AP STUDIO ART
Course Description
Through studio practice, application of design concepts, and informed
decision making, students will assemble a body of artwork that demonstrates a high level of quality and growth over time of content, technique
and process. For a variety of concepts and approaches in each of the
three portfolios, see course overview. Students will demonstrate a
range of abilities in problem solving using the elements of art , principles
of design, specific art mediums, techniques and content. Students will
develop mastery in concept, composition, and execution of Drawing, 2D
Design or 3D design. Students will address the three components in
their portfolios: Quality, Concentration, and Breadth. Students will submit this body of work to the College Board in May of this year for grading
and possible credit.
Artistic Integrity
Students will need to
participate in a portfolio review in order to
assess his or her
eligibility for enrollment in the AP class.
Students will also
commit to completing
summer work and to
work outside of class
as needed.
Students are expected to use artistic integrity throughout the course.
Work that is based on published photographs or the work of other artists
must move beyond duplication to illustrate an original idea. For addition
specific information, look at Artistic Integrity found on the Course Outline
and Description page.
Portfolios
Students will elect to work on a portfolio in drawing, 2D design or 3D
design. Through the process of developing their selected portfolio, students will expand their skills with regards to design and advance their
visual communication skills. To this end, students will explore a variety
of design processes and techniques as well as compositional and aesthetic concepts. The expectation is that the work will be of high quality
and clearly reflect the student’s voice.
In This Syllabus
•
Drawing
•
2D Design
•
3D Design
Expectations—for all AP students
The process of developing a portfolio requires a commitment of time and effort on the part of the student that
goes beyond the 90 minutes of class 5 times a week. To this end, students are expected to create time outside
of class on their own and/or within studio time provided during after- school hours. In addition to class assignments, students will be given assignments to work on independently at home. Students should be prepared to
spend 4 to 8 hours a week outside of class on their work. For all students a sketchbook will be an essential tool
for journaling ideas, planning, reflection and documentation of growth. Throughout both semesters, students will
use their sketchbook to experiment with techniques and media, collect notes, ideas, materials, notes, complete
short assignments. Finally, all students will meet with the teacher on a weekly basis to monitor progress, and
problem solve issues that may arise.
Critiques: Critiques are an integral part of all art making processes, thus the studio art class as well. The critique process is both formative and summative. As students are in the process of art making (formative), they
will engage in self-critique with input from the teacher, allowing them to make adjustments to their work as needed. Students will participate in the critique process one on one with the teacher as well as part of the group as
whole. The critique process is an opportunity to receive constructive feedback that can aid in the student’s
growth. The vocabulary of art (Elements of Art and Principles of Design), are introduced in Beginning Art and are
reinforced through written and verbal reviews of artwork by both students and professionals alike. This is a requirement of all visual arts classes. The expectation is that by the advanced level art classes, my role as a
teacher will be more a facilitator of the discussion, ensuring that ideas, issues, and problem solving approaches
are fully explored.
Drawing Portfolio
Students must produce a minimum of 24 pieces of art work that meet the requirements of the quality, concentration, and breadth sections of the AP Studio in Art: 2-D Drawing Portfolio. Students will demonstrate meaningful
and personal responses to assignments. They will also be purposeful and successful in the development of
their images whether they are from observation, memory, fantasy or in response to a photo reference. A range
of drawing techniques and materials should also be evident, as should be an advanced understanding and application of the elements of art and principles of design.
2-D Design Portfolio
and breadth sections of the AP Studio in Art: 2-D Design Portfolio. The focus of this body of work will be on the
principles of 2DStudents must produce a minimum of 24 pieces of art work that meet the requirements of the
quality, concentration, design. In addition, the student should demonstrate mastery in the use of different materials, techniques and the application of 2D design principles. The work should communicate a clear message
and be evocative.
3-D Design Portfolio
Students must produce a minimum of 18-20 pieces of art work that meet the requirements of the quality, concentration, and breadth sections of the AP Studio in Art: 3-D Design Portfolio. It is expected that the work will
demonstrate strong craftsmanship skills and construction techniques in addition to a clearly expressed concept.
The work should be engaging to the viewer and demonstrate a strong understanding of 3D design.
Grading
Student Objectives
•
Maintain a strong work
ethic
•
Practice good time
management
Classwork and projects include all art assignments even those that will be
assigned as work to be done outside of class time. Participation includes all
other activities such as participating in the critique process—both individual
and group, preparatory work for projects, sketch book assignments, written
assignments, as well as the preparation of the portfolio for submission.
Students should note that, in keeping with county policy, all in-school final
exams are worth 25% of the student’s overall grade.
•
Work through and solve
visual problems effectively’
•
Understand how the Elements of Art and Principles
of Design communicate
content.
Supplies:
•
Understand the expressive
nature of different media
and techniques
•
Be aware of the creative
process
•
Be patient with your
process
•
Increase your knowledge
of art tools, materials and
techniques.
•
Continue to refine your
skills
•
Be passionate and fearless
in your art making.
•
If you get frustrated
remember: Mistakes are
opportunities to problem
solve and to learn something new.
All Students
Student grades will fall into 2 categories:
1) Classwork and projects
65%
2) Participation
35%
Drawing and 2D Design:
The school will provide most of the supplies and equipment, however
students are expected to have the following basic materials:
Drawing pencils— including an ebony pencil
Micron drawing pens in the following sizes: .08 .05 .03 .02 .01 .005
Two fine point sharpies
Vinyl eraser, ruler, hand held pencil sharpener
Prismacolor colored pencils (minimum set of 24) - as a school we can do an
order through Dick Blick which will reduce student cost.
Visual journal
Sketchbook
Set of brushes
Flash drive
3D Design:
Students working on 3D design portfolios will need to have the following supplies:
Drawing pencils, eraser and fine tip sharpie
Sketchbook
Flash drive
Most materials needed to create 3D sculptures will be provided by the
school. For assemblage projects, students will be required to collect found
items. There may be additional items the students need to “scrounge” for or
purchase, but this will be kept to a minimum.
.
Students will take pictures of their work as they complete each piece. They
•
Contact Information
Have Fun
Artistic
Integrity:
All student work must be
original. Students are
not allowed to copy published photographs.
