Wethersfield Public Schools Course Outline

Transcription

1 Course Name: AP Studio Art Department: Art Grade(s): 12 (11 with permission) Level(s): AP, Honors Course Number(s): Credits: 1 Course Description: Wethersfield Public Schools Course Outline Art instruction in Grades 1-12 promotes the development of creativity, artistic literacy, critical thinking skills, and lifelong learning. In art classes students develop critical 21 st Century Skills of creativity and innovation, critical thinking and problem solving, and communication and collaboration. The curriculum and instruction address the National Art Standards and the Connecticut State Department of Education Visual Arts Standards. Curriculum and instruction spiral from grade to grade building and expanding upon learning the previous year. Through this spiraling curriculum and instruction, students attain the Wethersfield Art Department s Enduring Understandings: Materials, process, and environment complement each other. Artists use elements and principles of design to organize visual communication. Artistic progress is often characterized by cycles of experimentation. Art embodies the inner quest for self-knowledge and reflects relationships between humans and nature. Art can be used to record what one sees as well as what one feels. Artists of different cultures express meaning and ideas in different ways. Art reflects the time period, culture, geography, and status of a region s inhabitants. The process of reflection enables one to understand and appreciate art. Art is a distinct form of communication that enriches the understanding of other disciplines. Art is an inherent and integral part of our environment. Advanced Placement Art follows the College Board s curriculum. Students will complete their portfolio, demonstrating quality (excellence in original works), concentration (in-depth, thematic and personal commitment to a particular artistic concern) and breath (variety of artistic experience). The course culminates with a senior art exhibition. This course prepares you to take the AP test in May and students are strongly encouraged to do so. Prerequisite: Art 1 - Art 3 and instructor approval. Revised/Approval Date: 3/24/12 Approved Administrative Team March 14, 2012 Approved Student Programs and Services April 3, 2012 Approved Board of Education April 10, 2012 Authors/Contributors: Andrea Haas AP Studio Art Page 1

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3 Overarching Skills This section includes 21 st Century Skills and discipline focused skills such as inquiry skills, problem solving skills, research skills, etc. These objectives should be taught and assessed through the integration of the other units. Enduring Understandings Essential Questions Materials, process, and environment Why and how do people create art? complement each other. Where is art found? Artists use Elements of Art and Principles of How do people express themselves through art? Design to organize visual communication. What is beauty/aesthetics? Artistic progress is often characterized by cycles of experimentation. Do artists have a responsibility to their audience/society? (i.e., to produce work that does Art embodies the inner quest for selfknowledge not continue to stereotypes or further prejudice) and reflects relationships between humans and nature. How and why does the choice of composition affect artwork? Art can be used to record what one sees as well as what one feels. How can observational skills gained through the visual arts and the artistic process carry over into Artists of different cultures express meaning daily life? and ideas in different ways. How can the design principles be utilized to Art reflects the time period, culture, organize ideas? geography, and status of a region s inhabitants. How do artists choose tools, techniques, and materials to express their ideas? The process of reflection enables one to understand and appreciate art. Why are some media choices better than others? (for communicating particular ideas and/or Art is a distinct form of communication that emotions to particular audiences) enriches the understanding of other What can we learn from studying the art of others? disciplines. What problem solving skills are needed to create Art is an inherent and integral part of our art? environment. What choices must an artist make before/during beginning a work? Why is exhibiting artwork important to an artist s creative process? How does media choice affect an artwork? What makes good art/design? What are some strategies for approaching an artistic problem? What would the world be like without art? Is the use of visually communicated information a skill? How does art express emotion/ideas without words? In what ways has technology effected/enhanced the value of art as a form of communication? What is the role of a museum? Who determines what art is? Why do certain themes recur in works of art? How can art and design reflect the culture and/or status of a region's inhabitants? How and why do artists make stylistic choices such as realism, abstraction, non-objective, surrealism, postmodernism, etc.? How an artist increase best express their artistic AP Studio Art Page 3

