AP Studio Art Syllabi: Drawing, 2-D Design and 3-D Design ...



Syllabus

AP Studio Art

Drawing, 2-D and 3-D Design

Mrs. Sandra S. Newton, M.A.

AP Studio Art Teacher

AP Studio Art Syllabi:

2D Drawing, 2-D Design and 3-D Design Portfolios

Course Description:

All:

The AP Studio Art courses will motivate and encourage students to initiate, define, and solve challenging visual arts problems independently. The discussion of diverse solutions to specific artistic problems will enhance student effectiveness in creating relationships between structural choices and artistic functions. Through these challenges students will assemble a body of artwork that demonstrated a high level of quality and growth over time of content, technique, and process. Students will develop mastery in concept, composition, and execution while addressing the three components of their portfolios: Quality, Concentration, and Breadth. Students will submit this body of work to the College Board for grading and possible college credit.

Breadth: This section of works shows a variety of approaches using different techniques, compositions, and media. The student’s work in the section should demonstrate understanding of the principles of design, including unity/variety, balance, emphasis, contrast, rhythm, repetition, proportion/scale, and figure/ground relationship. Successful works of art require the integration of the elements and principles of design; students must therefore be actively engaged with these concepts while thoughtfully composing their art. The work in this section should show evidence of conceptual, perceptual, expressive, and technical range.

Concentration: This section of works shows the development of a unifying theme or idea. A concentration is a body of related works describing an in-depth exploration of a particular artistic concern. It should reflect a process of investigation of a specific visual idea. It is not a selection of a variety of works produced as solutions to class projects or a collection of works with differing intents. Students should be encouraged to explore a personal, central interest as intensively as possible; they are free to work with any idea in any medium that addresses the issues related to their particular portfolio. The concentration should grow out of the student’s idea and demonstrate growth and discovery through a number of conceptually related works. In this section, the evaluators are interested not only in the work presented but also in visual evidence of the student’s thinking, selected method or working, and development of the work over time.

Quality: This section consists of five actual “best” works. These works must meet specific size criteria in the 2-D Design and Drawing portfolios. Quality refers to the total work of art. Mastery of design should be apparent in the composition, concept and execution of the works, whether they are simple or complex. There is no preferred (or unacceptable) style or content.

Artistic Integrity/Copyright Infringement:

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 using the manipulation of materials, concept, design, or formal qualities so as to alter the overall effect of an artwork. Copying directly from photographs is discourages unless the photograph was taken by the student or is altered in the student’s work so that it moves beyond duplication. Information on artistic integrity and copyright infringement will be covered through the AP student handbook as well as during all assignments involving photographic or previously published material.

Drawing Portfolio

Students will expand their drawing and two-dimensional design skills and advance their visual communication skills by exploring a variety of design processes and techniques, and compositional and aesthetic concepts.

2-D Design Portfolio

Students will expand their two-dimensional design skills and advance their visual communication skills by exploring a variety of design processes and techniques, and compositional and aesthetic concepts.

3-D Design Portfolio

Students will expand their three-dimensional design skills and advance their visual communication skills by exploring a variety of design processes and techniques, and compositional and aesthetic concerns.

Expectations for All

The process of developing a portfolio required a great deal of time and effort and the minimal amount of time allowed by classroom schedules are markedly inadequate to create the amount of work necessary for the portfolio. The open studio is designed to provide concentrated work time in the studio with a teacher present as a resource. Open studio is not required but is recommended for success.

Homework- Students may receive specific assignments or just be asked to spend time working on a particular in-class assignment at home. They should be prepared to spend four to eight hours a week outside of class on their work.

Sketchbooks- Students will use a sketchbook as a visual journal to work through ideas, to practice drawing and design skills, and to record their journey through this year. Due to the amount of work students do outside of class, specific sketchbook assignments will not be made but it is expected that students will use their sketchbooks as tools for developing and recording their ideas.

Critiques- The majority of class time is spent making artwork, though students are expected to participate in group and individual critiques throughout the semester. Furthermore, individual instructional conversations with the teacher will assist each student in assessing strengths and weaknesses in their own images and provide feedback on ways to further develop their individual and unique drawing and compositions. In turn, these conversations will help the student discover ongoing ways to improve their art making.

Drawing Portfolio

Students will produce a minimum of 24 works that satisfy the requirements of the Quality, Concentration, and Breadth sections of the AP Studio Art Drawing Portfolio.

2-D Design Portfolio

Students will produce a minimum of 24 works that satisfy the requirements of the Quality, Concentration, and Breadth sections of the AP Studio Art 2-D Design Portfolio.