Ongoing discussions will
help students understand that they are not
to use someone else’s
work, including images
from the internet, books
or other published or
unpublished places.
Students are to draw
from direct observation
or from a reference photo that they have taken.
If a student use’s
another source for
imagery, they need to
ensure that the image is
altered significantly so
that it is not recognized.
To reproduce the image
but in another medium is
unacceptable work for
this class.
Students must review
the AP studio poster and
course description
during a class
discussion on artistic
integrity, plagiarism,
original work and
moving beyond
duplication.
Course Outline and Schedule
Students taking AP drawing, 2D Design and 3D Design will spend the first
semester focused on preparing work for the breadth section of the portfolio.
During this time, students will explore a variety of specific concepts, techniques
approaches and mediums. Through this process students should demonstrate
their abilities with regards to these areas, but also skill with problem solving and
ideation. The course overview provides more detail with regards to the projects,
materials, concepts and techniques. Students will need to review and use the
elements of art and principles of design as they think through, plan, and develop
each piece. As challenges arise, informed decision making and creative solutions
depend on the facility with which students understand and can apply the elements
of art and principles of design. During both the formative and summative critique
processes, students should be able to clearly articulate their art making process
from ideation through to the tangible product and engage in creative problem
solving to strengthen their work.
Since the school operates on a semester system, the first semester will be Hons.
Advanced Art. Students will then transition into the AP Studio Art in the spring
semester. During the spring semester, students will focus more on the concentration section of the portfolio. The approach this semester is more open ended and
exploratory to allow students to develop a cohesive body of work that reflects a
sustained investigation of a visual idea in their specific area (drawing, 2D Design,
or 3D design).
This cohesive body of work in drawing, 2D Design or 3D Design will grow out of a
well developed plan of action and investigation. The visual idea under investigation is a theme or idea that is important to the student. Through ongoing
conferences, and discussions, the teacher will assist each student in articulating
and developing their theme or idea. In addition, students are expected to engage
in a thorough planning process including concept sketches, sources of inspiration,
material samples, notes on selection of medium. Students must also present a
specific plan of action and timeline for each project. This plan may be modified, in
consultation with the teacher, as the work progresses and evolves over time.
Specific dates will be set for individual and group critiques. Students are expected
to have their work critique ready and be prepared to participate fully in this
process.
This is a rigorous course of study. If during the first semester the student and/or
teacher determine that the student is not ready to move forward, the student will
be able to continue in Hons. Advanced Art study.
Bibliography
Brickler, Ed. S. Making Art: Materials and Techniques for Today’s Artist. Cincinnati Ohio: North
Light Books, 2013
Brommer, Gerald F. Drawing, Ideas, Materials and Techniques. Worcester Mass: Davis Publications, Inc, 1978
Canady, John. What is Art? An Introduction to Painting, Sculpture and Architecture. New York:
Random House, Alfred
A. Knopf, 1980.
Chaet, Bernard. The Art of Drawing. 3rd ed. New York: Holt Rhinehart & Winston, 1983
Dodson, Bert, Keys to Drawing, Cincinnati Ohio: North Light Books, 1985
Edwards, Betty. Drawing on the Right Side of the Brain, Los Angeles: Houghton, Mifflin ., Co.
J.P. Tarcher, 2012
Henning, Fritz. Concept and Composition: The basis of successful art. Cincinnati Ohio: North
Light Publishers, 1983
Lane, Ruth. The Complete Photo Guide to Felting, Minneapolis MN: Creative Publishing International, 2012
Luecking, Stephen. Principles of Three-Dimensional Design. Prentice Hall, 2002
McKim, Robert H. Thinking Visually: A strategy manual for problem solving, Belmont CA:
Wadsworth Inc. 1980
Nice, Claudia, Drawing in Pen & Ink, Cincinnati Ohio: North Light Books, 1997
Nicolaides, Kimmon. The Natural Way to Draw, Boston Mass, Houghton Mifflin Co. 1969
Summer Work
Assignments:
Prior to entering Advanced
Honors Art—the first
semester of the AP
sequence, students need
to complete 3 of the following projects:
Drawing
•
(Course Description is an excerpt from the AP Studio Art Handbook p.18)
Not a self portrait—
Students will select a
favorite piece of clothing—could be a scarf,
shirt, jacket, dress,
pants. This will be black
and white or color depending on the what the
student wishes to express. The clothing
should be drawn as it
appears on the body. In
effect, it will look like an
invisible person is wearing the item. Create an
interesting composition,
consider figure/ground
relationship, the type of
marks you wish to make
to convey the character
of the piece, the use of
value and color.
•
Draw your house—an
interior space or exterior
view. Take an interesting perspective— use
pen and ink to complete
a detailed architectural
drawing. Focus on
scale, texture, line.
•
Mixed media abstract—
round no smaller than
20”. Start with a street
map of where you live,
or a favorite location.
Focus in and enlarge a
certain area. Look at
the patterning of the
streets and neighborhoods. Build layers—
newspaper, paint, cording or rolled paper towel
to raise street lines.
Cover with tissue paper,
paint techniques and top
layer of stamps, drawings, textures.
Course Description and Overview—
The Drawing Portfolio is intended to explore a wide range of drawing issues and media. Line quality, light and shade, rendering of form, composition, surface manipulation, the illusion of depth and mark making are drawing issues that can be addressed through a variety of mediums. These
mediums may include: various drawing media such as charcoal, conte, colored pencil, pastel, graphite; painting such as oil, acrylic, and watercolor;
mixed media work, printmaking, and fiber. Abstract and observational
works may demonstrate drawing competence. The range of marks used
to make drawings, the arrangement of those marks and the materials used
to make the marks are endless. There is no preferred (or unacceptable)
style or content.
Any work submitted in the Drawing Portfolio that incorporates digital or
photographic processes must address issues such as those listed above.
Using computer programs merely to manipulate photgraphs through filters,
adjustments or special effects is not appropriate for the Drawing Portfolio.
Links to student work in the Drawing Portfolio can be found on AP Central
at apcentral.collegeboard.com/studiodrawing.
