AP Art: 2D Design

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1 AP Art: 2D Design Maranatha Christian Schools Instructor: Sarah Shanmugam PREREQUISITE: Art I RESOURCES A Guide to Drawing, David L. Faber and Daniel M. Mendelowitz, Wadsworth Cengage Learning, Design Basics, David A. Lauer and Stephen Pentak, Wadsworth Cengage Learning, The Visual Experience: Third Edition, Jack Hobbs, Richard Salome, and Ken Vieth, Davis Publications, COURSE OVERVIEW This year-long Advanced Placement 2D Design Studio Art course is intended for students who are highly self-motivated and committed to building an artistically serious portfolio for consideration by colleges, universities, and art schools. AP work provides rigorous college-level exploration and demands significantly more time and accomplishment than the typical high school course. The course is designed for those who wish to develop mastery in the concept, composition, and execution of their ideas. [c2] AP Studio Art is not based on a written exam; instead, students build a portfolio specifically aligned with the AP College Board 2D Design portfolio requirements and submit the portfolios for evaluation by the College Board. Portfolio scores determine college credit eligibility. In building a portfolio, students develop a variety of concepts and are exposed to many methods, which are intended to help them demonstrate their abilities and versatility with techniques, problem solving, and ideation. The AP Studio Art course addresses three major components for portfolio development throughout the year, as outlined on the AP Studio Art poster: Breadth (12 artworks)- This is a set of works showing mastery of varied

2 media, techniques, and subject matter. Such conceptual variety can can be demonstrated through use of one or of several mediums.[c4] Concentration (12 artworks)- This is a set of works which explore a specific cohesive underlying visual idea in depth through a specific plan of action or investigation in 2D design. These should be based on the artist s individual interest and be conceptually-related, demonstrating growth and discovery. Students conduct an in-depth exploration of a specific visual idea or artistic concern through a series of initial sketches and annotations. Each student will present to the class using an outline and artist statement of their specific plan of action that demonstrates their visual concept that meets this criteria.[c3] Quality (5 artworks)- This is a set of works that best demonstrates the artist s greatest accomplishments in the composition, concepts, and execution of 2D design. Each work will show mastery of varied media, techniques, approaches, concepts, and subject matter. These works may come from the Concentration and/or Breadth sections, but they do not need to. They may be works that are related or works that are unrelated, or a combination of related and unrelated works. [c2] *These works must 8 by 10 or larger and 18 by 24 or smaller. **The body of work submitted for the portfolio can include art created prior to and outside of the AP Studio Art course. The goals of the AP Studio Art course are: To encourage creative as well as systematic investigation of formal and conceptual issues in the Quality, Concentration, and Breadth sections of the portfolio. [c1] To emphasize art making as an ongoing process that involves the student in informed and critical decision making to develop ideation. [c5] To develop technical versatility and skills while using the visual elements and principles in compositional forms. [c4] To encourage students to become independent thinkers who will contribute inventively and critically to their culture through the making of art. SUMMER ASSIGNMENTS [c5] 1. Illustrate an idiom Examples of idioms include, but are not limited to: a) apple of my eye b) a dime a dozen c) a blessing in disguise

3 d) sick as a dog e) it s raining cats and dogs f) it s not over until the fat lady sings g) break a leg h) the apple doesn t fall far from the tree i) birds of a feather flock together j) tongue in cheek k) at the drop of a hat l) bite off more than you can chew m) go out on a limb n) head over heels o) on the fence p) rule of thumb q) til the cows come home r) put a sock in it s) a piece of cake t) a taste of your own medicine u) a penny saved is a penny earned 2. Design an arrangement of your family members shoes. A sense of each of your individual family member s distinct personalities should be conveyed. 3. Illustrate a disease What are the effects of this illness? Does it influence daily living and interactions? 4. Design an abstract artwork, inspired by a song Listen to a song. What colors, shapes, and images come to mind? Use these to create your design, paying close attention to emphasis and movement in your work. *These works must 8 by 10 or larger and 18 by 24 or smaller* Please note: This is not just summer busy work. If you take this seriously and do a good job on these assignments, rather than doing marginal work in a hurry, you will be able to use them for your AP exam portfolio. These assignments were designed to set you up for success. HOMEWORK As in any college level visual art class, students are expected to spend a considerable amount of personal time researching, testing, and planning multiple solutions to design problems. The sketchbook is the instrument of choice for this process. It is a place for students to test their artistic voice. Students should aim for purposeful decision-making and consider the impact their work will have on others. Innovation, risk-taking, and new ideas should be tested when sketching so that final art pieces can challenge and interact with viewers. [c4]