4 vision? What Principles of Design work best to demonstrate an artist s intention? What are some strategies for approaching an artistic problem; how are they best used; and which ones are most successful? What would the world be like without art? How does the organization of space reflect good design? How can one best express their artistic vision in concept and media? How do the Elements of Art and Principles of Design interact to create an artwork? How does experimentation and exploration lead to more creativity? Essential Experiences Observation and reflection. Engaging in the creative process. Imaginative thinking through creative problem solving. Making choices/decisions to communicate ideas. Conceive and create original artwork. Analyze, interpret, evaluate, and judge artwork. Refining application of media. Objectives (Link to standards in parenthesis after objective) Knowledge/Content: Students will: study and understand the proper use of a variety media, techniques, and processes. (1abc) study and apply the Elements of Art and organizational Principles of Design. (2ab, 3ab) make compositional choices/decisions, selection, and application of a range of subject matter, symbols, and ideas. (3ab) study the visual arts in relation to history and cultures. (4abc) describe, analyze, interpret, and judge their own and the artwork others. (5abcd) connect the visual arts to other disciplines, daily life, and the world. (6abcd) create original and creative artwork. (1abc, 2ab, 3ab, 6abcd) engage in planning and creative problem solving to achieve multiple solutions to visual problems. (1abc, 2ab, 3ab, 4abc, 5abcd, 6abcd) understand and engage in mark making and surface manipulation. (1abc, 2ab, 3ab) understand and engage in research, observation, and imagination, and apply one or more of these to the creation of original artwork. (1abc, 2ab, 3ab, 4abc, 5abcd, 6abcd) Skills: Students will: plan and create artwork/design (real or imaginary) utilizing the Elements of Art and Principles of Design. (2ab, 3ab) choose and apply the appropriate Elements of Art and Principles of Design to create a well-balanced and unified composition. (1abc, 2ab, 3ab, 4abc, 5abcd, 6abcd) engage in observation and use imagination. (1abc, 2ab, 3ab, 4abc, 5abcd, 6abcd) AP Studio Art Page 4

5 be able to describe, analyze, interpret, and judge their own and the artwork of others by engaging in oral/written critiques,(formal and informal, verbal, written reviews, self-assessments, etc.). (5abcd) use constructive criticism and develop a language in which they can converse and discuss artistic decisions, aesthetics, history, and possible solutions to problems. (1abc, 2ab, 3ab, 4abc, 5abcd, 6abcd) problem solve and plan using preliminary drawings/designs to achieve multiple solutions to visual problems. (1abc, 2ab, 3ab, 4abc, 5abcd, 6abcd) utilize a variety of media, techniques, and processes in creating r artwork. (1abc, 2ab, 3b) make compositional choices/decisions to communicate ideas, express mood and/or feeling. (2ab, 3ab, 4abc, 5abcd) create original artwork. (1abc, 2ab, 3ab, 5bcd 6abcd) understand the visual arts in relation to history and cultures and connect to their artwork. (2ab, 3ab, 4abc, 5abcd, 6abcd) be diligent in time management, organization, communication, discipline, and decision-making, maintaining a strong work ethic at all times. (1abc, 2ab, 3ab, 4abc, 5abcd, 6abcd) work toward accepting self-evaluation as a positive part of personal and artistic growth and become more receptive to new ideas, experiences, and criticisms of one's own work and that of others. (5abcd) explore imaginative thinking through creative problem solving. (1abc, 2ab, 3ab, 4abc, 5abcd, 6abcd) maintain artistic integrity and original ideation. (1abc, 2ab, 3ab, 4abc, 5abcd, 6abcde) apply knowledge gained in previous art classes. (1abc, 2ab, 3ab, 4abc, 5abcd, 6abcd) build on previous knowledge, refine techniques. (1abc, 2ab, 3ab, 4abc, 5abcd, 6abcd) discover new uses for common media/materials that demonstrate originality. (1abc, 2ab, 3ab, 4abc, 5abcd, 6abcd) keep a sketchbook journal for research, planning and sketching. (1abc, 2ab, 3ab, 4abc, 5abcd, 6abcd) Standards: Students will: 1. understand, select and apply media, techniques and processes. a. apply media, techniques and processes with sufficient skill, confidence and sensitivity that their intentions are realized. b. conceive and create original works of art that demonstrate a connection between personal expression and the intentional use of art materials, techniques and processes. c. communicate ideas consistently at a high level of effectiveness in at least one visual arts medium. 