Ap Studio Art Syllabi: Drawing, 2-D Design
AP STUDIO ART SYLLABI: DRAWING, 2-D DESIGN
AND 3-D DESIGN PORTFOLIOS
Course Description:
All portfolios:
Through studio practice, application of design and principle concepts, students will assemble a body of artwork that demonstrates a high level of quality and growth over time dealing with content, techniques and process.
Students will develop mastery in concepts, composition and execution.
Students will address three components in their portfolios; quality, concentration, and Breadth.
Students will submit this body of work to the College Board in May for grading and possible college credit.
Artistic Integrity: Students are expected to use integrity throughout the entire AP course. Work needs to be an original idea.
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 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 concepts.
Expectations
All
The process of developing a portfolio requires time outside the classroom. Working at home or during your lunch period is recommended for your success.
Homework – Students may receive a specific assignment. You should be prepared to spend four to eight hours a week outside of class to complete.
Students will use a sketchbook as a visual journal to work through ideas, to continue to practice drawing and designs, and to record their process through the year. Specific sketchbook assignments will not be made but it is expected that students will use their sketchbook as a tool for developing and recording your ideas.
(C-5 The course emphasizes art making as an ongoing process that involves the student in informed and critical decision making.)
Critiques – the majority of class time is spent making artwork, though students are expected to participate in group and individual critiques throughout the year.
(C-6 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.)
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.
(C-1 The course promotes a sustained investigation of all three aspects of portfolio development-quality, concentration, and breadth – as outlines in the AP Studio Art Course Description or AP 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.)
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.
Students Objectives:
All
$ Maintain a strong work ethic.
Work through and solve visual problems effectively.
$ Refine the ability to draw/render what you see from observation.
$ Understand how the elements and principles of art communicate content.
$ Increase awareness of the creative process.
$ Increase knowledge of the tools and materials of the trade.
$ Pursue the art making process with a passion –take risks.
Grading/ Assessment and Evaluation
All
Student grades fall into two categories: class work/projects (60 percent) and class motivation/participation (40 percent). Class work/ projects are self-explanatory. Class Participation/ Motivation include students’ participation in group and individual critiques, preparation for final projects, organizing slides of their work, etc.
Supplies
All
Most supplies and equipment will be provided by the school. But the following supplies will need to be purchases by each student:
$ Journal/Sketchbook
$ Fuji 100 slide film.
2- D and Drawing Portfolios:
$ Set of pencils
$ A portfolio
$ Set of Prismacolor Colored pencils
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 decision-making.
Students will transition into more open-ended and exploratory work for the Concentration section of the portfolio during the second semester. (C4)
Students will develop a body of work for the Concentration section that is a planned investigation of an idea of interest to them. (C3)
Critique dates will be set and provided along with each assignment.
Students will be expected to have projects “critique ready” at the beginning of class on the assigned critique day. If a student has a planned absence on the assigned critique day, he or she must speak with the instructor prior to his or hers absence. In the event of an unplanned absence, students must speak with the instructor upon their return regarding a new deadline if necessary. Critiques with peers and the teacher are mandatory.(C6)
Course Overview
Semester 1 - August, September, October, November, December
Overview
A series of teacher –initiated assignments will be presented with the purpose of introducing students to the widest possible range of experiences in drawing, 2-D, and 3-D, together with high-level problem-solving skills {C4} By semester end, students will create and complete a body of work suitable for the Breadth (Section III) of the Drawing, 2-D, or 3-D Portfolio. As well, it is anticipated that students will discover personal directions, particular studio strengths, and visual ideation interest. {C-3) Through a range of specific assignments, students will be involved in three sustained in-class assignments and at least 6 short-duration assignments. Assignments introductions will be staggered to allow students to work on more than one assignment at a time.
Students will
Develop a definition of drawing and creating.
Be introduced to a range of drawing issues, abilities and versatility with technique, problem solving and ideation. {C4}
Understand artistic integrity as it applies to their work. {C7}
Be presented with historical, contemporary, and contextual references.