Home work
assignments
Students are expected to
work on projects and
sketchbook assignments
outside of class. Most projects have preparatory / planning sketches that are required. In addition, the student may be asked to experiment with different media
before selecting their media
of choice for the final product.
In addition, students will be
required to complete 3 –4
assignments independently,
on their own time. Listed
below is a selection of the
types of assignments the
students may be asked to
complete:
Drawing Course Description and Overview—
The projects listed below are to satisfy the Breadth requirement of the Portfolio and will be completed through the Honors Advanced Visual Arts
course. Students will use a specific variety of mediums, techniques, and
approaches in drawing to develop concepts and ideation. The projects are
presented within units of study.
•
◊
Figure Drawing
From a live model: For practical reasons, the student will need to take
a photograph to use as a reference for completing the final product.
For each project, the student will complete 8-10 sketches to problem
solve figure/ground relationships, positive and negative space, composition, focal point, angle and depth of perspective and quality of mark
making. Initial drawings may take 30 seconds and should advance to
several 20 minute—complete renderings within a setting.
◊
Sketch a friend in different poses that focus on the use of foreshortening. He/she could be reclining in a chair, back of a truck, sitting on the
floor or reaching for something, holding something at arms length,
leaning forward etc. The composition should be engaging and drawn
from an interesting angle. Consider also the use of value and color
(potentially). Experiment with different drawing media and mixed media.
◊
Now you see me, now you don’t—incomplete figure drawings. Using a
black and white medium such as charcoal, ink, markers or color ( pastel, prismacolor or paint), develop a composition of three figures that
tell a story. The figures will be drawn as contour drawings. Part of figures will be rendered in full detail with consideration given to form, value expression (face and body posture). Part of the figure will be left as
a simple contour drawing. The student will need to complete sketches
to determine what to emphasize and what to let fade away. The student will also decide which medium to use for the final rendering. The
selection should best fit the expressive content of the story being told.
◊
Distorted figure drawing. Using a black and white media that distorts
the figure in some way will be developed. The student will use directional lighting to enhance or highlight the distortion. The distortion
should be emotionally expressive.
◊
Using directional lighting, the student will develop studies of hands and
feet in different poses. The student will complete a small series in a
black and white media such as ebony pencil and white chalk on grey
paper, as well as a series in color on grey paper. The student will use
hatching and cross-hatching to render the image. Focus on techniques, value, contrast of value, visual texture and color for emphasis.
Fabric study:
•
•
Knotted fabric with a
strong light source—
chalk pastel on black
paper.
A piece of clothing that
comes to life—inspired
by Nancy Fortwengler ‘s
series of dresses.
Familiar Objects:
•
Favorite old pair of
shoes or a collection of
shoes. A color scheme
will be selected to express the meaning,
mood, character of the
composition. The colors
should be emotionally
expressive not representational. Experimentation with different media, mixed media and
mark making will serve
to enhance the character of the object (s) /
image.
Home work (con’t)
•
•
What’s hiding under my
bed. ( or in my car,
closet, dresser drawer
etc.) What you choose
to do may help decide
on the angle of the
perspective you will
take. Consider light
source and quality of
light—use of value.
Realistically render the
objects in prismacolor.
The above project could
be repeated with different media—singular or
mixed media. This
would be a good opportunity to practice techniques, experiment with
color, texture, use of
line, value and space.
Drawing: Course Description and Overview
•
Portraits of self or others—friends, family, family pet. Throughout the
various projects, you will experiment and demonstrate skill with various
media—black and white as well as color (charcoal, conte, chalk and oil
pastel, paint medium, prismacolor, pen, india ink). You will also explore different views, quality of the marks they make and use of value
and color. Unless otherwise specified, the final product will reflect the
student’s selection of view, material, marks, value, composition as it
best reflects the message and/or emotional quality they wish to convey.
◊
Charcoal studies of friend, family member, pet in their favorite location.
The location is part of what becomes part of the portrait. Make 8
sketches, changing views. Select the one that you think best reflects
the character of the individual and create a final drawing on 18x24
drawing paper.
◊
Expressive emotions— pen and ink with color wash background. Create a series of 6 sketches of different facial expressions that convey
different emotions— such as—happy, sad, surprised, scared, goofy,
excited, delighted, content, horrified, terrified, paying attention to the
quality of the marks needed to help convey that emotion. Also use
sketchbook to problem solve technique, composition and color as it relates to the expressive quality of the expression. Select one and create
an 8x10 ink drawing with color background. You may also wish to consider the drawing surface—eg. Printed text or layered (ghost) image.
◊
Micrographic portrait. Use writing to create a portrait of self or others.
This is a black and white piece using pen or ebony pencil. Consider
the actual text as a component of visual image—meaning that you
could write the image as a story, a journal entry, poem, other commentary. Various words could be made more prominent as tyou help to
convey the meaning/message of the piece.
◊
Cyanotype portrait. Select a subject—self or other and take a series
of photographs (10—15) of objects or location that are meaningful to
the subject and reflective of who that person is. In consultation with the
subject, select the photograph that best reflects the person. The image
will be made a negative through photo editing software, printed on
transparency ready for the cyanotype process. The cyanotype will be
the background for a prismacolor portrait on top.
◊
Self -Portrait in a reflected surface— such as a mirror, window, metal
surface, rounded surface like an ornament. Select the medium best
suited to your subject and composition.
◊
Charcoal erasure portrait. Begin by covering the paper with charcoal
and draw by removing the medium to reflect the different values—light
to dark. Highlighting and additional texture may be added with a white
charcoal pencil at the end.
◊
Not a self-portrait—This is student’s choice of medium. The portrait
could include part of the head or face, but doesn’t need to. Think creatively in terms of how to create a self portrait in a non traditional way. It
could be a hat characteristic of the individual, favorite scarf, jewelry,
boots, shoes, pants, shirt, electronic device, glasses etc. The focus is
on the item not the person. Experiment with different views, and media,
color and marking. The final product should be no smaller than 8x10.
Consider the impact that size may have on the viewer.