2. understand and apply elements and organizational principles of art. a. judge the effectiveness of different ways of using visual characteristics in conveying ideas. b. apply comprehension and skill in incorporating the elements of art and principles of design to generate multiple solutions and effectively solve a variety of visual art problems. 3. consider, select and apply a range of subject matter, symbols and ideas. a. use, record and develop ideas for content over time. b. use subject matter, symbols, ideas and themes that demonstrate knowledge of contexts and cultural and aesthetic values to communicate intended meaning. 4. understand the visual arts in relation to history and cultures. a. analyze and interpret artworks in terms of form, cultural and historical context and purpose. b. analyze common characteristics of visual arts evident across time and among cultural/ethnic groups to formulate analyses, evaluations and interpretations of meaning. c. compare works of art to one another in terms of history, aesthetics and culture, justifying conclusions made in the analysis and using these conclusions to inform their own art making. AP Studio Art Page 5

6 5. reflect upon, describe, analyze, interpret and evaluate their own and others work. a. research and analyze historic meaning and purpose in varied works of art. b. reflect critically on various interpretations to better understand specific works of art. c. defend personal interpretations using reasoned argument. d. apply critical and aesthetic criteria for the purpose of improving their own works of art (i.e., technique, formal and expressive qualities, content). 6. make connections between the visual arts, other disciplines and daily life. a. analyze and compare characteristics of the visual arts within a particular historical period or style with ideas, issues or themes of that period or style. b. compare the process of creation used in the visual arts with the process of creation used in the other arts and non-arts disciplines. c. create and solve interdisciplinary problems using multimedia. d. apply visual arts knowledge and skills to solve problems relevant to a variety of careers. Instructional Support Materials See individual units for materials/equipment, as they are specific to the unit s content. Resources include but are not limited to: - master artworks (reproductions) - videos - technological resources - field trips - books/ periodicals - past student artwork - current student artwork - teacher exemplars Suggested Instructional Strategies Instructional strategies may include but are not limited to: direct Instruction exemplars modeling brainstorming discussion (class/peer) art making assessment Suggested Assessment Methods (Include use of school-wide analytic and course specific rubrics) Assessments may include but are not limited to: critique (verbal and or written) rubrics self assessments artist statements tests school wide rubrics AP Studio Art Page 6

7 Unit 1 AP Portfolio Time Frame: August - May Length of Unit: Students follow the requirements set by the College Board for AP Studio Art. This unit begins at the end of ART 3, incorporates summer assignments, and is due May 1st. When students complete their work, they take digital images before sending their portfolios to the CB. Students create their own themes, choose their own materials, techniques and processes and take part in periodic in progress and final critiques. Enduring Understandings Materials, process, and environment complement each other. Artists use Elements of Art and Principles of Design to organize visual communication. Artistic progress is often characterized by cycles of experimentation. Art embodies the inner quest for selfknowledge and reflects relationships between humans and nature. Art can be used to record what one sees as well as what one feels. Artists of different cultures express meaning and ideas in different ways. Art reflects the time period, culture, geography, and status of a region s inhabitants. The process of reflection enables one to understand and appreciate art. Art is a distinct form of communication that enriches the understanding of other disciplines. Art is an inherent and integral part of our environment. Essential Questions How can a portfolio of work by an artist/designer be a road map artistic growth/development? How