3-D Design Portfolio

Students will produce a minimum of 18 to 20 works that satisfy the requirements of the Quality, Concentration, and Breadth sections of the AP Studio Art 3-D Design Portfolio.

Student Objectives:

All

• Maintain a strong work ethic.

• Work through and solve visual problems effectively.

• Refine the ability to draw/render what you see.

• Understand how art elements and design principles communicate content.

• Increase awareness of the creative process.

• Increase knowledge of art tools and materials.

• Increase knowledge of laws and guidelines surrounding copyright infringement

Pursue the art making process with a passion—be fearless.

AP Overarching Goals

Encourage creative and systematic investigation of formal and conceptual issues.

Emphasize making art as an ongoing process that involves the student in informed and critical decision making.

Help students develop technical skills and familiarize them with the functions of the visual elements.

Encourage students to become independent thinkers who will contribute inventively to their culture through the making of art.

Instructional Goals

1. Introduction to Various Art Mediums

A. Able to continuously see the world with new eyes, the student will implement this new vision through various art mediums.

B. Through observational drawing, students will be able to utilize the process in a more symbiotic application, exploring meaning and interpretation of works of art.

2. Techniques and Interpretations

A. The student’s experiences will grow, expanding the repertoire of techniques, stretching understanding of art.

B. Students will learn art forms, processes, styles, context theories and philosophies together with skills to create, study, and interpret works of art.

3. Art Media and Expression

A. Create works of art from observation, memory, and imagination with a variety of art media, exploring open-ended avenues of expression.

B. Identify problems associated with rendering a subject, putting creative solutions into action to realize a finished work.

4. Design Elements and Compositions

A. Demonstrate the ability to arrange design elements and visual images in a given amount of time to create various compositions.

B. Creatively involve the coordination of ideas, subject matter, symbols, metaphors, and themes into new structures, indication the student’s connection to the world.

5. Perceptual Skills and Artistic Understanding

A. Develop perceptual skills and artistic understanding by promoting attention to detail, aesthetic relationships, and expressive content.

B. Develop understanding of legal protections of previously published or copyrighted materials: develop understanding of legal protections in place for artistic expression

Grading

ALL

Student grades fall into two categories: formative (40%) and summative (60%). Formative grades are assessed as class work and participation in group and individual critiques, preparation for final projects, and taking of documentation for slide images. Summative is essentially test grading for completed projects, formal written critiques, and their completed portfolios.

Semester Exam: A semester exam will consist of a reflective essay about the body of work represented as the Concentration portion of the portfolio. The essay will by scored by using prompts, each assigned a numerical value as guidelines for investigative summary.

Supplies

Most supplies will be provided by the school and funded through the payment of student fees. Students are encouraged to purchase their own personal supplies to assist in their work outside of the classroom. Suggested items include but are not limited to:

• Visual journal

• Set of pencils

• Set of drawing pens

• Crafting tools (sculpture)

• A portfolio

• Set of brushes

• It is also recommended (but optional) that 2-D and Drawing portfolio students purchase a set of Prismacolor Colored Pencils (at least a set of 24).

Course Outline and Schedule:

ALL

Students will primarily be preparing work for the Breadth section of the portfolio during the first semester. A variety of concepts and approaches will be used to demonstrate abilities and versatility with techniques, problem solving, and ideation. Students will transition into more open-ended and exploratory work for the Concentration section of the portfolio during the second semester. Each student will develop a cohesive body of work for the Concentration section, which is a planned, sustained investigation of a visual idea in either two-dimensional, drawing, or three-dimensional work. Each student will present to the class and teacher, and action plan for the development and completion of their investigation. Dates for each group critiques will be set and provided to students along with each assignment. Students will be expected to have projects “critique ready” at the beginning of class on each assigned critique day. Individual critiques with the teacher and group critiques with peers and the teacher are mandatory.

Please see the following attachment that pertains to your portfolio.

