECTION. PRINT A COPY AND BRING TO CLASS. Go to the AP website and view the following pages: Concentration and Breadth student samples, student commentaries in concentration and the scoring rationales for each section. Here s the web address and how to navigate from the home page: From this page, scroll over the green button on the left of the page AP courses and exams and click on Course Home Pages. Click on Studio Art: Drawing at the bottom of the page. Then go to AP Studio Art: Drawing Portfolio with Student Samples and Scoring Guidelines. Then, click on the links for Quality with student examples, Concentration with Student examples and Breadth with student examples and become familiar with these examples, the scores that each received and reasons for the scores. For the writing assignment, choose a year to review for each portfolio (quality, breadth and concentration) and answer the following questions: Write down the year you chose, student name and score for each portfolio for that section (ex Concentration- Mary Smith, score-6, Joe Jones, score-5, Sally Martin, 2

3 score 4). These questions should be used for each portfolio: quality, breadth and concentration. 1. In the portfolio that scored a 6 what did you feel was most successful and why? 2. In general, what was the biggest difference between the portfolio that received a 6 and the one that received a 5? 3. Analyze the composition of one of the images in the portfolio that scored a 6. How does the student create a focal point? How is the composition organized to lead the viewer s eye from one place in the image to another? 4. What did the judges respond to in terms of technique, media, composition, color, subject and content in the 6 portfolio? 5. What is 1 main difference from portfolio that scored a 6 from the one that scored a 5 and the one that scored a 4? 6. What is one major weakness in the 4 portfolio (in your opinion and based on the explanation from the judges)? What could that student have done to improve the work? 7. Looking at the commentary for the 6 portfolio in the Concentration section, How does the student clearly describe his/her work so that you can see their ideas in the work? 8. What is one thing from the 6 portfolio that will be important to keep in mind for your portfolio? What is one thing from the 4 portfolio that you will work to avoid? Why is this important? The more you know about how previous student have achieved and what the judges have responded to, the better equipped you will be as you begin your work PRINT A COPY AND BRING TO CLASS Your summer work should be planned in the journal and completed on the larger paper sketchbook. It is highly recommended that you investigate ideas on developing strong compositions. Study the importance of the elements and principles of design. The internet is full of ideas and descriptions. Whenever possible, draw directly from life, not from photographs or other reference images. If you must use printed images, save them with your completed work. Assignments 4-6 : AP Studio Art Summer Assignments These assignments are geared to meet the requirements for the BREADTH* section of the AP Exam. This section should be a sample of various drawing skills, techniques and show a variety of media use. 3

4 If you feel you would like to do work based on your CONCENTRATION* theme you can use these same assignments as a guide for different approaches to that theme. Do at least Three intensive drawings/paintings/mixed media of the following possibilities: ( If you have time and the motivation to complete more than three Assignments GREAT!! You ll receive extra credit. However please don t think of quantity as the grade achievement. Quality is much more important in each drawing. Push yourself to a higher level with each assignment. A successful piece can be used as a QUALITY* piece on the exam. DON T WAIT UNTIL THE LAST MINUTE! It will show in your work. Failure to submit the summer assignments will be taken as a true sign of your lack of commitment to this class. Your year will begin with a failing grade. * These are the three categories that are required for the AP Exam submissions. Refer to the AP Poster for details on the requirements for the exam. A new poster will be available to you in the Fall. 4