does the portfolio serve as a self-portrait? How are the 2D Design, 3D Design, and the Drawing Portfolios different/similar? How do you develop a variety of artworks to complete the breadth section? What are the threads that tie a series of art works together? How does experimentation and exploration lead to more creativity? What are the stages of development involved in the making of a portfolio? How can a critique be used to help in the artistic process? How do critiques present multiple problem solving opportunities? How does an artist choose an idea that is broad enough to allow for substantial inquiry and yet narrow enough to achieve their goals in a given time limit? What qualities and attributes does the artist look for when selecting their best work? Essential Experiences Observation and reflection. Engaging in the creative process. Imaginative thinking through creative problem solving. Making choices/decisions to communicate ideas. Conceive and create original artwork. Analyze, interpret, evaluate, and judge artwork. Refining application of media. Objectives (Link to standards in parenthesis after objective) Knowledge/Content: Students will: will choose and develop either a Drawing, 2D Design, or 3D Design Portfolio according to the College Board requirements and the AP Studio Art Syllabus. (1abc, 2ab, 3ab, 4abc, 5abcd, 6abcd) pursue advanced concepts, solving artistic problems, as a result of exposure to and experience with a broad range of media. (1abc, 2ab, 3ab, 4abc, 5abcd, 6abcd) explore ideas in depth beyond the restrictions of the classroom, engaging in research and advanced planning, decision-making, experimentation and/or risk taking. (1abc, 2ab, 3ab, 4abc, 5abcd, 6abcd) choose a selection of excellent quality work, which is representative of concept, composition, a demonstration of technical skill, and the realization of the student s intentions. (1abc, 2ab, 3ab, 4abc, 5abcd, 6abcd) AP Studio Art Page 7

8 Skills: Students will: plan and create a portfolio of 29 original artworks including 12 pieces in the Concentration, 12 pieces in the Breadth, and 5 pieces in the Quality sections of their portfolio. (1abc, 2ab, 3ab, 4abc, 5abcd, 6abcd) be able to solve advance visual problems and demonstrate multiple solutions. 1abc, 2ab, 3ab, 4abc, 5abcd, 6abcd) make choices about theme/concept, media, technique, etc. when creating work with evocative theme that engage the viewer.(1abc, 2ab, 3ab, 4abc, 5abcd, 6abcd) take part in periodic critiques in which they describe, analyze, interpret, and judge their own and the work of others. (1abc, 2ab, 3ab, 4abc, 5abcd, 6abcd) work like artists and establish their own point of inquiry. (1abc, 2ab, 3ab, 4abc, 5abcd, 6abcd) demonstrate evidence of conceptual, perceptual, expressive, experimental and technical range in their work. (1abc, 2ab, 3ab, 4abc, 5abcd, 6abcd) use the sketchbook as a journal to record individual ideas and observations. (1abc, 2ab, 3ab, 4abc, 5abcd, 6abcd) NOTE: See overreaching skills for additional objectives, knowledge, content and skills that apply to all units. Instructional Support Materials - materials/media choice is student directed. Resources include but are not limited to: - master artworks (reproductions) - videos - technological resources - field trips - books/ periodicals - past student artwork - current student artwork - teacher exemplars Suggested Instructional Strategies Instructional strategies may include but are not limited to: direct Instruction exemplars modeling brainstorming discussion (class/peer) art making assessment Suggested Assessment Methods (Include use of school-wide analytic and course specific rubrics) Assessments may include but are not limited to: critique (verbal, written) rubrics self assessments artist statements tests AP Studio Art Page 8

9 Unit 2: Final Exam AP Studio Art Exhibit. Time Frame: May- June Length of Unit: Students follow the requirements set by the College Board for AP Studio Art. This unit begins at the beginning of May when the students have completed their AP Portfolio. Enduring Understandings Materials, process, and environment complement each other. Artists use Elements of Art and Principles of Design to organize visual communication. Artistic progress is often characterized by cycles of experimentation. Art embodies the inner quest for selfknowledge and reflects relationships between humans and nature. Art can be used to record what one sees as well as what one feels. Artists of different cultures express meaning and ideas in different ways. Art reflects the time period, culture, geography, and status of a region s inhabitants. The process of reflection enables one to understand and appreciate art. Art is a distinct form of communication that