Course Overview

| |Week 1 -Aug 20-24 |

|Drawing Portfolio |Individual Portfolio Review—sign up for a time to meet with the |

| |instructor to discuss previous work that may be used for the AP |

| |portfolio. |

|2-D Design Portfolio |Individual Portfolio Review—sign up for a time to meet with the |

| |instructor to discuss previous work that may be used for the AP |

| |portfolio. |

|3-D Design Portfolio |Individual Portfolio Review—sign up for a time to meet with the |

| |instructor to discuss previous work that may be used for the AP |

| |portfolio. |

| |Week 2 – |

|Drawing Portfolio |Students will complete any amendments to summer assignments and |

| |document current portfolios. |

| |Using both written and visual presentation formatting, students |

| |will prepare presentations including biographical information, |

| |exhibit information, and formal qualities of resource artists Cy |

| |Twombly, Franz Kline, and Alma Thomas covering the principles of |

| |rhythm, movement, and nonobjective drawing to prepare for their |

| |upcoming assignment. |

|2-D Design Portfolio |Students will complete any amendments to summer assignments and |

| |document current portfolios. |

| |Using both written and visual presentation formatting, students |

| |will prepare presentations including biographical information, |

| |exhibit information, and formal qualities of resource artist Henri |

| |Matisse covering the principles of composition, balance, |

| |positive/negative space. |

|3-D Design Portfolio |Students will complete any amendments to summer assignments and |

| |document current portfolios. |

| |Using both written and visual presentation formatting, students |

| |will prepare presentations including biographical information, |

| |exhibit information, and formal qualities of a selection of |

| |covering the principles of form, rhythm, movement, and modules. |

| |Week 3 – |

|Drawing Portfolio |Movement through Mark-Making—experiment with a variety of |

| |mark-making tools and techniques to establish a sense of rhythm and |

| |movement in a nonobjective drawing (resources: Cy Twombly, Franz |

| |Kline, Alma Thomas, etc.). |

|2-D Design Portfolio |Contrasto Positive/Negative Space Study—using Contrasto, create a |

| |composition with a visually interesting and balanced use of positive|

| |and negative space (resource: Jazz by Henri Matisse). |

|3-D Design Portfolio |100s or 1000s of Things Sculpture—use small objects that come in |

| |100s or 1000s (such as toothpicks, nails, pushpins, etc.) to create |

| |an interesting form that demonstrates a sense of rhythm and |

| |movement. |

| |Week 4 – |

|Drawing Portfolio |Mark-Making Study in progress… |

| |Group Critique- Students will identify and responses in both written |

| |and verbal formats to the 4 steps of art criticism |

|2-D Design Portfolio |Contrasto in progre Group Critique- Students will identify and |

| |responses in both written and verbal formats to the 4 steps of art |

| |criticism |

| |ss… |

|3-D Design Portfolio |100s/1000s of T Group Critique- Students will identify and responses |

| |in both written and verbal formats to the 4 steps of art criticism |

| |hings Sculpture in progress… |

| |Week 5 – |

|Drawing Portfolio |Subtractive Charcoal Self-Portrait—with a combination of vine and |

| |compressed charcoal, use the dark field method to create a |

| |self-portrait (lay a field of charcoal over the entire surface of the|

| |page and use an eraser to create a range of values). Students may |

| |work either from photograph or from direct observation using |

| |reflective surfaces. Unit will include coverage of artistic integrity|

| |and copyright laws as it pertains to artist use and artist |

| |protection. |

|2-D Design Portfolio |Cyanotypes—use found objects, transparency illustrations, or |

| |photographic negatives to create an interesting composition on |

| |photosensitized paper and place in the sun to achieve a print. Unit |

| |will include coverage of artistic integrity and copyright laws as it |

| |pertains to artist use and artist protection. (resource: Breaking the|

| |Rules: A Photo Media Cookbook by Bea Nettles). |

|3-D Design Portfolio |Cross-Contour Wire Sculpture—experiment with the use of line to |

| |define form: use wire or other linear materials to create a |

| |cross-contour sculpture that can be naturalistic or nonobjective |

| |(resource: Calder’s Circus video). |

| |Week 6 – |

|Drawing Portfolio |Subtractive Charcoal Self-Portrait in progress… |

|2-D Design Portfolio |Cyanotypes in progress… |

|3-D Design Portfolio |Wire Sculpture in progress… |

| |Week 7 – |

|Drawing Portfolio |Gesture Drawing—create a pen drawing of a person in his or her |

| |environment demonstrating your ability to capture reality and |

| |movement with relative speed and accuracy. |

|2-D Design Portfolio |Photocopy Transfer Collage—using black/white imagery and text to |

| |create a composition with a range of value and an interesting |

| |narrative (use safety with essential oils to transfer images). Unit |

| |will include coverage of artistic integrity and copyright laws as it |

| |pertains to artist use and artist protection. |

|3-D Design Portfolio |Illuminated Paper Sculpture—create an armature of wire, reed, or |

| |dowels and use handmade paper to cover the armature—a lamp kit will |

| |be provided (resource: Paper Illuminated by Helen Hiebert). |

| |Week 8 – |

|Drawing Portfolio |Cross-Contour Drawing—experiment with cross-contour drawing using a |