Drawing: Course Description and Overview
•
Landscapes, interior and exterior spaces, and/or cityscapes:
◊
Create two unified color landscapes—medium is student’s choice
◊
Create a landscape drawing or painting in non traditional/ non representational
colors. Do a series of sketches of the location or different locations. The final
piece will be an expressive rendering of the scene—Fauve artists will be a
good reference for this project. Consider, the concept, technique, subject matter/location, medium, format and size. Focus on individual choice and application of color harmonies as well as unity and variety.
◊
Architectural perspective: take photographs of local architectural structures.
These could be shot straight down main street, from a side street, alley or
street side. Research, conceptualize, and compose a cropped architectural
drawing based on the photographs taken. The final product will be student
choice of medium or mixed media. Format, size, and choice between color and
black and white will reflect the student’s voice and ideation. Experiment with
techniques once a medium is chosen. Focus is on organizational skills, contrast, proportion, and scale.
◊
Interior space from an unusual perspective.
◊
Interior space using expressive color rather than local color.
•
Experimenting with color, texture, perspective in rendering different objects in different locations.
◊
Rummage through your house or visit a local flea market or antique store and
find interesting items—lamps, phones, bottles, jars, old shoes, hats, clothing,
figurines, chairs, toys; visit the art room or science lab (interesting objects); observe figures dancing, draw figures in slow motion and stopped motion; use
overlapping images, linear perspective; draw from different perspectives—ant’s
eye view, bird’s eye view; draw images from your dreams and fantasies. Be
innovative and experiment with a variety of media on its own or in conjunction
with other media (mixed media) as well as drawing, printmaking, and painting
techniques.
◊
Toss away t-shirt: Experiment with different media to create a lively looking tshirt. Use a favorite t-shirt and “toss” it on a chair, across a bed, anywhere that
it may land as it though taken off in a hurry, or tossed in a laundry pile. Do 810 sketches exploring the folds and shape of the t-shirt. After experimenting
with different media, create a mixed media piece using text or other collage
pieces—concert, movie, fair tickets, programs, book pages, letters, stamps
tags, to create a background layer. A color wash will be the next layer and the
t-shirt drawn using loose expressionist style markings with drawing medium of
choice. Select color medium—oil pastel, acrylic paint or a combination and
complete the t-shirt image. The final layer will be “off-set” calligraphic markings
with india ink to emphasize the movement created by the folds.
◊
Expressionist still life abstraction: create 8-10 sketches of different views of a
still life. The views will be close up to abstract the forms. Focus on the quality
and weight and types of lines. Also explore the use of different media including
printmaking methods and techniques, as well as color to create your final
piece.
Summer Work
Assignments:
Prior to entering Advanced
Honors Art—the first semester of the AP
sequence, students need to
complete 3 the following
projects:
•
•
•
Animated objects—do
a drawing of familiar
objects—ones that
have meaning to you
and have them come
to life. This could also
be a series as you explore different techniques and media.
Make a simple contour
drawing of an arrangement of objects that
are important to you.
Repeat the drawing 4
times. Prepare a
transfer of this drawing
in order to experiment
further with different
media. For this one,
use transparent watercolor,prismacolor,
opaque watercolor to
explore different patterns and color
schemes. Another
drawing could be done
over collage and experiment with color,
texture, shape and
line.
Create a drawing of
your room but add collage elements for the
lamps and furniture.
Glue sheer fabric over
the collage. Draw an
image on the sheer
fabric of yourself moving around the room.
2-D Design
Course Description and Overview—
(Course Description is an excerpt from the AP Studio Art Handbook p 10)
This portfolio is intended to address two-dimensional (2-D) design issues.
Design involves purposeful decision making about how to use the elements and principles of art in an integrative way.
The principles of design (unity/variety, balance, emphasis, contrast,
rhythm, repetition, proportion/scale, figure/ground relationships) can be
articulated through the visual elements (line, shape, color, value, texture,
space). They help guide artists in making decision about how to organize
an image ona picture plane in order to communicate content. Effective design is possible whether one uses representational or abstract approaches
to art.
For this portfolio, students are asked to demonstrate mastery of 2-D design
through any two-dimensional medium or process, including but not limited
to graphic design, digital imaging, photography, collage, fabric design,
weaving, fashion design, fashion illustration, painting and printmaking.
Links to samples of student work in the 2-D Design Portfolio can be found
on AP Central at apcentral.collegeboard.com/Studio2D.
•
Draw a series of interiors simplified to contour
lines. In this series investigate a variety of
elements—most predominantly color and
space. Texture, value,
shape also should be
explored. Careful
thought should be given
to composition and use
of media.
Home work
assignments
Students are expected to
work on projects and
sketchbook assignments
outside of class. Most projects have preparatory / planning sketches that are required. In addition, the student may be asked to experiment with different media
before selecting their media
of choice for the final product.
In addition, students will be
required to complete 3 –4
assignments independently,
on their own time. Listed
below is a selection of the
types of assignments the
students may be asked to
complete:
2-D Design Course Description and Overview—
The projects listed below are to satisfy the Breadth requirement of the Portfolio and will be completed through the Honors Advanced Visual Arts
course. Students will use a Variety of mediums, techniques, and approaches in 2-D design to develop concepts and ideation. The selection of
possible projects have been arranged in units.
•
Figure Drawing and Portraits:
◊
A self portrait or portrait of a friend, family member or pet in the style of
another artist in which formal aspects of design are emphasized. For
example: Matisse/Fauvism, Picasso/Cubism, Warhol/Pop Art, Monet/
Impressionism. Some research into the artistic style of the artist and
movement willbe necessary.
◊
Sketch a friend or family member in different poses that focus on the
use of foreshortening. He/she could be reclining in a chair, back of a
truck, sitting on the floor or reaching for something, holding something
at arms length, leaning forward etc. The composition should be engaging and drawn from an interesting angle. Consider also the use of value and color (potentially). Experiment with different drawing media and
mixed media.
◊
Self portrait or portrait of family, friend or pet using specific color
schemes such as analogous, complementary, split complementary
◊
Create a portrait of self or other using distortion or bold contour lines
and color, posterized or simple cut paper in neutral tones or monochromatic color.