5 For more details about AP Studio Art Requirements, please see: PORTRAIT / FIGURE CHOICES: A. PORTRAIT: METAMORPHOSIS! Step 1. BRAINSTORM WITH LISTS: If you could be anything or anyone in the world, who or what would you be? List 10 things you would change into and the reasons for your choices. Step 2. PHOTOGRAPH YOURSELF & WHAT YOU D CHANGE INTO. Get a total of 24 shots of yourself and the object/person you would like to change into. It can be any combination. You can use a tripod and/or get help from a friend to shoot self-portraits. Remember that you will need to get a signed release form from the photographer, if it is not yours, and that you are not to use copy written images from the internet or books (AP guidelines are strict.) Step 3. EXAMINE THE PHOTOGRAPHS FOR TRANSITION: Set aside 6 8 strong candidates that show transition without strong jumps. These will be the basis for a collage or sequence showing the transition. Step 4. CREATE SIX SMOOTH TRANSITIONAL STEPS TO SHOW FINAL METAMORPHOSIS. *What media do you feel comfortable in making the changes to these shots? *(Will photoshop be an appropriate choice for you to blend some of the images, distort them or tweak the color? *Do you need to use the photocopier as a tool to lighten or darken them, shrink them, enlarge them, or blur them? *Do you need to touch them up with pencil to strengthen the sequence of change. *Do you need to tear and collage the images together add watercolor, oils, tempera, or acrylic. Step 5. FINAL WORK WILL BE EITHER A SEQUENCE OF IMAGES OR A COLLAGE IMAGE. Size will vary but likely include 3 to 5, 8x10 digital images, or a 14 x 17 or 18 x 24 mixed media work. B. PORTRAIT: CONCEPTS for 2D &/or DRAWING: All pencil, colored pencil, charcoal, or pastel drawings must use a 10 point value scale with a wide range of strong darks and lights. Strong lighting can be used to achieve this dramatic effect. *Self-portrait with at least 5 distinct changes in expression. (2D or Draw.) *Draw the person using an arrangement of drawings on one page that range from the whole body to blow-ups of small details. (2D or Draw.) *Draw from unusual angles, so that significant changes in form take place due to foreshortening. (2D or Draw.) *Look up Self-portraits on Google to see the different styles, techniques and approaches that different artists have used. *Experiment with Lighting: hold a flashlight to create dramatic shading- great contrasts in light or dark. (2D or Draw.) *Integrate a particular person s face into a pattern or design. (2D or Draw.) * Using markers, Prismacolors, oil pastels or some other color drawing material, draw the same portrait twice, but use two different color schemes. (ie: warm, cool, monochromatic, analogous, primary or secondary.) (2D) *Graph sections of the portrait and color or shade only certain sections. (2D or Draw.) 5

6 *Draw a portrait using only directional (all strokes going in the same direction.) or vertical strokes. See the work of Renaissance artists like Michelangelo or Leonardo DaVinci. (2D or Draw.) *Create a portrait starting with the background first. Use toned paper, newspaper or magazines, and gesso, then drybrush ink onto the surface to create details. (2D) *Draw a portrait with hands involved: brushing hair, reading a book, sitting on a chair backwards with the hands in front. (2D or Draw.) *Use the portrait to make a comment on society by including appropriate background or other figures. (2D or Draw.) *Portrait emerging from robes or wrapping. (2D or Draw.) 2. STILL LIFE CHOICES: A. Portrait: Metamorphosis! Still life objects can be substituted instead of a portrait. B. TOOLS & HARDWARE. (2D or Draw.) Make a rendering of tools and hardware. Arrange the objects to create an engaging composition. Stress the mechanical and artificial qualities of the objects. Augment the lighting to create maximum contrast and high shine areas. Explore the smallest detail of each object. Use white paper with permanent marker (scribble line, stippling, or cross hatching) C. LIQUID AS DESIGN. (2D or Draw.) Taking Motivation from any liquid form, create a composition, which demonstrates the scientific characteristics of liquid; flowing, dripping, puddles, pouring. Be sure to make the liquid element dominate the composition. Do not allow containers or other items to crowd the setting. Use dark color paper with any color media. D. SHINING STILL LIFE, with emphasis on REFLECTION. (2D Draw.) Choose five to seven objects, of which at least two of them have a highly polished surface. The relationship among objects should be a serious consideration in this drawing. The surface treatment of each object will appear stronger if the objects chosen have different surface textures. Use grey and white paper with black and white medium. E. BOTTLE & CONTAINERS, with emphasis on Value. (2D or Draw.) Group several different sizes and heights of bottles and containers on a shelf or counter top. Draw them as a congregation of people. Give each one of them equal amounts of attention. Convey volume by using a complete range of tonal changes from deep-deep black up to the pure whiteness of the paper. Place one or two of them in front of the others to give a sense of space. Ebony pencil with 10 point value scale. 3. LANDSCAPE/ VEGETATION/ NATURE CHOICES: 6