4 During this course, students will identify major visual styles, works, and artists throughout history. They will visit museums, galleries, and artists studios through outside assignments. [c4] Ways to Work in your Sketchbook: Draw, draw, draw, paint, paint, paint, draw, collage, etc. Use pencils, pens, crayons, sticks, charcoal, burnt matches, pastel, watercolor, acrylic, pine straw, fingers, basically anything that will make a mark. You have the power to make a mark! Draw what you SEE in the word. Remember no drawings from published images or personal photos. You need to learn to draw without the crutch of someone else s composition plus it creates a flattening of space. Use gesture, line, and value in your drawings. Use the principles of perspective to show depth in a drawing. Glue stuff into your sketchbook, ticket stubs, gum wrappers, tinfoil, lace, lists receipts, a leaf, twigs, earrings, shoe laces, whatever (get the idea)! Make a collage of stuff! Build the pages up by layering newspaper and pieces of fabric and photographs and paint over the top or not! What are you trying to say? Express yourself! Work to develop mastery in concept, composition and execution of your ideas. 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. Create a self-portrait using Distortion, or Cubism, or Impressionism, or Expressionism, or Surrealism or Pop Art. Don t know what these are? Look them up find out and explore the possibilities. Make 100 gesture drawings from observation of the figure. Put 5 to 8 on a page and overlap them. Make 25 contour drawings from observation of anything around you. Remember to use the whole page and fill the negative with objects. Make it count for something! Make a simple contour line 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 dislike about it. Write about your hopes for your artwork and why you like to make art.

5 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. 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 using informed and critical decision making to develop ideas. There will be PRIZES for: Thickest Sketchbook, Most pages filled, Most Expressive/imaginative use of Media, Most Risks Taken, and Best cover Design. The following is a list art materials, methods, and/ or work surfaces that will likely be explored during the 2D Breadth section of your course: [c4] - cardboard - scratchboard - watercolor paper - mirror - acrylic paint - oil paint - Prisma markers - Prisma colored pencils - watercolor - string - gum - zipper - maps - plastic wrap - sewing patterns - newspaper - paper towel - oil pastel - chalk pastel - charcoal - Sharpie marker - ink - pencil - puff paint - hair - foil - cloth - feathers - beads - bubble wrap - thumb prints

6 - wood burning - block printing - graphic design ASSIGNMENTS All assignments are given on an individual basis. Every student is given a list of possible assignments to choose from. These assignments are varied and intended to be a starting point for students to generate ideas. Students are guided to show their individual voice and style. Any assignment can be altered or changed to make a strong unified portfolio for submission. ELEMENTS ARE USED TO CREATE THE PRINCIPLES OF DESIGN: [c4] *Your artwork should demonstrate your understanding of the principles of 2D design and you should include examples of each in your portfolio. Rhythm- the principle that indicates movement by the repetition of the elements. Visual rhythm is created by repeating positive spaces separated by negative spaces. There are five types: random, regular, alternating, flowing, and progressive. Visual Movement The principle used to guide the viewerʼs eye through the image, usually using leading line, curved organic line, and contrast. Balance The principle concerned with equalizing visual forces, or elements, in a work of art. Two types: formal (symmetrical) and informal (asymmetrical rule of thirds). Emphasis The principle that makes one part of a work dominant over the other parts. The element noticed first is called dominant; the elements noticed later are called subordinate. Contrast Technique for creating focal point by using differences in elements. Harmony- The principle of art that creates unity by stressing similarities of separate but related parts. Unity The quality of wholeness or oneness that is achieved through the effective use of the elements and principles of design. Unity is created by simplicity, repetition, and proximity. Variety The principle of art concerned with difference or contrast. Proportion The principle of art concerned with the size relationships of one part to another within the whole. Figure Ground Relationships Elements are perceived as either figures (distinct elements of focus) or ground (the background or landscape on which the figures rest). Scale The principle of art which pertains to the relative size of things. (ex.: making something small look large, by placing it next to something way smaller than it is itself.) CALENDARING THE THREE SECTIONS: (The sections have been planned and time-lined out to help you in developing and completing your portfolio successfully. Dates may change slightly depending upon projects and variables, with the exception of April and May, which will be set dates.)