enriches the understanding of other disciplines. Art is an inherent and integral part of our environment. Essential Questions How can a body of work by an artist/designer be a road map to their artistic growth/development? What are the threads that tie a series of art works together? How can an exhibit be used to advance the artist s the intellectual process of art making? What qualities and attributes does the artist look for when selecting their best work? Why is exhibiting artwork important to an artist's creative process? Can the way in which an exhibit is organized and hung affect how the artwork is perceived? How do artists title their work and/or exhibit and why/why not is it important? How does an artist go about choosing and arranging their work for exhibit? How does an artist write an artist s statement and what should the contents be? Essential Experiences Observation and reflection. Engaging in the creative process. Imaginative thinking through creative problem solving. Making choices/decisions to communicate ideas. Conceive and create original artwork. Analyze, interpret, evaluate, and judge artwork. Refining application of media. Objectives (Link to standards in parenthesis after objective) Knowledge/Content: Students will: experience the authentic experience of planning and putting on an art exhibit and reception in a gallery setting. (1abc, 2ab, 3ab, 4abc, 5abcd, 6abcd) document their portfolio via a PowerPoint presentation. (1abc, 2ab, 3ab, 4abc, 5abcd, 6abcd) analyze and judge the exhibit by writing a review of the exhibit, their own work and the work of their classmates. (6abcd) AP Studio Art Page 9

10 Skills: Students will: engage in the authentic experience of planning and putting on an art exhibit and reception in a gallery setting. (1abc, 2ab, 3ab, 4abc, 5abcd, 6abcd) work cooperatively when, making invitations, organizing the exhibit, and reception. (1abc, 2ab, 3ab, 4c, 5abcd) make informed choices when selecting, preparing (matting), and hanging their artwork. (1abc, 2ab, 3ab, 5abcd) write an artist statement describing their creative process and the work. (2ab, 3ab, 4abc, 5abcd, 6abcd) write a review, critiquing the exhibit as a whole, the other students work and participation and themselves. (5abcd, 6abcd) make a PowerPoint presentation of their all the work in their portfolio (including title, media, and size) to be shown at the opening reception. (1abc, 3ab, 5abcd, 6abcd) attend the opening reception. (mandatory) (6abcd) NOTE: See overreaching skills for additional objectives, knowledge, content and skills that apply to all units. Instructional Support Materials - matting materials - computer - materials to create invitations, posters and name tags. (student directed) Resources include but are not limited to: - master artworks (reproductions) - videos - technological resources - field trips - books/ periodicals - past student artwork - current student artwork - teacher exemplars Suggested Instructional Strategies Instructional strategies may include but are not limited to: direct Instruction exemplars modeling brainstorming discussion (class/peer) art making assessment Suggested Assessment Methods (Include use of school-wide analytic and course specific rubrics) Assessments may include but are not limited to: critique (verbal, written) rubrics self assessments artist statements tests AP Studio Art Page 10

11 Glossary: Abstract: art that looks as if it contains little or no recognizable or realistic forms from the physical world. Focus is on formal elements such as colors, lines, or shapes. Artists often "abstract" objects by changing, simplifying, or exaggerating what they see. Actual Line: an actual mark derived from an initial point or dot, which is extended in any direction and can be created numerous mediums. Aerial perspective: refers to creating a sense of depth in painting by imitating the way the atmosphere makes distant objects appear less distinct and more bluish than they would be if nearby. Also known as atmospheric perspective. Aesthetics: theory of the artistic or the "beautiful"; traditionally a branch of philosophy, but now a compound of the philosophy, psychology, and sociology of art. Analogous colors: any set of three or five colors that are closely related in hue(s). They are usually adjacent (next) to each other on the color wheel. Approximate symmetry: use of forms which are similar on either side of a central axis. They may give a feeling of the exactness or equal relationship but are sufficiently varied to prevent visual monotony. Asymmetry: type of balance in which the parts are unequal in size, shape, etc., but still produce a balanced visual effect. Background: things that seem the most distant, as if at the back of the