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AP Studio Art Syllabus

AP Studio Art: Drawing, 2D, and 3D




Advanced art courses are a challenge as they correspond to fewer numbers of students and are usually offered a smaller number of times during the school day. Many times Drawing, 2D Design, and 3D Design portfolios are being juggled during one class period. Several techniques may be used, singly or in combination, to successfully teach a double- or triple-tiered AP Studio Art class:
  1. Stagger critiques, presentation of new assignments, and slide-taking deadlines for each type of portfolio.
  2. Create assignments that address similar design concepts or themes, but each group execute an artwork to meet the requirements of their specific portfolio type.
  3. Periodically schedule group critiques for two or three portfolio types at once. This creates not only community building in the classroom, but also creates an opportunity for students to have their work viewed by those who are in a different portfolio group.
  4. Students must possess the ability to work independently in terms of conducting research, use of materials and equipment and initiative during the production phase.
  5. It is best to have students working on more than one piece at a time so that if someone needs more instruction or a one-on-one critique, the student will have something else to work on until the instructor is available.
  6. Inherent within this type of environment is the opening for students to peer tutor or teach as one student always seems to know more about one material or technique than another, and the instructor should encourage students to seek advice from each other as well as pass their special knowledge or skill along to others.

Course Description


ALL:
The AP Studio Art portfolios are devised for students who are seriously interested in the practical experience of art. Students submit portfolios for evaluation at the end of the school year rather than complete a formal written exam. Through the studio class, students are involved in creative and systematic investigation of formal and conceptual issues, informed decision making, art techniques, and the functions of the visual elements. Several media will be explored including pencil, charcoal, conté crayon, pastel, pen and ink, painting and mixed media. In the area of 3D, media will include a variety of sculptural materials. Subjects range from still life to the human figure to landscape. Imagery style will range from realistic to stylized to abstract.
Mastery in concept, composition and execution will be developed by each student. The students are encouraged to become independent thinkers who creatively contribute to their culture through the making of art. They are encouraged to teach others, expected to be role models and promote the highest attributes of what it means to be an artist. During this process, students will focus on the three components of their individual portfolios: Quality, Concentration, and Breadth.
This body of work, the portfolio, will be submitted to the College Board for grading and possible college credit.

Artistic Integrity:


It is dishonorable, amounts to plagiarism, and often breaches copyright law to merely copy an image (even in another medium) that was made by someone else. Therefore, work that is based on published photographs or the work of other artists must move beyond replication to demonstrate an original idea.

Drawing Portfolio


The Drawing Portfolio is designed to address a very broad interpretation of drawing issues and media. Light and shade, line quality, rendering of form, composition, surface manipulation, and illusion of depth are drawing issues that can be addressed through a variety of means, which could include painting, printmaking, mixed media, etc. A variety of design processes and techniques and compositional and aesthetic concepts will be explored.

2D Design Portfolio


The 2D Design portfolio is intended to address two-dimensional (2D) design issues. Design involves purposeful decision making about how to use the elements and principles of art in an integrative way. A variety of design processes and techniques and compositional and aesthetic concepts will be explored.

3D Design Portfolio


The 3D Design portfolio is designed to address three-dimensional (3D) design issues, and is an exploration of the sculptural process in the physical realm. The student will expand personal design process to incorporate additive, subtractive and conceptual modes. A variety of design processes and techniques and compositional and aesthetic concepts will be explored

Expectations


ALL:

A great deal of time and effort is required for the portfolio, and the five 45 to 50 minute class periods per week are incredibly inadequate to create the amount of artworks necessary for the portfolio. After-school studio is designed to provide concentrated work time with a teacher present as a resource. After-school studio is not required but is highly recommended for success.
Homework – Students will receive specific assignments and/or be asked to spend time working on an in class assignment at home. Four to eight hours a week outside of class will need to be spent on artworks.
A sketchbook should be used as a visual journal to work through ideas, to practice drawing and design skills, and to record their journey through this year. The sketchbook will be used like a textbook and should be with the student every class period. It is expected that students will use their sketchbooks as tools for developing and recording their ideas. Specific sketchbook assignments will only be given near the beginning of the year as a teaching tool on how to practice recording the journey within the sketchbook. Due to the amount of work students are expected to complete outside of class, these assignments will taper off as the year progresses.
Critiques – Students will be expected to participate in group and individual critiques at various times throughout the year.