| |variety of subjects including still-life objects as well as the human|

| |form. |

|2-D Design Portfolio |Photocopy Transfer Collage in progress… |

|3-D Design Portfolio |Illuminated Paper Sculpture in progress… |

| |Week 9 – |

|Drawing Portfolio |Cross-Contour Drawings in progress…+ |

|2-D Design Portfolio |Text and Image Collage—create a traditional or digital collage that |

| |communicates both a visual and a literal statement (resources: |

| |Barbara Kruger, Kurt Schwitters, Augusto de Campos, James Rosenquist,|

| |etc.). Unit will include coverage of artistic integrity and copyright|

| |laws as it pertains to artist use and artist protection. |

|3-D Design Portfolio |Found Wood Relief Sculpture—using dissimilar shapes and sizes of |

| |wood, create a relief sculpture that demonstrates unity and balance |

| |(resource: Louise Nevelson). |

| |Week 10 – |

|Drawing Portfolio |Cross-Contour Drawings in progress… |

|2-D Design Portfolio |Text and Image Collage in progress… |

|3-D Design Portfolio |Found Wood Relief Sculpture in progress… |

| |Week 11 – |

|Drawing Portfolio |Fruit/Vegetable Drawing Series—create a series of drawings using |

| |colored pencils that capture the fruit or vegetable as it is in |

| |varying stages of ripeness to rottenness (or begin with the whole |

| |fruit and draw various stages of it being eaten). |

|2-D Design Portfolio |Text and Image Collage in progress… |

|3-D Design Portfolio |Found Wood Relief Sculpture in progress… |

| |Week 12 – |

|Drawing Portfolio |Perspective Drawing of Architecture on Campus |

|2-D Design Portfolio |Digital Anti-Self-Portrait—using a digital photo of yourself and |

| |Adobe Photoshop, portray yourself as a stereotype (resource: Cindy |

| |Sherman). Unit will include coverage of artistic integrity and |

| |copyright laws as it pertains to artist use and artist protection. |

|3-D Design Portfolio |Installation of Multiples—using materials of your choice, create a |

| |visually interesting series of 5 to 10 objects that you will install |

| |on campus—be purposeful about your choice of locations. Unit will |

| |include coverage of artistic integrity and copyright laws as it |

| |pertains to artist use and artist protection. |

| |Week 13 – |

|Drawing Portfolio |Perspective Painting of Created Environment- Using 1-point, 2-point,|

| |or 3-point perspective |

|2-D Design Portfolio |Perspective Painting of Created Environment |

| |Using 1-point, 2-point, or 3-point perspective |

|3-D Design Portfolio |Recyclables Sculpture—using only recyclable objects, create a |

| |free-standing sculpture (resources: variety of images of art created |

| |from recycled objects). |

| |Thanksgiving break Assignments |

|Drawing Portfolio |Perspective Painting in progress… |

|2-D Design Portfolio |Perspective Painting in progress… |

|3-D Design Portfolio |Environmental Sculpture—using only what you find on site, create a |

| |sculpture out of natural objects in the woods, by the creek, or on |

| |the trails of campus; don’t forget your camera and slide film to |

| |record your work (resources: Andy Goldsworthy, Robert Smithson, |

| |etc.). |

| |Week 14 – |

|Drawing Portfolio |Figure Drawing Unit—make a series of drawings utilizing a variety of |

| |tools and techniques. |

|2-D Design Portfolio |Figure Drawing Unit—make a series of drawings utilizing a variety of |

| |tools and techniques. |

|3-D Design Portfolio |Humorous Self-Portrait—inspired by Robert Arneson’s self-portraits, |

| |create a clay sculpture that exhibits your likeness in a humorous |

| |way. |

| | |

| | |

| | |

| |Week 15 – |

|Drawing Portfolio |Figure Drawing in progress… |

| |Taking Breadth slides… |

|2-D Design Portfolio |Figure Drawing in progress… |

| |Taking Breadth slides… |

|3-D Design Portfolio |Alternative Clothing—explore fashion design by using an atypical |

| |material (e.g., masking tape coat, plastic wrap prom dress, etc.) to |

| |create an object of clothing that fits you. |

| |Taking Breadth slides… |

| |Week 16 – |

|Drawing Portfolio |Breadth Slides Due—portfolio review, slide show, and celebration of |

| |the first semester’s work. |

|2-D Design Portfolio |Breadth Slides Due—portfolio review, slide show, and celebration of |

| |the first semester’s work. |

|3-D Design Portfolio |Breadth Slides Due—portfolio review, slide show, and celebration of |

