AP ART
"Remember that it is unethical, constitutes plagiarism, and often violates copyright law to simply copy a work of art (even in another medium) that was made by someone else and represent it as your own. If you submit work that uses other artists' work or imagery you'll need to show substantial and significant development beyond duplication — through manipulation of the formal qualities, design, and/or concept of the source. Your individual "voice" should be clearly present."
|
AP students try and discover your "why" and it will help you to determine "what" you need to do for your sustained investigation! Watch the video to help you start. You should know your "why" by the time you start your AP year.
|
|
|
The entire AP portfolio can now be submitted digitally with the college board! Quality images are needed.
|
The AP Portfolio:
Sustained Investigation: Works demonstrate sustained investigation through practice, experimentation, and revision. (15 uploaded images).
Best Works!!!! Works each demonstrate synthesis of materials, processes, and ideas using drawing skills. |
|
Drawing Portfolio ~ Most will choose this option
|
2-D Design Portfolio
|
|
|
Full Syllabus.... as approved by The College Board
(All interested students are responsible for thoroughly reading the syllabus below.)
Curriculum Requirements:
C1 -- The course promotes a sustained investigation of all three aspects of portfolio development – quality, concentration, and breadth – as outlined in the Course Description of Studio Art poster throughout the duration of the course. (Note: the body of work submitted for the portfolio can include art created prior to and outside of the AP Studio Art course.)
C2 -- The course enables students to develop mastery (i.e. “quality”) in concept, composition, and execution of drawing, 2-D design, or 3-D design.
C3 -- The course enables students to develop a body of work investigation a strong underlying visual idea in drawing, 2-D design, or 3-D design that grows out of a coherent plan of action or investigation (i.e. a “concentration”)
C4 -- The course teaches students a variety of concepts and approaches in drawing, 2-D design, or 3-D design so that the student is able to demonstrate a range to of abilities and versatility with technique, problem-solving, and ideation (i.e. “breath”). Such conceptual variety can be demonstrated through either the use of one or the use of several media.
C5 -- The course emphasizes making art as an ongoing process that involves the student in informed and critical decision making.
C6 -- The course includes group and individual student critiques and instructional conversations with the teacher, enabling students to learn to analyze and discuss their own artworks and those of their peers.
C7 -- The course teaches students to understand artistic integrity as well as what constitutes plagiarism. If students produce work that makes use of photographs, published images and / or other artists’ work, the course teaches students how to develop their own work so that it moves beyond duplication.
Course Description:
This course has been developed to accommodate students who have expressed an interest in completing either the AP Drawing Portfolio Exam or the AP 2-D Design Portfolio Exam. Through teacher instruction, emphasis will be placed on the production of a volume of quality pieces of art. Students will address all three section of the portfolio: Breadth, Concentration and Quality. These individual sections of each portfolio will be discussed in detail both before summer and at the start of the school year. [C1]
It is imperative for students enrolling in any AP Studio art course, to possess the ability to work independently in terms of their ability to conduct research, their knowledge of materials and equipment, and their ability to take initiative during the production phase. [C2]
(Students will choose one of the portfolios to pursue after completing the summer sketchbook)
Drawing Portfolio:
Students will expand their drawing and mark making to advance their visual communication skills by exploring a variety of design processes and techniques, and compositional and aesthetic concepts. [C2] A minimum of 27 quality works will be completed. The portfolio will consist of both original work and slides.
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; using the elements and principles of design. [C2] A minimum of 27 quality works will be completed. The portfolio will consist of both original work and slides.
Students must sign up for an Independent study, in addition to a section of AP Studio, for 2 credits. Students will have work to complete over the summer. Students will completely fill a sketch book/ journal, as a record of their process for the year. Students will submit an AP portfolio for Exam.
Summer Assignments
The following two assignments will be required to pass first quarter. I also want you to take time over the summer to think about ideas that you may want to pursue as a concentration. Throughout the summer, please create a list of 20 potential ideas to be discussed with the
class during the second week of school. [C1] [C3]
Summer Assignment #1:
(Can be completed as part of Art III)
“The sketchbook” you receive should be your “new best friend” this summer. You need to carry it with you every day, everywhere! Open it up first thing in the morning and last thing at night and many times in between. Draw in it, write in it, scribble in it, paint in it, glue things into it, cut the pages, tear the pages, change the way it looks to make it look like your own book.. At the end of the summer it should reflect YOU and your experiences throughout the summer. Work in your sketchbook is an ongoing process that will help you make informed and critical decisions about the progress of your work.[C5] Your sketchbook is the perfect place to try a variety of concepts and techniques as you develop your own voice and style. [C3] [C4]
Everything for this summer will be done in your sketch book. You will fill half, to two thirds of your sketchbook this summer. Think about Breadth or variety of subject matter, technique and mediums. Think about and explore ideas for what you could use as a Concentration or focus. Right now, for sketchbook purposes, effort, thought and time equals Quality. [C1] [C2] [C3]
[C4]
RULES for working in your sketchbook: [C2] [C3] [C4] [C5]
1. Do not make “perfect” drawings. Make imperfect drawings; make mistakes; make false starts. Let your hand follow your feelings not what your brain is telling you to do.