picture. Balance: feeling of equality in weight, attention, or attraction of the various elements within a composition as a means of accomplishing unity. A principle of design. A feeling of balance results when the elements of design are arranged to create the impression of equality in weight or importance. Birds-eye view: seeing from a point of view from an altitude or from a distance; a comprehensive view in a downward direction; also called an "aerial view". Brushstroke: mark left by a loaded (filled) brush on a surface. Brushstrokes can be distinguished by their direction, thickness, TEXTURE, and quality. Some artists purposefully obscure individual brushstrokes to achieve a smooth surface. Other artists make their brushstrokes obvious to reveal the process of painting or to express movement or emotion. Chiaroscuro: using a combination of light (chiaro) and dark, or shade Collage: introduced by the Cubists, the technique of creating a work of art by adhering flat articles such as paper, fabrics, string or other materials to a flat surface such as a canvas whereby a threedimensional result is achieved. A form of art in which a variety of materials (e.g., photographs, fabric, objects) are glued to a flat background. Color: visual attribute of things that results from the light they emit or transmit or reflect; the visual response to the wavelengths of light, identified as red, blue, green, etc.; primary and secondary colors; warm, cool, and neutral colors, color value; hue; and intensity. Color wheel: round diagram that shows the placement of colors in relationship to each other. It is from the color wheel that color schemes are defined. Complementary colors: Colors which appear opposite one another on a color wheel. When placed next to one another, complementary colors are intensified and often appear to vibrate. Composition: the arrangement of the elements of art and the principles of design within the design area; the ordering of visual and emotional experience to give unity and consistency to a work of art and to allow the observer to comprehend its meaning. Contrast: difference between elements or the opposition to various elements. Cool Colors: colors whose relative visual temperatures make them seem cool. Cool colors generally include green, blue-green, blue, blue-violet, and violet. Contour Line: actual line of varying thickness that may be applied along, as well as within, the outer edges of a shape to suggest a three dimensional quality. Craftsmanship: aptitude, skill, or manual dexterity in the use of tools and materials. Neatness. Critique: the process and the results of critical thinking about art. The parts are: describe, analyze, AP Studio Art Page 11

12 interpret, and judge. Cropping: cutting out of extraneous parts of an image, usually a photograph; excluding part of a photo or illustration to show only the portion desired or to fit a given space requirement. Depth: the look of space or distance Depth of field: in photography, the area in front of and behind the focused point that is sharp. A shallow depth of field is used in portraits to provide a soft backdrop, whilst a greater depth of field is useful for landscapes to ensure everything from the foreground to the background is in focus. Shorter (wide angle) lenses and smaller apertures increase depth of field. Dominance: emphasis placed on a particular area or characteristic of a work, with other areas or aspects given subordinate or supporting roles. Elements Of Art: those qualities of a composition that can be seen and worked with independently of its figurative content. They include line, form, value, texture, color, and shape. Emphasis: the stress placed on a single area of a work or a unifying visual theme. A principle of design. Emphasis may be defined as the special attention or importance given to one part or element in an art work. Emphasis can be achieved through placement, contrast, size, etc. Figure Ground: A spatial designation used to describe the positive - negative relationship and juxtaposition of shapes within a composition. Figure relates to dominant shapes and ground relates to negative shapes. Spatially the figure usually takes the forward position. Fixative: a liquid, similar to varnish, which is usually sprayed over a finished piece of artwork to better preserve it and prevent smudging. Artwork media requiring fixative include drawings done in pencil, charcoal, and pastel. Focal point: a specific area, element or principle that dominates a work of art; the area in a work which the eye is most compellingly drawn. The viewer's eye is usually drawn there first. Form: the volume and shape of a three-dimensional work, perhaps including unfilled areas that are integral to the work as a