◊
Digital self portrait, or portrait of other layering background imagery of
important objects (organic and inorganic, small or large), places
(interior or outside), under portrait. Take several photos of self / subject from different views, expressions, degree of closeness. Through
photo editing software, layer the portrait image over the background—
experiment with color, opacity or other effects.
◊
Create a collage of items—tickets, photos, news articles, poems, menus, vacation pamphlets, report card, fabric (can’t be too thick). Experiment with paint layer to unify background and print a digital image of
self in black on to a transparency and overlay. Also could experiment
with image transfer onto background.
◊
Take photographs of a friend or family member engaged in a favorite
activity. Take a number of photos and select one to work with. The
image will become a silhouette on a background of collected labels,
wrappers, icons that are reflective of the person’s character. The figure
could also be made into a smaller stamp and used as a repeated pattern on a mixed media background. Experiment with stamp rotating to
see what kind of pattern you get.
Repeated Patterns:
•
Cutlery of one kind (eg
all spoons, or forks, or
knives) arranged in an
interesting composition
with a focal point. Create a series, one in detailed pencil, another in
prismacolor; watercolor,
create a stencil and focus on positive and negative shapes as a solid
print on different backgrounds. Experiment
with the negative
space—other texture,
pattern, color. Be creative.
Home work (con’t)
•
Conveyance close-up:
Look at a bicycle or other vehicle or part of mechanical workings. Draw
6-8 sketches from different view points. Select
one and select medium
black and white or
color—focus is on pattern and figure/ground
relationship, use of
space.
•
Knotted fabric with a
strong light source—
chalk pastel on black
paper.
•
Expressive hands:
draw a number of
hands together that
express a concept,
idea, activity. This
can be a realistic representation or the
hands could be involved in an imaginative or fantasy activity.
The student chooses
the medium and style
of expression.
•
Surreal photo collage. Take a variety
of pictures—of people, objects, environments. Using a photo
editing software, combine these images
playing with scale to
create a final surreal
collage.
2-D Design Course Description and Overview—
•
Landscapes, still lives and architectural images
◊
Draw compositions that alternate from a simple contour drawing into a
fully rendered drawing and student designated focal points.
◊
Draw simple everyday object and combine with a selected shape—
circle, square or triangle to create an abstract pattern with a clear focal
point. The pattern will be drawn on top of a mixed media background.
Students will use a neutral color palette, with the design done in black
with the medium of the student’s choice. Highlighting can be done at
the end with white charcoal pencil to create emphasis in the design.
◊
Abstract created from street maps of student’s town or area in which
they live. The map needs to be redrawn to enlarge the pattern. Students will need to engage in problem solving and creative thinking as
they decide how to simplify the pattern. The streets will divide the paper into different shapes. Cording or rolled paper will create a raised
pattern over the streets. The rest will be covered in tissue paper. From
there students will decided on color finishes and degree of opacity in
the piece.
◊
Divide a canvas board or watercolor paper into three distinct sections
or panels. Do three views of one landscape using a specific color
scheme. The student will choose the media he/she wishes to use to
complete this project.
◊
Do a landscape in the style of another artist in which formal aspects of
design are emphasized. As with the portrait, this could be Matisse/
Fauvism, Warhol/Pop Art, Dali/Surrealism, Van Gogh/ Post Impressionism.
◊
Junkyard Treasures: This involves a trip to the local junkyard/car lot
and/or driving around the area to find old abandoned vehicles. This
could be a car, boat, truck, motorcycle. Students need to take a number of photos that they will import to a photo editing software and posterize in grey scale. They will draw the image on matte-board that has
the surface covered with newspaper. A color base is put down allowing some of the print to show through. Students then draw the image,
select a color scheme and paint the vehicle on the prepared surface.
◊
Still life series of reflective objects. Students will select a medium or
media and explore various surfaces such as glass, metal, mirror. A full
range of values will be rendered. To add interest, students can add
their own portrait into the reflective surface.
◊
Architectural drawing—one’s house or street or a downtown structure
or structures. It could also be design details from the structure. Students can experiment with realistic renderings using line; simplified
shapes and color blocking; or focus on abstractions from the urban environment. Student will choose medium(s).
2-D Design Course Description and Overview—
◊
Select a drawing medium and draw an unusual interior space—top half of your
closet, the bottom half of your closet, inside your car, the refrigerator, a drawer,
under your bed, the dog’s house, tack room, bathroom, medicine cabinet , pantry
or other space. Be creative. Experiment with different media and techniques.
◊
Family portrait - create a still life from items that are important to each of the
members in your family. Consider the composition in terms of the role each person plays in the family dynamic and how much “space” they take up in the family—energetically, emotionally. Take a picture of your still life to use as reference. Actually, take several pictures from different angles. Select the one that
best reflects your family. Create a cyanotype, print it and then work back into the
piece using prismalcolor and/or watercolor washes.
◊
Digital altering or layering of photographic images to present multiple perspectives of an image or idea.
◊
Create a composition that combines illusionary space with flat space. This could
be done with a range of media or mixed media including digital imagery.
Text as design
◊
Create a positive and negative design using letters or words. This can be done
in a grid fashion or using the paper or canvas as a whole. Images may be introduced, as may texture and color. This project requires thinking outside of the
box, and experimenting with different media and mixed media.
◊
Create a digital portrait of self or other that incorporates text and black and white
imagery.
◊
Create a social commentary piece that uses text, words to enhance image transfers. The meaning can be literal, symbolic or metaphorical
Fabric design
◊
Create designs for clothing fabric or weaving that deals with a specific theme or
has symbolic meaning. Some research into fabric patterns and their meaning
across cultures would be useful. Consider symbols that are personally meaningful as well.
◊
Using cyanotype solution and organic or inorganic objects to create patterns on
fabric. A drawn design may also work—some thinking will need to go into how to
create the masking on a larger scale (eg 2 yards of fabric).
Graphic Design
◊
Through a photo editing software such as photoshop—design any of the
following: Posters for local community or school events, invitations to events,
program covers, CD covers, Personal logo/watermark. Students will create the
artwork and import it into the photo editing software for further work
Summer Work
Assignments:
Prior to entering Advanced Honors Art—the
first semester of the AP
sequence, students need
to complete 3 the following projects:
3-D Design
Course Description and Overview—
(Course Description is an excerpt from the AP Studio Art Handbook p
14)
•
•
Use a common every
day item—Q-tips,
straws, toothpicks,
plastic forks or
spoons and create a
sculpture that shows
movement, repetition, and effective
use of positive and
negative space. The
final product can be
independent, free
standing or hanging,
or it could be a
sculptural piece to
be worn on the body.