2. Always fill the page you are working on. Go off the edges whenever possible. Do not make dinky little drawings in the center of the page. Make every square inch count for something.
3. Do not start something and abandon it. Go back later, change it, and make it into something else. Being able to rescue bad beginnings is the sign of a truly creative mind.
4. Always finish what you start no matter how much you don’t like it.
5. Put the date on every page you finish.
6. DO NOT DRAW FROM PHOTOGRAPHS, magazines, etc. The use of published photographs or the work of other artists for duplication is plagiarism. Starting now, this will matter, for the rest of your art career … get used to it. Draw from observation, things you see in the world. Learn to translate the dynamic 3D world into a 2D format. [C7]
7. Your sketch book should be twice as thick as it was when you got it.
8. No cute, pretty, precious, adorable, or trite images. This is a college level art class, not a recreation program to make pretty picture to hang in your house. Expect your ideas about what makes good art to be challenged.
9. Don’t be boring with your work. Challenge us! Challenge yourself!
10. Avoid showing your work to other unless you know they are going to understand what you are trying to do in your sketchbook. You don’t need negative feedback when you are trying out new ideas or experimenting. This is a place for risk taking. Don’t invite criticism unless you are confident that it won’t derail your free spirit.
What to do in your sketchbook: [C2] [C3] [C4] [C5]
• Draw, draw, draw, paint, paint, paint, paint, draw, collage…
• Use pencils, pens, crayons, sticks, charcoal, burnt matches, pastel, watercolor, acrylic, fingers, markers, coffee… basically anything that will make a mark. You have the power to make the mark.
• Draw what you SEE in the world. No drawings from published images. You need to learn to draw without crutch of someone else’s composition or flattening of space.
• Use gesture, line, and value in your drawings. Try to create a sense of light and depth in your images.
• Use the principles and elements.
• Glue stuff into your sketchbook… ticket stubs, gum wrappers, tin foil, lace, lists, receipts, sand, leaves, twigs, pebbles, shells, earrings, shoe laces, whatever. Make a collage with the stuff. Add these things to pages that you started but don’t like. Let your imagination go wild.
• Build the pages up by layering things, paint on top of collage, newspaper, and drawing, and attach pieces of fabric and photographs and paint over parts of them.
• Express yourself! Work to develop mastery in concept, composition, and execution of your ideas.
• Make decisions about what you do based on how things look. Go for the tough look, not the easy solution. Say something important about the word you live in.
• Take a news story and interpret it visually, use abstraction to express an idea. Play around with geometric and organic forms, interlocking and overlapping to create an interesting composition. Use color to finish the work.
• Make at least 100 gesture drawings from observation of the figure.
• Make at least 25 contour drawings from observation of anything around you. Remember to use the whole page! Fill the space behind the objects you draw. Make it count
• Make a simple contour drawing of an arrangement of objects. Repeat the drawing four times. Explore different color schemes in each of the four drawings. Write about how the color changes the feeling in each image.
• Write about your work. Write about what you like about a drawing, what you don’t like about it. Write about your hopes for your artwork. Write about why you like to make art.
• Write about how your artwork could impact another’s thinking or feeling. Write about what you want to say with your artwork. And what it means to you in the larger sense.
• Create a self-portrait using distortion, or cubism, or impressionism or minimalism or pop.
• Create a drawing of the interior of your room but add collage elements for the lamps, and furniture.
• Research to understand the stylistic tendencies of other artists and movements. Record, paste in pictures of what you find. Write about it. Why do you like it / choose it?
• Do a drawing of an unusual interior… like looking inside a closet, cabinet, refrigerator, inside your car…
• Combine photocopied body parts with anatomical drawings.
• Work with analogous or monochromatic or complementary color schemes.
• Define art vocabulary visually or with words.
• Lastly, this experience should be for your growth as an art student, as a person who values art as a means of expression. Keep it for yourself so that you will feel free to work without judgment. Remember this is an ongoing process that uses informed and critical decision making to develop ideas.
• Just simply draw from observation… sit in a park, take a walk in the woods, people watch…
• DUE FIRST WEEK OF SCHOOL… you will not pass first quarter without it. I will know at this time who is serious and who is not.
Summer Assignment #2:
You are to complete at least 2 of the assignments listed below; over the summer for the “Breadth” section of your portfolio. These pieces will be due at the beginning of the second week of school. Each of the pieces needs to be done on an 18 x 24 or smaller surface. You may choose the type of surface to work on – paper, card-board, canvas board, plywood, mat board, etc. (I will supply illustration board for up to two pieces)
Drawing portfolio…
Drawing is a form of mark making mixed with considerations to composition, focal point and use of space. Demonstrate and explore a variety of methods (weighted line, contour, continuous line, wash, tone/value, gesture, vanishing points, etc.) and materials (black/white, color, wet/dry, etc.). Use a range of successful and purposeful image development strategies stemming from observation, memory, and fantasy sources. [C2]
2D design portfolio…
Please keep in mind that although drawing does involve design, the emphasis in this studio is on design – the formal elements and principles (elements: line, color, texture, space, value, shape, and form. Principles: unity, balance, contrast, repetition, variety, dominance, etc.) Concept/idea, craftsmanship, and the creation of a visually successful design will all be components of every grade. You will develop mastery in concept, composition, as well as execution of 2D design elements and principles. As you approach the requirements for this course, you will be expected to use a variety of concepts and approaches to demonstrate your ideas and abilities. [C2]
Assignment List (choose at least 2 to complete over the summer) Keep in mind these will be used to help show Breadth in your portfolio.