7 September Breadth images are due every other week during first semester, with a half-way checkpoint. Learn about Concentration. October Continue with Breadth projects. The first semester is dedicated to the Breadth section of the AP portfolio. Starting 6 weeks into the year, you will be guided towards development of works that suggest a long-term Concentration series. Assess your sketchbook and reflections, looking for Concentration ideas. Your idea must be deep enough that you can explore and grow your vision and your technique, but must also be specific enough to hold together as a coherent group of works. You are required to describe 3-5 ideas for proposed Concentrations before you move forward with one. At that point, you ll finalize your ideas and begin the first work in the concentration series. Start working on Concentration as outside work. November November 2 - First Concentration image due (one due every three weeks during first semester). November 30 Second Concentration image due. December December 3rd Third Concentration image due. January January 23rd Fourth Concentration image due. The last week of the first semester is used to review your photographic/digital work and select the 12 images that best reflects Breath for your AP portfolio. [C5] This will include peer review, as well as a final critique session with me.[c6] (We will continue working on Breadth during class time for the rest of the year, replacing the weakest with the strongest, always concentrating on quality, so in April/May you can choose top work to submit in the Quality Section.) February Complete 2 more works for the Concentration section (6 complete by the end of February). March Complete 3 works for the Concentration. April -Finish the last 3 Concentration pieces. -Photograph works that are not already digital files. Check all files to make sure are saved in the specified size and format that is required by the College Board. Upload completed images from the Breadth and Concentration to the College Board. -You are instructed to identify the pieces to be submitted for the Quality section of the portfolio. You are to pick your best examples that are no larger than 18 x 24 inches. You understand that quality means risk taking, evidence of original thought, and appropriate use of materials and mastery of the medium. Print and mount your five quality images. May By the second week of May, complete uploading Breadth, Concentration and your written statement to the College Board website and prepare the 5 Quality works of the AP Studio Art 2-D Design portfolio for shipment to the College Board. ARTISTIC INTEGRITY Students will review the AP poster and course description during a class

8 discussion on artistic integrity, plagiarism, original work, and moving beyond duplication at the beginning of the year. Students are not allowed to work from published photographs or other copyrighted images. Students will, instead, be encouraged to work from direct observation and/or seek inspiration from their own experiences and imagination to create innovative compositions. In certain instances, students may wish to reference a photograph or image in their artwork. In these instances, the copyrighted image must be significantly altered and/or demonstrate a specific meaning that is an integral part of their larger individual expression. [c7] CRITIQUES EVALUATION OF ASSIGNMENTS Assessments are both formative and summative and include selfevaluations and peer evaluations. Work is evaluated in-progress and in its finished state through weekly critiques with teacher and peers. [c6] Students will use formal art language, like the elements and principles of design, to evaluate and then make improvements on artworks. [c4] Students are reminded to analyze composition, execution, and concept in their pieces. [c6] The AP Studio Art rubric, which is distributed separately, provides the grading criteria for major projects. We will typically have a mid-critique of the concept sketch and a final critique of the more finished artwork. Your work should mean something! Challenge your viewer by presenting new ideas and philosophies in your art pieces. Grades are based on the range of accomplishments and evidence of thought, effort, and care demonstrated in work over time. [c5] I will provide immediate feedback to students during the process of art making, including written feedback, through an evaluation form on all students artwork. Students may discuss their work with me during class time or during office hours in H-104, from 2:10-3:00 pm daily. [c6] Example Rubric Regular critique and reflection: Each week you will be required to present final work or works-in-progress and discuss these with the class. With each completed image, you are also required to submit a self-evaluation statement. Assess your selected portfolio work and score it on the following criteria: [c5] Poor Moderate Good Strong Excellent Materials well used; technique is excellent Inventive/Imaginative Evidence of thinking; Clear visual intent Purposeful composition