| |the first semester’s work. |

|2nd Semester |Week 17 – |

|Drawing Portfolio |Concentration Section—begin or continue work on the concentration. |

|2-D Design Portfolio |Concentration Section—begin or continue work on the concentration. |

|3-D Design Portfolio |Concentration Section—begin or continue work on the concentration. |

| |Week 18 – Jan 9-13 |

|Drawing Portfolio |Concentration |

|2-D Design Portfolio |Concentration |

|3-D Design Portfolio |Concentration |

| |Week 19, 20 and 21 |

|Drawing Portfolio |Conc. and Critique |

|2-D Design Portfolio |Conc. and Critique |

|3-D Design Portfolio |Conc. and Critique |

| |Week 22 |

|Drawing Portfolio |Conc. and Critique |

|2-D Design Portfolio |Conc. and Critique |

|3-D Design Portfolio |Conc. and Critique |

| |Week 23 and 24 |

|Drawing Portfolio |Concentration |

|2-D Design Portfolio |Concentration |

|3-D Design Portfolio |Concentration |

| |Week 25 |

|Drawing Portfolio |Conc. and Critique |

|2-D Design Portfolio |Conc. and Critique |

|3-D Design Portfolio |Conc. and Critique |

| |Week 26 and 27 |

|Drawing Portfolio |Concentration |

|2-D Design Portfolio |Concentration |

|3-D Design Portfolio |Concentration |

| |Week 28 |

|Drawing Portfolio |Conc. and Critique |

|2-D Design Portfolio |Conc. and Critique |

|3-D Design Portfolio |Conc. and Critique |

| |Week 29 and 30 |

|Drawing Portfolio |Concentration |

|2-D Design Portfolio |Concentration |

|3-D Design Portfolio |Concentration |

| |Week 31 |

|Drawing Portfolio |Taking slides |

|2-D Design Portfolio |Taking slides |

|3-D Design Portfolio |Taking slides |

| |Week 32 |

|Drawing Portfolio |Selecting quality work, preparing slides, matting/ mounting quality |

| |work, finalizing concentration statement… |

|2-D Design Portfolio |Selecting quality work, preparing slides, matting/ mounting quality |

| |work, finalizing concentration statement… |

|3-D Design Portfolio |Selecting quality work, preparing slides, matting/ mounting quality |

| |work, finalizing concentration statement… |

| |Week 33 |

|Drawing Portfolio |Portfolio Slides Due—Portfolio review, slide show, and celebration of|

| |the year’s work. |

|2-D Design Portfolio |Portfolio Slides Due—Portfolio review, slide show, and celebration of|

| |the year’s work. |

|3-D Design Portfolio |Portfolio Slides Due—Portfolio review, slide show, and celebration of|

| |the year’s work. |

| |Week 34 |

|Drawing Portfolio |AP Studio Art Exhibition—install show and hold opening reception. |

|2-D Design Portfolio 3-D |AP Studio Art Exhibition—install show and hold opening reception. |

| | |

| |AP Studio Art Exhibition—install show and hold opening reception. |

|Design Portfolio | |

| |Week 35 |

|Drawing Portfolio |Service Learning Project |

|2-D Design Portfolio |Service Learning Project |

|3-D Design Portfolio |Service Learning Project |

| |Week 36 |

|Drawing Portfolio |Service Learning Project |

|2-D Design Portfolio |Service Learning Project |

|3-D Design Portfolio |Service Learning Project |

Student Self-Critique

Upon completion of your work, fill out the following self-critique to be submitted with each assignment. Be sure to complete both the rubric section and the explanation section below.

Name: __________________________ Assignment: _____________________

| |Excellent |Average |Needs Work |

|Design Quality |Uniquely utilizes given |Utilizes given design |Insufficiently utilizes |

| |design concepts |concepts |some design concepts |

|Creativity |Work is distinctly |Work demonstrates some |Work is clichéd, basic, or |

| |original in terms of the |originality of concept, |does not demonstrate |

| |concept, process, or |process, or materials used |inventiveness from the |

| |materials used | |artist |

|Craftsmanship |Extraordinary or |Sufficient level of |Mediocre or inferior level |

| |proficient level of |craftsmanship |of craftsmanship |

| |craftsmanship | | |

Design Quality—The elements of art (line, color, texture, shape, form, space, and value) and principles of design (rhythm and movement, balance, proportion, variety and emphasis, harmony and unity) are utilized successfully; there is strong evidence of the artist’s plan or organization of thought, and the basic assignment criteria are met or exceeded.