Family Portrait. Look
at work by Leonardo
Drew and Joseph
Cornell. Using
6x6x6 cardboard
boxes, create
memory or character
boxes for each member of your family.
Collect materials that
are reflective of each
person’s character.
Collect objects that
will fit in that space,
that are meaningful,
but not treasured
items they wish to
keep. You may also
collect items that are
symbolic of the person. Tune into the
sensory quality of
the objects and materials used. Also
consider the color,
texture and composition of the items.
Think about the box
itself and how you
want to handle that
as the vessel for
each person’s character.
This portfolio is intended to address sculptural issues. Design involves
purposeful decision making about using the elements and principles of
art in an integrative way. In the 3-D Design Portfolio, students are
asked to demonstrate their understanding of design principles as they
relate to the integration of depth and space, volume and surface. The
principles of design unity/variety, balance, emphasis, contrast, rhythm,
repetition, proportion/scale, occupied and unoccupied space) can be
articulated through the visual elements (mass, volume, color, light,
form, plane, line, texture).
For this portfolio, student are asked to demonstrate mastery of 3-D
design through any three-dimensional approach, including, but not limited figurative or non-figurative sculpture, architectural models, metal
work, ceramics, glass work, installation, assemblage and 3-D fabric/
fiber arts. There is no preferred (or unacceptable) style or content.
Links to samples of student work in the 3-D Design Portfolio can be
found on AP Central at apcentral.collgeboard.com/studio3D
3D Design Course Description and Overview—
Summer Work
Assignments
(con’t):
Also think about how
the individual boxes
will be arranged in
relationship to one
another—how is this
reflective of your family relationships.
•
Begin the worksheets for collecting ideas for the
concentration
component of the
portfolio. Use
your sketch book
to collect images,
material swatches, information on
artists who inspire
you, and note
questions you
have or issues
you will need to
problem solve .
The projects listed below are to satisfy the Breadth requirement of the Portfolio and will be completed through the Honors Advanced Visual Arts
course. Students will use a variety of mediums, techniques, and approaches in 3D design to develop concepts and ideation. The selection of
possible projects are listed predominantly by medium. However, many projects may utilize more than one medium.
•
Clay
◊
Ceramic spirit vessel—Using the wheel or handbuilding technique,
build a ceramic spirit vessel. Develop smooth flowing lines. Add
textures and consider glazes, stains and colorants to create an
aged finish.
◊
Ceramic animal effigy bowl— Using the wheel or coil or pinch
handbuilding to create an effigy bowl. Consider texture and color in
the portrayal of the energy/meaning of the form.
◊
Self portrait in clay.. Research the work by Robert Arneson paying attention to his use of humour. Create your likeness in clay,
infusing it with humour.
◊
Kiln God. Explore the history and tradition of kiln gods. Using this
concept create a figure using handbuilding or wheel thrown technique. Decide on the magical protective quality the figure is to have
(e.g scary like gargoyle or benevolent and angelic. Create your
form and select the quality of the surface decoration that expresses
this quality. This could also be a mixed media piece with the addition of embellishments that could be for purely aesthetic reasons or
symbolic.
◊ Animated architectural forms. The shape and decorative ele-
ments should express the essence of the house/building. Visual
elements can be symbolic, literal or metaphorical. Movement, color, texture and balance are key elements to consider when creating
this form.
◊
Figures in a box. Make a collection of figures in different expressive poses sitting, standing and laying down, doing a hand stand—
etc. Be creative. These are like clay interpretations of gesture
drawings. The figures will fit into a 6” frame constructed of wood,
cardboard or clay. The frames will be joined to make openings 3
up and 3 across. There will be 11 figures in total as 2 of the figures
will be outside of the box. This project plays with dynamic forms
and the relationship of interior and exterior space. Movement and
balance are other key design elements.
◊
Organic forms— using inspiration from nature—land or water. It
will be important to collect objects from nature and do a series of
sketches as part of planning and problem solving potential construction issues. The forms could be a range of subject matter
lichen, fungi, shells, seed pods, aquatic life. A range of art elements are possible depending on the forms selected. Some may
require a focus on the interplay of inner and outer space, for others,
the predominant feature may be textural elements. Surface decoration in terms of glazes or other colorants will also need to be considered. A minimum of three forms will be created and arranged in
relation to one another.
Homework
Assignments:
Homework will consist
primarily of doing
background research,
sketchbook work on
designs, and collecting
materials for projects
done at school.
Review the list of potential projects and select three that you believe you could complete at home.
3D Design Course Description and Overview—
•
Fiber/Fabric
◊
Art Dolls—research history of doll making and the role that dolls
play throughout cultures. Look at materials, patterns, embellishments and their symbolic meaning. Some carry magical properties
as healing vessels (emotional or physical), and protective entities.,
for example. Balance, unity/variety scale, form, texture, color will
be the predominant elements to consider. Fabric will be the basic
medium used in this project, however, other media may be used
such as polymer clay to articulate heads, masks, hands etc, other
fibers for hair, wire, and items from nature may be used. Be creative and consider the symbolic as well as aesthetic elements of thepiece..
◊
Felt Vessels Create a collection of 3 –5 small felted vessels. The
collection should be unified through the use of color and texture
(embellishment). Each individual piece should have a unique
opening, one that entices the viewer to look inside. Inside should
be an object that is symbolic of the message the grouping
conveys. The exterior of the vessel—form, color , texture and
movement can be enhanced with additional needle and bead work.
While each can be a stand alone piece, they should work together
as a group.
◊
Inspired by Bryant Holsenbeck—create an animal, may be one that
is endangered, using plastic bags, tie wire, and scraps of yarn, fabric and other found items for embellishment.