1. Do some exploration with mixed media. Do a piece (portrait, landscape, or still-life) in which you use at least three different media – i.e., a wet medium, a dry medium and some collage element.
2. Do a portrait, self-portrait, still life, or landscape using either a complementary or analogous color scheme (you may use black and white as well as shades and tints of the chosen colors)
3. Do a drawing of a futuristic cityscape – e.g., Dallas in the year 2050 (keep in mind rules of one, two, and three point perspective.
4. Do graphite drawing of a still-life arrangement that consists of reflective objects – your goal is to convey a convincing representation with a full range of values. To add interest to the composition, you might also want to render yourself being reflected in the objects.
5. Try the above but with glass objects.
6. Do a drawing of an unusual interior – for instance, looking inside a closet, cabinet, refrigerator, inside your car… use your imagination!
7. Do a drawing of your worldly treasures arranged in an interesting still-life composition. – maybe try bringing them to life (animate them)
8. Grid a photo you took. If the photo is landscape (wide) than turn your paper portrait (tall) and vise versa.
9. Illustrate an imaginary place with extreme realism.
10. Try combing photocopied body parts (face, hands, feet) with anatomical drawings.
11. Acrylic painting using analogous or complementary color schemes.
12. Piece inspired by the “fortune” from a fortune cookie.
13. Try drawing figures with India ink using a long wobbly stick … make sure to hold it at the very end.
14. Drawing composition that alternates from a simple contour drawing into a fully rendered drawing at student – designated focal points.
15. Write your own idea….
1st Quarter:
Final choice of either Drawing Portfolio or 2D Design Portfolio will be made.
Start work on Breadth part of Portfolio:
• 2D Design. Breadth requires slides of 12 works in which the elements and principles of two-dimensional design are the primary focus; students are asked to demonstrate that they arethoughtfully applying these principles while composing their art. These works as a group should demonstrate the student’s visual organization skills. As a whole, the student’s work in this section should demonstrate exploration, inventiveness, and the expressive manipulation of form, as well as knowledge of compositional organization. The best demonstrations of breadth clearly show experimentation and a range of conceptual approaches to the work.[C1] It is possible to do this in a single medium of in a variety of media. If the student chooses to use a single medium – for example, if a portfolio consists entirely of collage or printmaking – the images must show a variety of applications of design principles.[C4] Examples, but not limited to:
o work that employs line, shape or color to create unity or variety in a composition
o Work that demonstrates symmetry/ asymmetry, balance, or anomaly
o Work that explores figure/ ground relationships
o Development of a modular or repeat pattern to create rhythm
o Color organization using primary, secondary, tertiary, analogous, or other color relationships for emphasis or contrast in a composition
o Work that investigates or exaggerates proportion/ scale.
Students must submit a total of 12 slides of 12 different works for this section, including those done over the summer.
* Drawing. In this section students are asked to present evidence of drawing ability in response to a wide variety of problems. The work submitted should demonstrate understanding of fundamental drawing concepts, including drawing from observation, work with invented or nonobjective forms, effective use of light and shade, line quality, surface manipulation, composition, various spatial systems, and expressive mark-making.
The best demonstrations of breadth clearly show experimentation and a range of conceptual approaches to the work. It is possible to do this in a single medium or in a variety of media. If the student chooses a single medium – for example, if the portfolio consists entirely of charcoal drawings – the work must show a range of approaches, techniques, compositions, and subjects.
[C1] [C4]
An enormous range of possibilities exists for this section. Following a list of possible approaches, but not limited to...
o 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
o The use of various subjects, such as the human figure, landscape, and still-life objects.
o The use of various kinds of content, such as the derived from observation, an expressionistic viewpoint, imaginary or psychological imagery, social commentary, political statements; and other personal interests
o Arrangement of forms in a complex visual space
o The use of different approaches to represent from and space, such as rendered, gestural, painterly, expressionist, stylized, or abstract form
o The investigation of expressive mark-making…Students must submit a total of 12 slides of 12 different works for this section, including those
done over the summer.