Achieve quality in the completion of assignments that demonstrate: {C2, C4}
$ confident use of design and use of space;
$ meaningful and personal responses to stated assignment criteria;
$ mastery of a variety of materials;
$ sensitive visual response to demonstrations of a variety of techniques;
$ a range of successful and purposeful image development strategies stemming from observation, memory, and fantasy sources: and
$ a selection of methods that relate to the techniques of drawing, 2-D and 3-D.
Percent scores will be based on rubrics for individual assignments.
12 slides total. - Drawing and 2-D portfolios
8 slides with 2 views, total 16 slides -3-D portfolio
Semester 2 – January, February, March, April
Overview
The main focus of this semester will be the development of specific personal imagery suitable for a Concentration study (Section 11) of the drawing, 2-D or 3-D Portfolio. Considerable time will be devoted to defining and describing successful approaches to the highly personal nature of the concentration work through individual assignments. Early in the Semester students must attend a mentoring appointment at which time they are individually counseled about their choice of plan for a Concentration study.
By the semester end, students will also have initiated a written statement to describe the intent and development of the project using accurate artistic language.[C3}
Students will
$ Develop a working definition of what constitutes an acceptable and successful Concentration.
$ Be assisted in discovering and narrowing their area of greatest strength and interest.
$ Receive guidance in planning a sequence of action for the individual pieces.
$ Achieve quality in completing pieces that demonstrate: {C2, C4, C5}
a sense of pursuit in visual problem solving;
the creation of a related body of work with an underlying theme;
that all pieces have relevance to the study;
progression through discovery; active problem solving and invention; and
choice of materials and techniques successfully linked with ideation.
$ Begin the first part of the written statement forming an individual plan of action and writing it down as succinctly as possible.
$ Reference at least one artist whose work has some relationship to section 11 work.
$ Sequence work to best advantage in demonstrating the development of the body of work.
$ Identify the opening piece in the presentation sequence.
$ Plan best strategies for continuation while reviewing the plan of study.
$ Understand that writing informs the work and work informs the written statement.
Percent scores will be based on rubrics for individual investigations. Second semester: 12 total for drawing and 2-D, and 8 total for 3-D.
End of April and the first week in May
Overview
This short period of time will be devoted to the final preparation for the AP Portfolio. Students will receive individual mentoring regarding the selection of pieces for the Breadth Section in order to demonstrate maximum variety while continuing to develop work that demonstrates invention, personal direction/voice. And thoughtful decision-making for the Concentration Section.{C5} An individual mentoring appointment will be scheduled at which time the Breadth Section and the Concentration Section will be thoroughly reviewed in order to identify and remedy weak pieces. {C5 C6}
Students will
$ Evaluate all work that is intended for the final portfolio and carefully consider the inclusion of any pieces completed prior to the course or completed outside the instruction offered in this course.
$ Follow instructions regarding best practice for the sequencing and labeling slides for both Section II and III.
$ Implement strategies for identifying and presenting five best-quality pieces.
$ Complete final editing and printing of the written statement for Section II.
$ Complete registration for the portfolio.
Originality and Copyright Issues
Students are expected to develop their personal imagery. When published photographs or the work of other artist are used they should be in the service of a personal version. Any published image should be altered in such a substantial way that is moves beyond duplication. This is a matter of artistic integrity. {C7}
Bibliography
The Art of Seeing. Paul Zelanski & Mary Pat Fisher, Prentice Hall, Inc, 1994
Design Synectics, Nicholas Roukes, Davis Publications, 1982.
The Visual Experience, Jack Hobbs & Richard Salome, Davis Publications, 1995
Keys to Drawing with Imagination , Bert Dodson, North Lights Books, 2007
Hands in Clay, Charlotte F. Speight & John Toki, McGraw Hill, 1979
Sculpting Clay, Leon I. Nigrosh, Davis Publications, 1992
The Book of Photography, John Hedgecoe, Random house, 1984
Sculpture, Arthur Williams, Davis Publications, 1995