Creativity—The work is conceptually innovative, the materials used, or the process of creating the work are inventive, or the work is simply quite original.

Craftsmanship—Time and care are taken to create a piece that feels finished and is well made—it doesn’t seem to the viewer that the work was “slapped together in a hurry.”

Self Evaluation

Mark one box under each category above to describe the level of success in your own work. For example, next to Design Quality, do you believe your work is excellent, average, or needs work? Then, in the space provided below, describe why you rated your work as you did in each category.

(If you need more space, write on the back of this paper.)

Summer Assignments - Summer assignments are an absolute requirement of the course. These assignments are due by the third week of school. They will constitute 50% of your first six week grade. A critique of these assignments will be held in class so that the students have the opportunity to rework them. For new students coming in to the school, you will have until the end of the first 6 weeks to complete these. Failure to produce high-quality works can and does result in a student being removed from the class. Students enrolling at the fall must do these assignments to ensure their enrollment.

Prerequisite Summer Work for AP Students

The student is expected to complete at least 5 of the following assignments over the summer as a prerequisite for the AP Drawing/Design Portfolio.

These assignments will be due by the 3rd week of school. They will constitute 50% of your 1st six weeks grade. It is your choice as to which assignments you do. These pieces should be no smaller than 11”x14”. You are not bound to these assignments you may use them as a “springboard” for your ideas. You do not have to do drawings; you can paint or use other media.

Over the summer, you also need to be thinking about a theme/subject/studio investigation that you want to pursue in depth next year for the concentration component of the AP Portfolio.

The assignments are but not limited to:

• Do a portrait, self-portrait landscape or still life in the style of another artist-for example Monet/Impressionism, Matisse/Fauvism, Picasso/Cubism, Warhol/Pop, Dali/Surrealism, Van Gogh/Post-Impressionism, etc. (You may need to do a little research in order to understand the stylistic tendencies.)

• Do a self-portrait that expresses a specific mood. Think about the effect of color and how its use can help to convey the individual mood.

• Do a graphite drawing of a still life arrangement that consists of reflective objects. Your goal is to convey a convincing the composition you might also to render yourself being reflected in the objects.

• Do a drawing of an unusual interior- for Instance, looking inside a closet cabinet, refrigerator, inside your car… use your imagination.

• Do a drawing of your worldly treasures arranged in an interesting still life composition.

• Do a drawing of your worldly treasures coming to life-animate them.

• Do a drawing of your hands arranged in a variety of poses. You must carefully plan your composition in order for the separate units to work together visually.

• Do a colored rendering of a still life arrangement consisting of your family members’ shoes- try to convey some sense of each of your individual family member’s distinct personalities in your piece.

• Do a drawing of a futuristic cityscape-Houston in the year 2050(keep in mind the rules of one, two and three point perspective).

• Do a composition based on a memorable childhood game. Research the game and how it’s “rules” apply to the “game of life”. Examples include board games as well as physical activities and video games.

• Do a drawing of the demons hiding under your bed, or In your closet.

• Create a drawing in the medium of your choice of what you think the inside of a fruit or vegetable might look like.

• Create a work of art of a childhood story that captures the essence in one ”freeze frame”. Do not draw one scene, but rather, a composition of multiple things that occurred.

• Create a “life in motion” based composition from your favorite amusement park ride. Include the emotions you experience while on this ride.

• Create a mythological event. Think up a story involving the imaginary revolt of one of the following- Domestic animals, computers, machines, kitchen appliances, elevators, flowers, etc. Visualize your idea by making a convincing illustration of the event.

EXAMPLES OF BREADTH ASSIGNMENTS

• The use of various spatial systems, such as linear perspective, the illusion of three-dimensional forms, aerial views, and other ways of creating and organizing space.

• The use of various subjects, such as the human figure, landscape, still-life objects, etc.

• The use of various kinds of content, such as that derived from observation; an expressionistic viewpoint; imaginary or psychological imagery; social commentary, political statements; and other personal interests.

• Arrangement of forms in a complex visual space either geometric or organic forms

• The use of different approaches to represent form and space, such as rendering or gestural, painterly, expressionist, stylized, or abstract form

• The investigation of expressive mark-making with various types of media

• The use of pencil, brush, crayon, pastel, charcoal, pen and ink, paint, markers, etc.

• The use of a variety of drawing surfaces utilizing texture, size, shape and color

• The use of monotype and other printmaking processes, collage, montage, and other media and techniques.