1st quarter Assignments:
• Sketch Books are due. List of 20 ideas for the Concentration section Due. [C3]
• To start on the Breadth section of the portfolio students can choose from the summer list of assignments and or create their own path to investigate over the quarter. A plan of action, listing detailed ideas for the first 7 projects needs to be submitted by the first week of class. Students will have at least 2 projects in process at any given time. [C4]
• Students will need to produce work at about a rate of one quality piece per week. Breadth will flow over into 2nd quarter. (7 works must be completed by end of 1st quarter, not including summer work)
• Brief Class Critiques will take place every week. Feedback / Critique forms will be completed, once a week on your own. Feedback/ critique forms will be filled out on a different class mate each week. Emphasizing art as an on-going process that involves the student in informed and critical decisions about their both their own art and the art of their peers. Also providing continuous feedback for decision making related to their work. [C5] [C6]
• Students will use the focus of the Breadth part of their portfolios to start formulating a focus and works for the Concentration section of their portfolio. To be started mid-way through second quarter. [C1]
• Slides will be taken regularly.
2nd Quarter:
Start work on Concentration part of Portfolio:
• 2D Design and Drawing. 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 of working, and development of the work over time. Regardless of the content of the concentration, the works should be unified by an underlying idea that has visual and or conceptual coherence.[C3] The choices of technique, medium, style, form, subject, and content are made by the student, in consultation with the teacher. [C1] Students will be asked to respond to the following questions:
o What is the central idea of your concentration?
o How does the work in your concentration demonstrate the exploration of your idea? You may refer to specific slides as examples.
A concentration should consist of a group of works that share a single theme – for example, an in-depth study of a particular visual problem or a variety of ways of handling an interesting subject. Some concentrations involve sequential works, such as a series of studies that lead to, and are followed by, more finished works. If a student uses subject matter as the basis of a concentration, the work should show the development of a visual language appropriate for that subject. The investigation of a medium in and of itself, without a strong underlying visual idea, generally does not constitute a successful concentration. [C3]
Below are examples of 2D Design….
o An exploration of patterns and designs found in nature and or culture
o A series of works that begins with representational interpretations and evolves into abstraction
o A series of landscapes based upon personal experience of a particular place in which composition and light are used to intensify artistic expression
o Design and execution of a children’s book
o Development of a series of identity products (logo, letterhead, signage, and so on) for imaginary businesses
o A series of political cartoons using current events and images
o Interpretive portraiture of figure studies that emphasize dramatic composition or abstraction
o A personal of family history communicated through symbols or imagery
o A series of fabric designs, apparel designs, or weavings used to express particular themes
o Your own brilliant idea!!!
Below are examples of Drawing…
o A series of expressive landscapes based upon personal experience of a particular place
o A personal or family history communicated through the content and style of still-life images
o Abstractions from mechanical objects that explore mark making
o Interpretive self-portraiture and figure studies that emphasize exaggeration and distortion
o A project that explores interior or exterior architectural space, emphasizing principles of perspective, structure, ambiance created by light, etc.
o A figurative project combining animal and human subjects – drawings, studies, and completed works
o An interpretive study of literary characters in which mixed media, color, and form are explored
o The use of multiple images to create works that reflect psychological or narrative eventsBecause the range of possible concentrations is so wide, the number of works the student creates should be dictated by the focus of the investigation. The chosen visual idea should be explored to the greatest possible extent. In most cases, students will produce more than 12works and select from among them the works that best represent the process of investigation.
[C1] [C3]
2nd quarter Assignments:
• During the first 2 weeks, students are to finish up work needed for Breadth part of their Portfolios. Work from previous years can be used for the last few pieces. Slides need to be taken. Students are recommended to take slides of more than 12 pieces of work … The best selections for the portfolio will be made 4th quarter.
• Turn in a written answer to the following question by end of 2nd week of quarter. What is the central idea of your concentration? [C3]
• Complete 7 works of art for the Concentration part of the Portfolio. Students will have at least 2 projects in process at any given time.
• Students will need to produce work at about a rate of one quality piece per week. Concentration will flow over into 3rd quarter. (7 works must be completed by end of 2nd quarter, not including summer work)
• Brief Class Critiques will take place every week. Feedback / Critique forms will be completed, once a week on your own. Feedback/ critique forms will be filled out on a different class mate each week. [C6]
• Slides will be taken regularly.
3rd Quarter:
Finish work on Concentration part of Portfolio: (no new information)
3rd quarter Assignments:
• Complete 9 works of art for the Concentration part of the Portfolio. Students will have at least 2 projects in process at any given time.
• Students will need to produce work at about a rate of one quality piece per week. (9 works must be completed by end of 3rd quarter, not including summer work)
• Brief Class Critiques will take place every week. Feedback / Critique forms will be completed, once a week on your own. Feedback/ critique forms will be filled out on a different class mate each week. [C6]
• Slides will be taken regularly.
4th Quarter:
Start work on Quality part of Portfolio:
• 2D Design and Drawing. 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. [C2][C1] There is no preferred (or unacceptable) style or content. Students will submit five original works in one or more media. Students will carefully select the works that demonstrate their highest level of accomplishment in the class. The works may include, but not limited to, graphic design, digital imaging, photography, collage, fabric design, weaving, illustration, painting, or print making. The works may be on flat surfaces, such as paper, cardboard, canvas board, or un-stretched canvas. Works submitted may not be larger than 18” x 24”, including matting or mounting.
4th quarter Assignments:
• Turn in a written answer to the following question by end of 1st week of quarter. How does the work in your concentration demonstrate the exploration of your idea? You may refer to specific slides as examples.