whole. Formal Analysis: the analysis of a work of art according to the elements and principles of design, without the inclusion of contextual information. Foreshortening: A form of perspective where the nearest parts of an object or form are enlarged so that the rest of the form appears to go back in space; To shorten an object to make it look as if it extends backwards into space. Gesture Drawing: A spontaneous representation of the dominant physical and expressive attitudes of an object. Gesso: A mixture of plaster, chalk, or gypsum bound together with a glue which is applied as a ground or coating to surfaces in order to give them the correct properties to receive paint. Gesso can also be built up or molded into relief designs, or carved. Glaze: a thin layer of translucent acrylic or oil paint applied to all or part of a painting, to modify the tone or color underneath. Glazing is the process of using this technique. Grayscale: refers to the range of gray tones between black and white. Harmony: the unity of all the visual elements of a composition achieved by the repetition of the same characteristics or those which are similar in nature. Highlight: portion of an object that receives the greatest amount of direct light. Line: an actual mark derived from an initial point or dot which is extended in any direction and can be created numerous mediums. Length is the dominant factor in determining line from shape. Lines can exist psychologically through closure of shapes, visual or directional lines of sight, or as perceived edges of shapes created through contrasts of color, value, or texture. Linear Perspective: a system for creating the illusion of depth on a two-dimensional surface. The system is based on a scientifically or mathematically derived series of actual or implied lines that intersect at a vanishing point on the horizon. Linear perspective determines the relative size of objects from the foreground of an AP Studio Art Page 12

13 image to the background. Monochromatic: color scheme in which only one hue is used, along with its tints (i.e., hue plus white) and shades (i.e., hue plus black). Movement: a principle of design. Movement is the way in which the elements of design are organized so that the viewer's eye is led through the work of art in a systematic way. Negative space. The void or open areas around an object or form. Negative Shape, Space: shape, space, or area that is not considered to be a positive shape. The areas, however, are very important components in creating a unified composition. Non Objective: a category of art that has no recognizable subject. Opaque: something that cannot be seen through - the opposite of transparent. Pattern: highly repetitive motif. The degree of systematic repetition of the motif determines the purity of the pattern and type of rhythm. Perspective: a technique for creating the illusion of depth on a two-dimensional surface. There are three types of perspective: - linear perspective, which involves the use of parallel lines that appear to converge as their distance from the viewer increases; - diminishing perspective, in which objects appear to diminish in size as their distance from the viewer increases; - atmospheric perspective, which is produced by the gradual lessening of the intensity of color and the reducing of detail as the distance between an object and the viewer increases. Picture Plane: actual flat surface on which the artist creates a picture. Positive Space, Shape: shapes or forms on a two-dimensional surface. Principles Of Design: Principles or guidelines used by artists to organize the visual elements of an art work. They include balance, emphasis, rhythm, unity, movement, variety, harmony, and proportion. Primary colors. Colors that cannot be created by mixing other colors, but that can be mixed to produce all the other colors (red, yellow, and blue). Proportion: may be described as the relationship between objects with respect to size, number, etc. Proximity: Establishes unity through grouping or closeness of objects in a composition. Representational: images and objects with subject matter that contains recognizable images from real life. Repetition: establishes harmony and unity through similarity and number of related elements. Radial Balance: type of balance that occurs when shapes or lines radiate outward from a central core. Compositions can have radial symmetry or asymmetry depending on the orientation. Rhythm: continuance, a flow, or a feeling of movement achieved by repetition of regulated visual units, the use of measure accents, directs the eye through a composition. Scale: term of comparison in which an object of a standard or normal size is contrasted to the same object, in correct proportion, but