• Distorted interiors from a personal perspective either real or imaginary

• Grid and distorted self-portraits

• Metaphorical or symbolic self-portraits

• Social commentary piece

• Drawings on shaped surface

• Compositions that combine illusionary space with flat surface

• Drawing that alternates from a single contour drawing into a fully rendered tonal drawing at student-designated focal points

• Layered self-portrait in mixed media

• Layered object with gesso.

• Paper relief drawing

• Surreal drawing

• Drawing that includes objects and narrative

• Three contour self-portraits

• Developed contour self-portrait

• Structural drawings

• Vermeer interior-interiors that reference the use of light and spatial organization (layering from near space to deep space).

• Watercolor painting in the style of Richard Estes

• Telling a story(or dream) through words and pictures

• Monochromatic self-portrait

• Still life with reflective objects

• Still life with all-white objects

• Life drawing (drawing from a model)

• Close-up of natural objects exploring space, form and unnatural color.

EXAMPLES OF CONCENTRATION

• MULTIPLE IMAGES FROM A SINGLE DESIGN OR IMAGE (COULD BE A RECONFIGURED IMAGE)

• FIGURE AND LANDSCAPE METAMORPHOSIS – MERGING, CHANGING FROM ONE TO THE OTHER

• ANDROGENY – MALE/FEMALES IN FIGURES ANDROGENOUS HUMAN FIGURE

• GENDER ISSUES…GENDER IN A CONTEXT – PUBLIC WORLD OR PRIVATE WORLD

• RACE OR ETHNICITY…ABSTRACTION – WHAT ARE ESSENTIAL ELEMENTS OF AN ETHNICITY/CULTURAL CONTEXT FOR ETHNICITY

• CLASS…HIERARCHY OF FORMS…IDEALS OF BEAUTY AND CLASSICISM...EXPLORE IN CULTURAL CONTEXT

• POPULAR ART…POPULAR CULTURE – EXPLORE DEFINITE GENRE SUCH AS TOYS, FOOD, KITSCH

• RITUAL AND SELF PORTRAITURE – EXPLORE PERSONAL RITUALS

• ENVIRONMENTALISM – POLITICS AND RESOURCES

• ANTI-WAR/PEACE – EXPLORE THIS THEME IN ART HISTORY AND REINTERPET

• LIGHT IN DRAWING – INVESTIGATE

• COLOR EXPLORATION WITH NATURAL PIGMENTS LIKE VEGETABLE DYES OR EARTH

• PORTRAITURE (SELF) – COLOR (OR OTHER ELEMENT); EMOTIONS/MOODS; FAMILY RELATIONSHIPS; HANDS

• ARCHITECTURE AS A DESIGN ELEMENT – OLD/NEW….THROUGH A DOOR/WINDOW/GATE

• FIGURES – IN ENVIRONMENTS; INTERIORS/EXTERIORS

• STILL LIFE OBJECTS AS A STARTING POINT – AS ALLEGORY; NATURAL OBJECTS; MAN MADE OBJECTS; MAN MADE VS NATURAL OBJECTS; REFLECTIVE SURFACES; TRANSPARENCIES; SHADOWS CAST BY OBJECTS

• CHANGING THE FUNCTION OF AN OBJECT

• SKYLINES – ELEVATIONS, PERSPECTIVE VIEWS FROM TOP, CITYSCAPE

• PATTERNS AND DESIGN INFLUENCED BY DIFFERENT CULTURES (PRECOLUMBIAN, NAVAJO)

• OBJECTS THAT HAVE A PARTICULAR MEANING TO THE STUDENT OR REMINDS THEM OF SOMETHING

• STUDY OF CHURCHES (ARCHITECTURE)

• TYPEFACES – TEXT THAT CONVEY DIFFERENT MEANINGS

• MORPHING FUNCTIONAL OBJECTS INTO NON-FUNCTIONAL

• WIND MOVEMENT

• ABNORMAL TEXTURE TO AN OBJECT

• POLITICAL SATIRE

• SHOE – REAL AND FUTURISTIC

• PEEP HOLES/KEY HOLES

• FANTASY LANDSCAPE EVOLVING OVER A MILLENIUM

• Architectural Renderings showing (exploring) the interior and exterior space with a strong focus on light, perspective and structure

• Exploration using realistic and non-objective animals (stipple technique….a series of black and white ink drawings moving into color)

• Process piece showing the making and baking of a cake (or any kind of Food)

• “The Wedding” from the engagement ring to the sealing kiss

• “The Attic” the childhood experiences

• An exploration of design textures related to nature

• A series of landscapes based on childhood experiences

• Portraits and the human form

• Pistolaro Poses (gun fighters)

• Toilets and water closets

• Monkeys or Primates

• Junkyard still life

• Tomatos from seed to fruit

• Tennis shoes, boots soccer shoes

• Fantasy characters – gargoyles, fairies, dragons, etc. – convincingly rendered

• Low riders

• Circus life

• My ancestry

• Crime and punishment

• Things that come in pairs

• The movie experience

• Foreshortened figures and objects

• Portraits

• Subject showing progression through historical references from a variety of artists

• Women in feminine roles

• “Exhaustion”

• “Seven Deadly Sins”

• “Things That Make Me Smile”

• Cartoon character through animation cells

• Architectural viewpoints that are unusual. Architectural forms that are unusual.