• Choose and mount 5 works of art for the Quality part of the Portfolio. These can be from you summer sketchbook, previous years art, and or art used in the Concentration and Breadth part of your portfolio – NO SLIDES, ALL ORIGINAL (18” x 24” or smaller)
• Construct Final Portfolio – make all final decisions. Students understand that making art is an ongoing process that uses informed and critical decision making as these selections are made for their portfolio submission. [C5]
• Class critiques will take place on final portfolios.
(All interested students are responsible for thoroughly reading the syllabus below.)
Curriculum Requirements:
C1 -- The course promotes a sustained investigation of all three aspects of portfolio development – quality, concentration, and breadth – as outlined in the Course Description of Studio Art poster throughout the duration of the course. (Note: the body of work submitted for the portfolio can include art created prior to and outside of the AP Studio Art course.)
C2 -- The course enables students to develop mastery (i.e. “quality”) in concept, composition, and execution of drawing, 2-D design, or 3-D design.
C3 -- The course enables students to develop a body of work investigation a strong underlying visual idea in drawing, 2-D design, or 3-D design that grows out of a coherent plan of action or investigation (i.e. a “concentration”)
C4 -- The course teaches students a variety of concepts and approaches in drawing, 2-D design, or 3-D design so that the student is able to demonstrate a range to of abilities and versatility with technique, problem-solving, and ideation (i.e. “breath”). Such conceptual variety can be demonstrated through either the use of one or the use of several media.
C5 -- The course emphasizes making art as an ongoing process that involves the student in informed and critical decision making.
C6 -- The course includes group and individual student critiques and instructional conversations with the teacher, enabling students to learn to analyze and discuss their own artworks and those of their peers.
C7 -- The course teaches students to understand artistic integrity as well as what constitutes plagiarism. If students produce work that makes use of photographs, published images and / or other artists’ work, the course teaches students how to develop their own work so that it moves beyond duplication.
Course Description:
This course has been developed to accommodate students who have expressed an interest in completing either the AP Drawing Portfolio Exam or the AP 2-D Design Portfolio Exam. Through teacher instruction, emphasis will be placed on the production of a volume of quality pieces of art. Students will address all three section of the portfolio: Breadth, Concentration and Quality. These individual sections of each portfolio will be discussed in detail both before summer and at the start of the school year. [C1]
It is imperative for students enrolling in any AP Studio art course, to possess the ability to work independently in terms of their ability to conduct research, their knowledge of materials and equipment, and their ability to take initiative during the production phase. [C2]
(Students will choose one of the portfolios to pursue after completing the summer sketchbook)
Drawing Portfolio:
Students will expand their drawing and mark making to advance their visual communication skills by exploring a variety of design processes and techniques, and compositional and aesthetic concepts. [C2] A minimum of 27 quality works will be completed. The portfolio will consist of both original work and slides.
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; using the elements and principles of design. [C2] A minimum of 27 quality works will be completed. The portfolio will consist of both original work and slides.
Students must sign up for an Independent study, in addition to a section of AP Studio, for 2 credits. Students will have work to complete over the summer. Students will completely fill a sketch book/ journal, as a record of their process for the year. Students will submit an AP portfolio for Exam.
Summer Assignments
The following two assignments will be required to pass first quarter. I also want you to take time over the summer to think about ideas that you may want to pursue as a concentration. Throughout the summer, please create a list of 20 potential ideas to be discussed with the
class during the second week of school. [C1] [C3]
Summer Assignment #1:
(Can be completed as part of Art III)
“The sketchbook” you receive should be your “new best friend” this summer. You need to carry it with you every day, everywhere! Open it up first thing in the morning and last thing at night and many times in between. Draw in it, write in it, scribble in it, paint in it, glue things into it, cut the pages, tear the pages, change the way it looks to make it look like your own book.. At the end of the summer it should reflect YOU and your experiences throughout the summer. Work in your sketchbook is an ongoing process that will help you make informed and critical decisions about the progress of your work.[C5] Your sketchbook is the perfect place to try a variety of concepts and techniques as you develop your own voice and style. [C3] [C4]
Everything for this summer will be done in your sketch book. You will fill half, to two thirds of your sketchbook this summer. Think about Breadth or variety of subject matter, technique and mediums. Think about and explore ideas for what you could use as a Concentration or focus. Right now, for sketchbook purposes, effort, thought and time equals Quality. [C1] [C2] [C3]
[C4]
RULES for working in your sketchbook: [C2] [C3] [C4] [C5]
1. Do not make “perfect” drawings. Make imperfect drawings; make mistakes; make false starts. Let your hand follow your feelings not what your brain is telling you to do.
2. Always fill the page you are working on. Go off the edges whenever possible. Do not make dinky little drawings in the center of the page. Make every square inch count for something.
3. Do not start something and abandon it. Go back later, change it, and make it into something else. Being able to rescue bad beginnings is the sign of a truly creative mind.