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.

2D 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 2D Design Portfolio.

3D 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 3D Design Portfolio.

Student Objectives


ALL:

The objectives include, but are not limited to, the following:

Grading


Assignments are graded/evaluated in the following 4 areas:

Each assignment carries a point value in proportion to its importance or class time allotted. Work not completed or not turned in may not receive points. Work turned in late loses credit over time.
The student’s grade is independent from and does not necessarily predict the AP grade that the student will receive when the College Board examines the portfolio. This is because the portfolio may include work done in other art courses, and work accomplished by the student independently outside of school.

Supplies


ALL:


Most supplies and equipment will be provided by the school, but the following supplies will need to be purchased by each student:


2D and Drawing Portfolios



It is recommended (but optional) that students purchase a set of Prismacolor Colored Pencils (at least a set of 24).

Showing work:


Students are encouraged to participate in several local and national displays and competitions. This gives greater validation for instruction in matting, mounting, and/or professional presentation.

Making slides:


All students are trained in basic photographic techniques as part of this class's curriculum. They are responsible for making their own slides with this knowledge. These are used in general class critiques and portfolio evaluations.

Choosing Concentration projects:


The course proceeds into the second quarter of the school year with the introduction of the Concentration part of the portfolio. Students are required to research and define an artist or art movement, or to create a new concept of their own that will be used as the foundation of their area of Concentration project. Each student is counseled and conferenced into an appropriate direction for his or her project. Relevance for that student is based on individual style, technique, and media. This does not predicate any changes in the nature of the Concentration project, but sets each student into a routine for the production of the body of works. Each student has to produce works on a regular schedule, which is generally one work per week.

Course Overview





Schedule




Drawing Portfolio



2-D Design Portfolio



3-D Design Portfolio



Week 1




Individual Portfolio Review sign up for a time to meet with the instructor to discuss previous work that may be used for the AP Portfolio



Individual Portfolio Review sign up for a time to meet with the instructor to discuss previous work that may be used for the AP Portfolio



Individual Portfolio Review – sign up for a time to meet with the instructor to discuss previous work that may be used for the AP Portfolio



Week 2




Movement through Mark-Making experiment with a variety of mark-making tools and techniques to establish a sense of rhythm and movement in a nonobjective drawing.



Positive/Negative Space Study -- create a composition with a visually interesting and balanced use of positive and negative space showing rhythm and movement.



100s or 1000s of Things Sculpture -- use small objects that come in 100s or 1000s (such as toothpicks, nails, pushpins, etc.) to create an interesting form that demonstrates a sense of rhythm and movement



Week 3




Mark-Making Study in Progress



Positive/Negative Space Study in progress



100s or 1000s things sculpture in progress



Week 4




Subtractive Charcoal Self-Portrait - using a combination of vine and compressed charcoal, use the dark field method to create a self-portrait (lay a field of charcoal over the entire surface of the page and use an eraser to create a range of values)



Subtractive Self-Portrait (see Drawing Portfolio)



Subtractive Plaster Sculpture – pour plaster into a form such as a milk carton or waterproof container. Carve a naturalistic or nonobjective shape from the cured plaster form.



Week 5




Subtractive Charcoal in progress



Subtractive Charcoal in progress



Subtractive Plaster in progress



Week 6




Gesture Drawing create a pen drawing of a person in his or her environment demonstrating your ability to capture reality and movement with relative speed and accuracy



Photocopy Transfer Collage using black/white imagery and text to create a composition with a range of values and an interesting narrative.



CrossContour Wire Sculpture experiment with the use of line to define form: use wire or other linear materials to create a crosscontour sculpture that can be naturalistic or nonobjective.



Week 7




CrossContour Drawing experiment with crosscontour drawing using a variety of subjects including stilllife objects as well as the human form.



Collage in progress



CrossContour Wire in progress



Week 8




Cross Contour Drawing in progress



Text and Image Collage create a digital collage using Adobe Photoshop that communicates both a visual and a literal statement.



Found Wood Relief Sculpture using dissimilar shapes and sizes of wood, create a relief sculpture that demonstrates unity and balance.



Week 9




Fruit/Vegetable Drawing Series create a series of drawings using colored pencils on varying types of colored papers that capture the fruit or vegetable in varying stages of being eaten.



Digital Anti-Self-Portrait using a digital photo of yourself and Adobe Photoshop, portray yourself as a stereotype. Text may or may not be included.