9 Awareness of style and format Sensitive/evocative If you have not scored your work consistently in the 4 or 5 range, now assess what its strengths and weaknesses are, and how to rework the piece and raise it to a 5. Explain your rationale in a paragraph below, considering: 1. Have you done anything special with the use of the art elements (line, color, shape, texture, value)? 2. What are some of the dominant shapes, expressive forms, color schemes, and textures that carry significance in this artwork? 3. Is the work ordered/balanced? Or chaotic/disturbing? What makes for the order or chaos? Would you use words such as unity, variety, contrast, balance, movement, and rhythm to describe formal characteristics of this work? 4. Describe the quality of execution and technique. What gives the work its uniqueness? 5. Does the work evoke any feelings? To what do you ascribe your feeling the use of colors, shapes, technique, theme? 6. Is there symbolism used in the work to convey meaning other than what one sees? 7. What is your general impression of the work? What did you want the viewer to think about? Did you successfully get your message across? Discuss if the work is a significant success, why or why not, and support your judgment with evidence. WEIGHTED CATEGORIES: Summer Assignments 10% (first semester only - second semester categories will adjust accordingly) Projects 50% Presentations 10% (15% second semester) Homework 15% (20% second semester) Final/Midterm 15% LATE WORK POLICY Projects: Reduced one letter grade per day late, with no credit given after three days. Homework assignment: No credit given. OPEN STUDIO Because classroom time is limited, periodic work sessions will be scheduled after school hours for all students to have the opportunity to work together in a creative studio environment. These are opportunities for students to gain teacher assistance and peer suggestions on homework. These AP Work Night sessions will be scheduled in advance to facilitate sustained and uninterrupted art-making time. Participation and attendance is required. [c4]

10 EXHIBITIONS COMPETITIONS AP Studio Art students are encouraged to participate in exhibitions and competitions. At the end of the school year, students will be required to participate in the annual Maranatha Arts Festival at school and in San Diego County Fair competitions. SELECTING & PREPARING ARTWORK FOR COLLEGE BOARD REVIEW Students may choose to include work in their portfolios from previous studio or design classes. Altogether, students must select artworks to submit for College Board review. In order to keep track of individual progress, a file folder or portfolio case is established for each student. This folder contains an inventory sheet that lists all completed work by category, including the size of the piece and the medium, a statement about the students concentration idea, and slide sheets that are updated as each piece is photographed. Students will work until May to complete a portfolio based on the three sections: Breadth, Concentration, and Quality. In early May, the students portfolios will be submitted to the College Board for evaluations and receive a final official AP score. Students will submit most work digitally to the AP Board on a designated website. The quality section requires that the student mail five actual art pieces to the AP Board for evaluation. Students who score a 4 or above immediately receive college credit for the class. It is up to each college policy whether they accept a score of a 3 for college credit. COLLEGE BOARD CIRRICULUM REQUIREMENT KEY: C1 This course promotes a sustained investigation of all three aspects of portfolio development Quality, Concentration, and Breadth as outlined in the Course Description or 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 This course enables students to develop mastery (i.e. quality) in concept, composition, and execution of drawing, 2D design, or 3D design. C3 This course enables students to develop a body of work investigating 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 This course teaches students a variety of concepts and approaches in drawing, 2D design, or 3D design so that the student is able to demonstrate a range of abilities and versatility with technique, problem solving, and ideation (i.e. breadth). Such conceptual variety can be demonstrated through either the use of one or the use of several media. C5 This course emphasizes art making as an ongoing process that involves the student in informed and critical decision making.

11 C6 This 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 This 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 works, the course teaches students how to develop their own work so that it moves beyond duplication.