◊
Alternative clothing Create a piece of clothing out of nontraditional materials such as fused plastic, duct tape, plastic bags,
fruit and veggie bags, coffee filters, can tabs, bottle caps, paper,
plastic cups, utensils etc. Design your clothing with a particular
theme or function in mind and capture this in an artist / designer
statement. This will help with the selection of materials as well. Research fashion through the ages and across cultures to gain a better understanding of function, form, aesthetic and construction.
◊
Soft sculpture—use a range of fabric and fibers in conjunction with
other “structural” materials like branches, wire, plastic tubing to create a form that could be found in nature—nests, cocoons, bee hives
etc. Or create a dwelling for an imaginary creature. Select the environment that it belongs to and select other materials as they
would help the piece integrate into that space. When completed,
take the piece to the place selected and photograph your work
from different angles to show it’s relationship to the environment.
◊
Cast paper forms. Create a 3D form from pulped paper. Forms will
be in white paper pulp. Focus will be on how light conveys the
form and its interior and exterior spaces and texture. The first step
is to engage in process to identify a theme, concept, idea you wish
to express and develop an artist statement. Through this process
review sculptural forms by other paper artists, and review artist
statements from a range of artists. Look at their work and see the
connection. Decisions will need to be made in terms of construction methods and techniques as well as scale of the project.
Some potential projects could be:
Soft sculpture of the
nest , cocoon or animal dwelling that is to
fit with an outdoor environment.
Felted vessels—set of
3 small vessels
On –site nature sculpture where you create
a sculpture from the
materials found at that
location.
Jewelry design—using
cold connections,
found materials, everyday materials.
.
3D Design Course Description and Overview—
•
•
cardboard
◊
Taxidermy reinvented. Research taxidermy and hunters– what they hunt and
why. Select an animal or flip the dynamic and look at what the animal hunts
or “if the tables were turned” scenarios. Create a head mount for a wall out of
cardboard. Form, mass, planes of the form will be important considerations.
◊
A similar project to taxidermy reinvented where the underlying structure is a
cardboard construction but the surface layer is rich in texture. Different materials will need to be used on the surface to represent the form represented. A
fantasy creature could be used, in which case the student will have to use his/
her imagination to determine, color, texture and pattern/shape of surface decoration.
◊
Have a seat—create a chair using cardboard and paper mache for a specific
person or creature and their role or within the group. Refine the form and finish it with a painted surface. The design and colors should relate to the role of
the person or creature
◊
Large scale household items created out of cardboard, stack layers—almost
topographical in nature. Select a small everyday personal or household
item—tooth brush, toothpaste, hair brush, dish/scrub brush, jar of cream,
cleanser, window cleaner, cutlery—knife, fork, spoon and recreate in cardboard. Within a class, can take a selection of items and display them together as an installation. Form and scale are the predominant design elements to
consider in the planning and construction of this project.
Assemblage / found objects and recycled materials
◊
Create a self portrait with found objects. Remember to work in the round.
The piece can be painted in white or a metallic to bring greater unity to the
piece.
◊
Use scraps of wood to create a relief sculpture—look at the work of Louise
Nevelson.
◊
•
Light Fixture from recycled materials. Could also use common household
items. Think about the quality of the light and type of light source—make
source that it isn’t going to be too hot. Also make sure that the materials you
select will make use of the light effectively. This can be a standing fixture or
hanging/chandelier.
Wire
◊ Wire sculptures of different life forms—animals, birds. Using tie wire or
aluminum wire create and animal or bird. Wire becomes the vehicle for a line
drawing of the form.
◊
Line drawing of a human form. Using wire creating a 3D line drawing of a fig
ure. Use tie wire or aluminum wire to create the rendition of a human form.
Think of an interesting pose and how it will stand, sit, lay down.
◊
Mesh to create a self portrait. In the style of Isaac Cordal, Derek Kinzett, or
Seung Mo Park take screening, chicken wire or common, everyday
strainer/sieve and manipulate the wire mesh to create a portrait - of self or
other. In the style of Cordal place them outside around the school and
experience the effect of light on this form as it casts a shadow on pavement.
3D Design Course Description and Overview—
◊
•
•
Jewelry design— The piece can be more functional or conceptual. Wire will
be a key part of the design. Other materials may be included (eg glass, fabric, found objects, other metals, non traditional materials). Emphasis/focal
point, movement and line are key elements in this piece.
Glass:
◊
Fused glass—student designed projects. Design and 3D project in glass. It
can be a bowl/vessel of some kind or a slumped or draped form. A mold will
need to be created first for the form, the glass fused, and then slump fired to
create the form. It is easy to have the color of the glass dominate the form.,
particularly if using a lot of different pieces. Attention needs to paid to the relationship between form and color.
◊
Fused glass jewelry— the final product can be more functional or conceptual.
Other materials will need to be included to make the glass wearable since this
is not created on the torch. Studies of different forms in nature or man
made—even architectural should be done to decide on the form—how it is
going to worn and the statement that will be made.
◊
Glass with other sculptural materials to make a freestanding piece. A form
may be created in clay for example where the glass becomes the surface
decoration—mosaic style. The glass needs to enhance the form. Light and
color are key factors to consider. Glass could be another element to use in
conjunction with other materials—woven with wire, inclusion of fabric, natural
materials, or metals.
Other possible projects
◊
◊
◊
◊
◊
◊
◊
◊
◊
Multiples—plaster poured into bags or balloons as the beginning step for 3
forms that will be refined and work together as a 3D design piece.
Plaster casts of iconic structures embedded with industrial or organic materials.
A biographical totem that can be carved, molded or constructed with recycled
industrial or organic materials.
A life size, non figurative self-portrait declaring a strong belief, constructed
from clay, plaster, mixed materials.
A larger than life insect deity.
Construct a trophy, monument or shrine that recognizes and pays tribute to
some noteworthy achievement. This can be real or imagined and can be a
parody or with due recognition. Materials are of your choosing.
Modular designs combining paper tubes and other geometric forms constructed from matte board or foam core to create futuristic forms of transportation.
Create a chair out of non-traditional materials. The chair should have a
meaning or theme to guide its design.
Sculptures created using items from nature—branches, leaves, seed pods
and fabric. Pieces are joined with twine, wire, yarn, strips of fabric. Sheer
fabric and woven fabric will span linear elements to create different planes in
the piece.