4. Always finish what you start no matter how much you don’t like it.
5. Put the date on every page you finish.
6. DO NOT DRAW FROM PHOTOGRAPHS, magazines, etc. The use of published photographs or the work of other artists for duplication is plagiarism. Starting now, this will matter, for the rest of your art career … get used to it. Draw from observation, things you see in the world. Learn to translate the dynamic 3D world into a 2D format. [C7]
7. Your sketch book should be twice as thick as it was when you got it.
8. No cute, pretty, precious, adorable, or trite images. This is a college level art class, not a recreation program to make pretty picture to hang in your house. Expect your ideas about what makes good art to be challenged.
9. Don’t be boring with your work. Challenge us! Challenge yourself!
10. Avoid showing your work to other unless you know they are going to understand what you are trying to do in your sketchbook. You don’t need negative feedback when you are trying out new ideas or experimenting. This is a place for risk taking. Don’t invite criticism unless you are confident that it won’t derail your free spirit.
What to do in your sketchbook: [C2] [C3] [C4] [C5]
• Draw, draw, draw, paint, paint, paint, paint, draw, collage…
• Use pencils, pens, crayons, sticks, charcoal, burnt matches, pastel, watercolor, acrylic, fingers, markers, coffee… basically anything that will make a mark. You have the power to make the mark.
• Draw what you SEE in the world. No drawings from published images. You need to learn to draw without crutch of someone else’s composition or flattening of space.
• Use gesture, line, and value in your drawings. Try to create a sense of light and depth in your images.
• Use the principles and elements.
• Glue stuff into your sketchbook… ticket stubs, gum wrappers, tin foil, lace, lists, receipts, sand, leaves, twigs, pebbles, shells, earrings, shoe laces, whatever. Make a collage with the stuff. Add these things to pages that you started but don’t like. Let your imagination go wild.
• Build the pages up by layering things, paint on top of collage, newspaper, and drawing, and attach pieces of fabric and photographs and paint over parts of them.
• Express yourself! Work to develop mastery in concept, composition, and execution of your ideas.
• Make decisions about what you do based on how things look. Go for the tough look, not the easy solution. Say something important about the word you live in.
• Take a news story and interpret it visually, use abstraction to express an idea. Play around with geometric and organic forms, interlocking and overlapping to create an interesting composition. Use color to finish the work.
• Make at least 100 gesture drawings from observation of the figure.
• Make at least 25 contour drawings from observation of anything around you. Remember to use the whole page! Fill the space behind the objects you draw. Make it count
• Make a simple contour drawing of an arrangement of objects. Repeat the drawing four times. Explore different color schemes in each of the four drawings. Write about how the color changes the feeling in each image.
• Write about your work. Write about what you like about a drawing, what you don’t like about it. Write about your hopes for your artwork. Write about why you like to make art.
• Write about how your artwork could impact another’s thinking or feeling. Write about what you want to say with your artwork. And what it means to you in the larger sense.
• Create a self-portrait using distortion, or cubism, or impressionism or minimalism or pop.
• Create a drawing of the interior of your room but add collage elements for the lamps, and furniture.
• Research to understand the stylistic tendencies of other artists and movements. Record, paste in pictures of what you find. Write about it. Why do you like it / choose it?
• Do a drawing of an unusual interior… like looking inside a closet, cabinet, refrigerator, inside your car…
• Combine photocopied body parts with anatomical drawings.
• Work with analogous or monochromatic or complementary color schemes.
• Define art vocabulary visually or with words.
• Lastly, this experience should be for your growth as an art student, as a person who values art as a means of expression. Keep it for yourself so that you will feel free to work without judgment. Remember this is an ongoing process that uses informed and critical decision making to develop ideas.
• Just simply draw from observation… sit in a park, take a walk in the woods, people watch…
• DUE FIRST WEEK OF SCHOOL… you will not pass first quarter without it. I will know at this time who is serious and who is not.
Summer Assignment #2:
You are to complete at least 2 of the assignments listed below; over the summer for the “Breadth” section of your portfolio. These pieces will be due at the beginning of the second week of school. Each of the pieces needs to be done on an 18 x 24 or smaller surface. You may choose the type of surface to work on – paper, card-board, canvas board, plywood, mat board, etc. (I will supply illustration board for up to two pieces)
Drawing portfolio…
Drawing is a form of mark making mixed with considerations to composition, focal point and use of space. Demonstrate and explore a variety of methods (weighted line, contour, continuous line, wash, tone/value, gesture, vanishing points, etc.) and materials (black/white, color, wet/dry, etc.). Use a range of successful and purposeful image development strategies stemming from observation, memory, and fantasy sources. [C2]
2D design portfolio…
Please keep in mind that although drawing does involve design, the emphasis in this studio is on design – the formal elements and principles (elements: line, color, texture, space, value, shape, and form. Principles: unity, balance, contrast, repetition, variety, dominance, etc.) Concept/idea, craftsmanship, and the creation of a visually successful design will all be components of every grade. You will develop mastery in concept, composition, as well as execution of 2D design elements and principles. As you approach the requirements for this course, you will be expected to use a variety of concepts and approaches to demonstrate your ideas and abilities. [C2]
Assignment List (choose at least 2 to complete over the summer) Keep in mind these will be used to help show Breadth in your portfolio.