either smaller or larger. Thus the phrases large scale or small scale. In compositions, sometimes the size of an object is compared to the environment as a whole. For example, a small figure in a large space might be referred to as small scale in reference to the surrounding area. Secondary Colors: green, purple, and orange. These three colors are derived from mixing equal amounts of two of the three primary colors. Shade: a color produced by adding black to a pigment. Shading: showing change from light to dark or dark to light in a picture by darkening areas that would be shadowed and leaving other areas light. Shading is often used to produce illusions of dimension and depth. Shape: an area which stands out from the space next to it or around it because of a defined boundary or because of a difference of value, color, or texture. Simplicity: the understanding of what is and is not important in a design. Details that do not have a major impact to the design are omitted to keep it uncluttered. Sketch: a rough drawing used to capture the basic elements and structure of a situation often used as the basis for a more detailed work. Space: the interval or measurable distance between pre-established points. Space. An element of design. Space is the area around, within, or between images or elements. Space can be created on a two-dimensional surface by using such techniques as overlapping of objects, varying of object size or placement, varying of color intensity and value, and use of detail and diagonal lines. AP Studio Art Page 13

14 Still life: a painting or other two-dimensional work of art representing inanimate objects such as bottles, fruit, and flowers. Also, the arrangement of these objects from which a drawing, painting, or other art work is made. Stippling: a drawing technique consisting of many small dots or flecks to construct the image; technique of using small dots to simulate varying degrees of solidity or shading; to paint, engrave, or draw by means of dots or small touches of the brush, pen, or other tool. Symmetrical Balance: the placing of identical forms to either side of the central axis of a work to stabilize it visually. A type of balance that has identical components on either side of an imaginary vertical axis. This balance is also referred to as formal balance. Texture: the tactile surface characteristics of a work of art that are either felt or perceived visually. Tertiary Colors: also called intermediate colors, these are blends of primary and secondary colors. The tertiary colors are named by combining the names of the two parent colors, with the primary element listed first: orange + red = red-orange. Three-Dimensional: occupying or giving the illusion of three dimensions (height, width, depth). Thumbnail Sketch: crude, small pencil drawings used to develop the initial concept for a design. Tint: a hue with white added. Pink is a tint of red. Two-Dimensional: having two dimensions (height and width); referring to something that is flat. Unity: a principle of design. Unity is the coherence of a work that gives the viewer the feeling that all the parts of the piece are working together. Under drawing: preliminary drawing that lies under the final painted or inked image. Value: lightness or darkness of a color. Vanishing Point: In perspective drawing, the point on the horizon line where the converging parallel lines appear to meet. Variety: provides visual interest via Contrast, Proportion and Scale, achieving variety involves the use of differences or contrasts. Viewfinder: a tool used to look through to compose an image. This tool is helpful in selecting the most interesting composition to be found in a larger image by cropping out unwanted perimeters. In photography a viewfinder is what the photographer looks through to compose, and in many cases to focus, the picture. Visual Communication: the communication of ideas through the visual display of information. Primarily associated with two-dimensional images, it includes: alphanumeric, art, signs, and electronic resources. Recent research in the field has focused on web design and graphically oriented usability. Volume: the mass of three-dimensional shapes in space. Wash: used in watercolor painting, brush drawing, and occasionally in oil painting to describe a broad thin layer of diluted pigment or ink. Also refers to a drawing made in this technique. Warm Colors: Colors whose relative visual temperature makes them seem warm. Warm colors or hues include red-violet, red, red-orange, orange, yellow-orange, and yellow. Warm colors. Colors that suggest warmth (e.g., red, yellow, orange). Worm's-eye View: as if seen from the surface of the earth, or the floor looking up from below. AP Studio Art Page 14