7 A. DRAWING OF VEGETATION. (2D or Draw.) This drawing should make a close investigation of the structure of vegetation. Color variation is an important element to stress. Placement on the page and rendering are also principles to be employed. Use colored chalk pastels or colored pencils. Colored paper may enable a greater amount of success. B. LANDSCAPE COLLAGE. (2D) Make a collage of a landscape, which has a wooded scene, flowers, and foliage. Cut and tear papers of various textures and colors to create a sense of dimension. Use shadow areas. These papers could consist of magazine color swatches, sections of sample water paintings, wallpaper, or photographs you ve taken. C. POTTED PLANT or GARDEN PLANT: (2D or Draw.) Make a detailed drawing of a plant (living or artificial). Grade the tonal differences between the leaves, which are above or on top of others. Make it obvious that some parts of the plant are in shadows created by those parts which are receiving more direct light. This drawing must touch three edges of the page. Medium: Ebony Pencil, Colored pencils, chalk pastels, permanent marker using stippling, scribble line, or cross hatching with watercolor accents. D. MECHANICAL IMITATION of NATURE. (3D) Create an item from nature using very constructive, manmade materials. Examples: flowers made of metal bolts, and nails, an animal constructed with computer parts, a human figure made of glass bottles. It may be your desire to combine several small items to create an ensemble of sculptures. Height: 10 minimum excluding the base. E. SALAD COLLAGE - Fruit or Vegetable. (2D or 3D) Slice some vegetables or fruit in half. Examine the layers and curves and seeds that a pepper, an onion, a mushroom, an orange, a pomegranate, or apple might have. Create a collage using cut colored paper, or photocopies/scanned images of the slide items. Distort them; shrink them using the computer or photocopier. They can be hand-colored using Berol Prismacolor markers. To create a three-dimensional relief or sculpture, layers can be built up using foam core board and toothpicks to achieve strength and height. *Close ups and sections of these can also serve as studies and inspirations for enameled jewelry. F. LANDSCAPE SERIES- Same Spot-Different Time. (2D or Draw) Check out Claude Monet s haystacks on line. Why did Monet literally paint the same haystacks over and over again? He even begged the farmer who badly wanted to use the hay, not to move them. To under understand the beauty of color, reflection, and light, get up early and examine the colors of one outdoor object. It can be a shed, a compost pile, some bushes, Examine that same thing three hours later, then three hours later. Something that appeared black in the morning, then can look purple, then blue, then gold. These changes can occur all in the same day, depending upon weather and seasonal conditions. Create series of at least three paintings or drawings of the same scene at different times of the day depicting the actual colors that moment. 3. ARCHITECTURE/ INTERIOR & EXTERIOR DESIGN/ PERSPECTIVE: A. INTERIOR SPACE. (2D or Draw.) 7

8 Place yourself in the corner of an interior space. Create a composition which is made up of the things you find within the limited area of a room or hallway. Demonstrate the principles of balance and spatial movement within this area. Medium suggestions- Berol Prismacolor Markers, cut paper, oil pastels, oil paint, colored pencils. B. FENCES & GATES: (2D or Draw.) Drawing fences and gates will help you apply and understand linear perspective. Position yourself so that a strong exaggeration of the contour lines occurs. Draw the characteristics of the fence/ gate as realistically as possible. Pay attention to joint areas and attachments. Ebony Pencils or Permanent Marker using scribble line, cross hatching or stippling. C. ARCHITECTURALLY INSPIRED JEWELRY OR CLAY SCULPTURE: (2D, 3D, Draw.) Design a series of earrings or clay sculpture that is inspired by an architectural element such as a hinge, a door, door knob, window, window latch, chair, a street lamp, or a metal window grate. Abstract the form, repeat the motif or element to create a whole new idea. Assignment #7 Contemporary Artist Research Requirements: Explore the work of 3 or more contemporary 3 D artists Address 3 areas about the artist and their work: 1. Give some background information on the artist 2. Describe the artists work 3. React to the artists work Include printed images/text as well as your own descriptive drawing/writing of the artist s work Use as many pages as needed in your sketchbook on each artist Assignment #8 Gallery or Art Exhibition Review Requirements: Explore one or more galleries/exhibitions and share your thoughts Address these areas: 8

9 1. Name, title, location, general information, date viewed 2. Describe, react and share your overall experience; reflect on the overall body of work shown 3. Discuss three or more specific pieces that affected you both positively or negatively 4. Include printed images/text as well as your own descriptive drawing/writings of the gallery/exhibition 5. Use as many pages as needed in your sketchbook 9