AP Summer Assignment Guidelines
Subject
AP Studio Art-2D Design
Due Date(s)
Due dates throughout the summer are negotiated between the teacher and student. Criteria for
determining dates will be related to the scope and scale of a project, as well as, the student’s familiarity
with the processes and techniques involved with the project. The final due date for all summer work
will be set in the first week of the semester.
Weight in Grading Scale
Project grades are 65% of the final grade. Participation is 35% of the final grade and reflects the degree
to which the student is actively engaged in the art making process. This includes the amount of time
devoted to a project, as well as how thorough the planning and problem solving processes have been
(both of which are documented by the student).
Penalties for Late Submission or No Submission
No submission may lead to a re-evaluation of the student’s preparedness to move forward at the AP
level. The student still may be eligible for Honors Advanced and/or Honors Independent Visual Arts.
Late submissions will be subject to a grade penalty – but this is dependent upon the reason for the late
submission. For example, if the student is experimenting with unfamiliar processes or materials, and
runs into delays, this would not constitute a late assignment. Ultimately, if the issue is one of just not
completing work, then we need to revisit the student’s readiness to continue with AP Art.
Resources Needed ( Books or other)
A bibliography is included in the AP syllabus, along with a list of materials that the student will need.
Discussion of other materials, resources, and places in which to access these resources, will be part of
the planning discussions prior to the end of the school year.
Description of Assignment Guidelines( General Guidelines for District to Follow- example – Number of
books, movie critique, online assignment, guidelines for written work or project , etc.)
Students are expected to complete a minimum of 3 projects that will be part of the breadth section of
their portfolios. Suggested projects are listed in the syllabus. The student can choose from the list, or
create their own projects. All projects must meet with the teacher’s approval. Students are also
required to engage in the process of generating potential ideas/concepts to explore in their
concentration portfolio. Sketches, listing of materials, ideas, issues, are evidence of this exploration.
Students will also need to engage in a reflection/critique process to determine the viability of an idea.
Any projects created as part of their explorations, may become part of their breadth portfolio.
AP Summer Assignment Guidelines
Subject
AP Studio Art-3D Design
Due Date(s) planning and process dates are negotiated with teacher. Due dates are dependent upon
the size, construction techniques and processes, as well as the student’s familiarity with the concept and
materials. Final due date for all three summer projects will be during the first week of school.
Weight in Grading Scale: Project grades are 65% of the final grade. Participation is 35% of the final
grade and reflects the degree to which the student is actively engaged in the art making process. This
includes the amount of time devoted to a project, as well as how thorough the planning and problem
solving processes have been (both of which are documented by the student).
Penalties for Late Submission or No Submission
No submission may lead to a re-evaluation of the student’s preparedness to move forward at the AP
level. The student still may be eligible for Honors Advanced and/or Honors Independent Visual Arts.
Late submissions will be subject to a grade penalty – but this is dependent upon the reason for the late
submission. For example, if the student is experimenting with a construction method that doesn’t work,
then, this would not be subject to penalty. Ultimately, if the issue is one of just not completing work,
then we need to revisit the student’s readiness to continue with AP Art.
Resources Needed ( Books or other)
A bibliography is included in the AP syllabus, along with a list of materials that the student will need.
This will be part of the planning discussions prior to the end of the school year. In 3D art, for example,
the student may need access to classroom materials (eg. Clay, sculpture tools) and space.
Description of Assignment Guidelines( General Guidelines for District to Follow- example – Number of
books, movie critique, online assignment, guidelines for written work or project , etc.)
Students are expected to complete a minimum of 2 projects that will be part of the breadth section of
their portfolios. Suggested projects are listed in the syllabus. The student can choose from the list, or
create their own projects. All projects must meet with the teacher’s approval. Students are also
required to engage in the process of generating potential ideas/concepts to explore in their
concentration portfolio. Sketches, listing of materials, ideas, issues, and maquettes should be evidence
of this exploration. Students will also need to engage in a reflection/critique process to determine the
viability of an idea. Any projects created as part of their explorations, may become part of their breadth
portfolio.
AP Summer Assignment Guidelines
Subject
AP Studio Art-Drawing
Due Date(s)
Due dates throughout the summer are negotiated between the teacher and student. Criteria for
determining dates will be related to the scope and scale of a project, as well as, the student’s familiarity
with the processes and techniques involved with the project. The final due date for all summer work
will be set in the first week of the semester.
Weight in Grading Scale
Project grades are 65% of the final grade. Participation is 35% of the final grade and reflects the degree
to which the student is actively engaged in the art making process. This includes the amount of time
devoted to a project, as well as how thorough the planning and problem solving processes have been
(both of which are documented by the student).
Penalties for Late Submission or No Submission
No submission may lead to a re-evaluation of the student’s preparedness to move forward at the AP
level. The student still may be eligible for Honors Advanced and/or Honors Independent Visual Arts.
Late submissions will be subject to a grade penalty – but this is dependent upon the reason for the late
submission. For example, if the student is experimenting with unfamiliar processes or materials, and
runs into delays, this would not constitute a late assignment. Ultimately, if the issue is one of just not
completing work, then we need to revisit the student’s readiness to continue with AP Art.
Resources Needed ( Books or other)
A bibliography is included in the AP syllabus, along with a list of materials that the student will need.
Discussion of other materials, resources, and places in which to access these resources, will be part of
the planning discussions prior to the end of the school year.
Description of Assignment Guidelines( General Guidelines for District to Follow- example – Number of
books, movie critique, online assignment, guidelines for written work or project , etc.)
Students are expected to complete a minimum of 3 projects that will be part of the breadth section of
their portfolios. Suggested projects are listed in the syllabus. The student can choose from the list, or
create their own projects. All projects must meet with the teacher’s approval. Students are also
required to engage in the process of generating potential ideas/concepts to explore in their
concentration portfolio. Sketches, listing of materials, ideas, issues, are evidence of this exploration.
Students will also need to engage in a reflection/critique process to determine the viability of an idea.
Any projects created as part of their explorations, may become part of their breadth portfolio.