1. Do some exploration with mixed media. Do a piece (portrait, landscape, or still-life) in which you use at least three different media – i.e., a wet medium, a dry medium and some collage element.
2. Do a portrait, self-portrait, still life, or landscape using either a complementary or analogous color scheme (you may use black and white as well as shades and tints of the chosen colors)
3. Do a drawing of a futuristic cityscape – e.g., Dallas in the year 2050 (keep in mind rules of one, two, and three point perspective.
4. Do graphite drawing of a still-life arrangement that consists of reflective objects – your goal is to convey a convincing representation with a full range of values. To add interest to the composition, you might also want to render yourself being reflected in the objects.
5. Try the above but with glass objects.
6. Do a drawing of an unusual interior – for instance, looking inside a closet, cabinet, refrigerator, inside your car… use your imagination!
7. Do a drawing of your worldly treasures arranged in an interesting still-life composition. – maybe try bringing them to life (animate them)
8. Grid a photo you took. If the photo is landscape (wide) than turn your paper portrait (tall) and vise versa.
9. Illustrate an imaginary place with extreme realism.
10. Try combing photocopied body parts (face, hands, feet) with anatomical drawings.
11. Acrylic painting using analogous or complementary color schemes.
12. Piece inspired by the “fortune” from a fortune cookie.
13. Try drawing figures with India ink using a long wobbly stick … make sure to hold it at the very end.
14. Drawing composition that alternates from a simple contour drawing into a fully rendered drawing at student – designated focal points.
15. Write your own idea….
1st Quarter:
Final choice of either Drawing Portfolio or 2D Design Portfolio will be made.
Start work on Breadth part of Portfolio:
• 2D Design. Breadth requires slides of 12 works in which the elements and principles of two-dimensional design are the primary focus; students are asked to demonstrate that they arethoughtfully applying these principles while composing their art. These works as a group should demonstrate the student’s visual organization skills. As a whole, the student’s work in this section should demonstrate exploration, inventiveness, and the expressive manipulation of form, as well as knowledge of compositional organization. The best demonstrations of breadth clearly show experimentation and a range of conceptual approaches to the work.[C1] It is possible to do this in a single medium of in a variety of media. If the student chooses to use a single medium – for example, if a portfolio consists entirely of collage or printmaking – the images must show a variety of applications of design principles.[C4] Examples, but not limited to:
o work that employs line, shape or color to create unity or variety in a composition
o Work that demonstrates symmetry/ asymmetry, balance, or anomaly
o Work that explores figure/ ground relationships
o Development of a modular or repeat pattern to create rhythm
o Color organization using primary, secondary, tertiary, analogous, or other color relationships for emphasis or contrast in a composition
o Work that investigates or exaggerates proportion/ scale.
Students must submit a total of 12 slides of 12 different works for this section, including those done over the summer.
* Drawing. In this section students are asked to present evidence of drawing ability in response to a wide variety of problems. The work submitted should demonstrate understanding of fundamental drawing concepts, including drawing from observation, work with invented or nonobjective forms, effective use of light and shade, line quality, surface manipulation, composition, various spatial systems, and expressive mark-making.
The best demonstrations of breadth clearly show experimentation and a range of conceptual approaches to the work. It is possible to do this in a single medium or in a variety of media. If the student chooses a single medium – for example, if the portfolio consists entirely of charcoal drawings – the work must show a range of approaches, techniques, compositions, and subjects.
[C1] [C4]
An enormous range of possibilities exists for this section. Following a list of possible approaches, but not limited to...
o 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
o The use of various subjects, such as the human figure, landscape, and still-life objects.
o The use of various kinds of content, such as the derived from observation, an expressionistic viewpoint, imaginary or psychological imagery, social commentary, political statements; and other personal interests
o Arrangement of forms in a complex visual space
o The use of different approaches to represent from and space, such as rendered, gestural, painterly, expressionist, stylized, or abstract form
o The investigation of expressive mark-making…Students must submit a total of 12 slides of 12 different works for this section, including those
done over the summer.
1st quarter Assignments:
• Sketch Books are due. List of 20 ideas for the Concentration section Due. [C3]
• To start on the Breadth section of the portfolio students can choose from the summer list of assignments and or create their own path to investigate over the quarter. A plan of action, listing detailed ideas for the first 7 projects needs to be submitted by the first week of class. Students will have at least 2 projects in process at any given time. [C4]
• Students will need to produce work at about a rate of one quality piece per week. Breadth will flow over into 2nd quarter. (7 works must be completed by end of 1st quarter, not including summer work)
• Brief Class Critiques will take place every week. Feedback / Critique forms will be completed, once a week on your own. Feedback/ critique forms will be filled out on a different class mate each week. Emphasizing art as an on-going process that involves the student in informed and critical decisions about their both their own art and the art of their peers. Also providing continuous feedback for decision making related to their work. [C5] [C6]
• Students will use the focus of the Breadth part of their portfolios to start formulating a focus and works for the Concentration section of their portfolio. To be started mid-way through second quarter. [C1]
• Slides will be taken regularly.