• Reflections of images wherein the reflections are an emotional exploration (of literal reflections)

• Instruments that make music

• Generations of my family

• The Human Form Within Nature

• Travel

• Hunger

• Family Relationships

• Urban Symbols

• Suburban Interpretations

• “My Cultural Icons”

• Fears

• “The Power of Words”

• People That Have Influenced My LIFE

• Illustration of Bible Stories with References

• Canterbury Tales in Anime

• Electronic self-portraits and figures from realism to abstraction

• Black and white photographs of buildings interiors and exteriors

• Toys and the idea of what a toy is to different people and age groups

• Japanese patterning (Japanese student)

• American quilt patterns

• Signage

• Doors

• Exterior Design

• Clothing

• Mechanical Illustration

• Transportation - trains, planes, autos

Student’s personal ideas (list three):

1.______________________________________________________________________

2.______________________________________________________________________

3.______________________________________________________________________

CONCENTRATION RUBRIC

Quality of the concept/idea represented – There is evidence of thinking and of focus.

_____ 100 The concept engages the viewer with the work and the idea The work demonstrates an original vision (Innovative visual solutions – working toward an individual voice). The work shows informed risk-taking and development beyond technical concerns.

_____ 90 The idea is good to strong, there is evidence of thought in the work. An evocative theme is investigated.

_____ 80 Manipulation of ideas is evident. Some growth and discovery are evident.

_____ 75 Insufficient sense of investigation. Problems are not successfully resolved.

_____ 70 Simplistic in addressing solutions to problems. The idea is the same as the one(s) before. Shows no clear intent. If other source materials are used, the student’s voice is not discernable.

_____ 60 Shows little, if any, evidence of thinking/artistic decision-making. Trite in addressing solutions. Shows that work is obviously copied from photographic sources or from the work of others.

Drawing Quality

____ 100 Excellent mastery of drawing techniques. The work shows effective integration of concept

and technique.

_____ 90 Strong evidence of drawing competence. Skill is evident

_____ 80 The drawing quality is generally good

_____ 75 Moderate drawing skills are demonstrated

_____ 70 Week, awkward drawing skills are evident

_____ 60 Poor quality of drawing skills

Value/Color Quality Composition & Visual Complexity – Use of

Media/Technique Design Principles (Balance, Unity, Emphasis/Focal Point, Contrast, Variety, Movement).

_____ 100 Excellent _____ 100 Excellent

_____ 90 Strong _____ 90 Strong

_____ 80 Good _____ 80 Good

_____ 75 Moderate _____ 75 Moderate

_____ 70 Weak _____ 70 Weak

_____ 60 Poor _____ 60 Poor

ON Time

_____ 100 = 100% Finished by due date

_____ 75 = 75 ¾% Finished by due date

_____ 50 =50 % Finished by due date

_____ 25 = 25% finished by due date

______0 = Not turned in or put up for critique on the due date

Section Totals –

_____ Quality of Concept +

_____ Drawing +

_____ Value/Color +

_____ Composition & Visual Complexity +

_____ On Time =

_____ TOTAL (Divide by 5)

Bibliography

Chaet, Bernard. The Art of Drawing. Wadsworth Publishing

Calderon, Alfonso. Dibujando la Figura Humana. Primera Edicion. Ediciones

CEAC, S. A., Barcelona, Espana, 1970.

Gilbert, Rita. Living With Art. 6th edition. McGraw Hill Companies, Inc., New York, NY, 2002.

Saxton, Colin. Curso de Arte. Primera Edicion. QED Publishing Limited, Barcelona, Espana, 1982.

Smith, S., Wheeler, L. The Drawing and Painting Course. Quantum, Publishin Ltd.,

London, England, 2002.

Stefl, Jerry. The AP Vertical Teams Guide for Studio Art. The College Board

Winnard, Patricia, NBCT, AP Studio Art Consultant and Reader/

Zelanski, Paul, and Mary Pat Fisher. The Art of Seeing. Prentice Hall

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