2nd Quarter:
Start work on Concentration part of Portfolio:
• 2D Design and Drawing. 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 of working, and development of the work over time. Regardless of the content of the concentration, the works should be unified by an underlying idea that has visual and or conceptual coherence.[C3] The choices of technique, medium, style, form, subject, and content are made by the student, in consultation with the teacher. [C1] Students will be asked to respond to the following questions:
o What is the central idea of your concentration?
o How does the work in your concentration demonstrate the exploration of your idea? You may refer to specific slides as examples.
A concentration should consist of a group of works that share a single theme – for example, an in-depth study of a particular visual problem or a variety of ways of handling an interesting subject. Some concentrations involve sequential works, such as a series of studies that lead to, and are followed by, more finished works. If a student uses subject matter as the basis of a concentration, the work should show the development of a visual language appropriate for that subject. The investigation of a medium in and of itself, without a strong underlying visual idea, generally does not constitute a successful concentration. [C3]
Below are examples of 2D Design….
o An exploration of patterns and designs found in nature and or culture
o A series of works that begins with representational interpretations and evolves into abstraction
o A series of landscapes based upon personal experience of a particular place in which composition and light are used to intensify artistic expression
o Design and execution of a children’s book
o Development of a series of identity products (logo, letterhead, signage, and so on) for imaginary businesses
o A series of political cartoons using current events and images
o Interpretive portraiture of figure studies that emphasize dramatic composition or abstraction
o A personal of family history communicated through symbols or imagery
o A series of fabric designs, apparel designs, or weavings used to express particular themes
o Your own brilliant idea!!!
Below are examples of Drawing…
o A series of expressive landscapes based upon personal experience of a particular place
o A personal or family history communicated through the content and style of still-life images
o Abstractions from mechanical objects that explore mark making
o Interpretive self-portraiture and figure studies that emphasize exaggeration and distortion
o A project that explores interior or exterior architectural space, emphasizing principles of perspective, structure, ambiance created by light, etc.
o A figurative project combining animal and human subjects – drawings, studies, and completed works
o An interpretive study of literary characters in which mixed media, color, and form are explored
o The use of multiple images to create works that reflect psychological or narrative eventsBecause the range of possible concentrations is so wide, the number of works the student creates should be dictated by the focus of the investigation. The chosen visual idea should be explored to the greatest possible extent. In most cases, students will produce more than 12works and select from among them the works that best represent the process of investigation.
[C1] [C3]
2nd quarter Assignments:
• During the first 2 weeks, students are to finish up work needed for Breadth part of their Portfolios. Work from previous years can be used for the last few pieces. Slides need to be taken. Students are recommended to take slides of more than 12 pieces of work … The best selections for the portfolio will be made 4th quarter.
• Turn in a written answer to the following question by end of 2nd week of quarter. What is the central idea of your concentration? [C3]
• Complete 7 works of art for the Concentration part of the Portfolio. Students will have at least 2 projects in process at any given time.
• Students will need to produce work at about a rate of one quality piece per week. Concentration will flow over into 3rd quarter. (7 works must be completed by end of 2nd quarter, not including summer work)
• Brief Class Critiques will take place every week. Feedback / Critique forms will be completed, once a week on your own. Feedback/ critique forms will be filled out on a different class mate each week. [C6]
• Slides will be taken regularly.
3rd Quarter:
Finish work on Concentration part of Portfolio: (no new information)
3rd quarter Assignments:
• Complete 9 works of art for the Concentration part of the Portfolio. Students will have at least 2 projects in process at any given time.
• Students will need to produce work at about a rate of one quality piece per week. (9 works must be completed by end of 3rd quarter, not including summer work)
• Brief Class Critiques will take place every week. Feedback / Critique forms will be completed, once a week on your own. Feedback/ critique forms will be filled out on a different class mate each week. [C6]
• Slides will be taken regularly.
4th Quarter:
Start work on Quality part of Portfolio:
• 2D Design and Drawing. 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. [C2][C1] There is no preferred (or unacceptable) style or content. Students will submit five original works in one or more media. Students will carefully select the works that demonstrate their highest level of accomplishment in the class. The works may include, but not limited to, graphic design, digital imaging, photography, collage, fabric design, weaving, illustration, painting, or print making. The works may be on flat surfaces, such as paper, cardboard, canvas board, or un-stretched canvas. Works submitted may not be larger than 18” x 24”, including matting or mounting.
4th quarter Assignments:
• Turn in a written answer to the following question by end of 1st week of quarter. How does the work in your concentration demonstrate the exploration of your idea? You may refer to specific slides as examples.
• Choose and mount 5 works of art for the Quality part of the Portfolio. These can be from you summer sketchbook, previous years art, and or art used in the Concentration and Breadth part of your portfolio – NO SLIDES, ALL ORIGINAL (18” x 24” or smaller)
• Construct Final Portfolio – make all final decisions. Students understand that making art is an ongoing process that uses informed and critical decision making as these selections are made for their portfolio submission. [C5]
• Class critiques will take place on final portfolios.