Found Wood Sculpture in progress



Week 10




Fruit/Vegetable Drawing Series in progress



IAnti-Self-Portrait in progress



Installation of Multiples – using materials of your choice, create a visually interesting series of 5 to 10 objects that you will install on campus be purposeful about your choice of locations.



Week 11




Perspective Drawing of Architecture on campus



Perspective Drawing of Architecture on campus



Recyclables Sculpture using only recyclable objects, create a freestanding sculpture



Week 12




Perspective Drawing in progress



Perspective Drawing in progress



Humorous Self-Portrait create a clay sculpture that exhibits your likeness in a humorous way



Week 13




Perspective Painting of Architecture on campus



Perspective Painting of Architecture on campus



Humorous Self-Portrait in progress



Week 14




Perspective Painting of Architecture in progress



Perspective Painting of Architecture in progress



Humorous Self-Portrait in progress



Week 15




Figure Drawing Unit - make a series of drawings utilizing a variety of tools and techniques



Figure Drawing Unit - make a series of drawings utilizing a variety of tools and techniques; may employ digital media



Alternative Clothing – explore fashion design by using an atypical material (e.g. duct tape, plastic wrap, aluminum foil, etc.) to create an object of clothing that fits you.



Week 16




Figure Drawing in progress



Figure Drawing in progress



Environmental Sculpture – using only what you find on site, create a sculpture out of natural objects in the woods, by the creek, on campus, etc.



Week 17




Taking Breadth slides



Taking Breadth slides



Taking Breadth slides



Week 18




Breadth slides due portfolio review, slide show, and celebration of first semester's work



Breadth slides due portfolio review, slide show, and celebration of first semester's work



Breadth slides due portfolio review, slide show, and celebration of first semester's work



Week 19




Concentration Section begin or continue work on the concentration



Concentration Section begin or continue work on the concentration



Concentration Section begin or continue work on the concentration



Week 20 and 21




Concentration



Concentration



Concentration



Week 22




Concentration and Critique



Concentration and Critique



Concentration and Critique



Week 23 and 24




Concentration



Concentration



Concentration



Week 25




Concentration and Critique



Concentration and Critique



Concentration and Critique



Week 26 and 27




Concentration



Concentration



Concentration



Week 28




Concentration and Critique



Concentration and Critique



Concentration and Critique



Week 29 and 30




Concentration



Concentration



Concentration



Week 31




Concentration and Critique



Concentration and Critique



Concentration and Critique



Week 32




Concentration



Concentration



Concentration



Week 33




Taking slides/checking slides



Taking slides/checking slides



Taking slides/checking slides



Week 34




Selecting quality, preparing slides, matting/mounting quality work, finalizing concentration statement



Selecting quality, preparing slides, matting/mounting quality work, finalizing concentration statement



Selecting quality work, preparing slides, finalizing concentration statement



Week 35




AP Studio Art Exhibition install show and hold opening reception



AP Studio Art Exhibition install show and hold opening reception



AP Studio Art Exhibition install show and hold opening reception



Week 36




Portfolio Work and Slides Due Portfolio review, slide show, and celebration of the year's work.



Portfolio Work and Slides Due Portfolio review, slide show, and celebration of the year's work.



Portfolio Slides Due – Portfolio review, slide show, and celebration of the year's work.








References:
Brooks, M. (1991). Drawing for Older Children and Teens.
Edwards, B. (1986). Drawing on the Artist Within. New York: Simon and Schuster.
Edwards, B. (1979). Drawing on the Right Side of the Brain. Los Angeles: J.P. Tarcher, Inc.
Gablik, Suzi. (1976) Progress in Art. London: Thames & Hudson.
Hogarth, Burne. (2002). Dynamic Wrinkles and Drapery. New York: Watson-Guptill Publications.
Mackey, Maureen. (2003) Experience Clay. Worcester, MA: Davis Publications, Inc.
Malmstrom, Margit and Bruno Lucchesi. (1996). Terracotta: The Technique of Fired Clay Sculpture. New York: Watson-Guptill Publications.
Mitler, G.A. (1995).Creating and Understanding Drawings. New York: Macmillan/McGraw Hill.
Wilson, B. & Hurwitz, A. (1991). Teaching Drawing from Art. Worcester, MA: Davis Publications, Inc.
Kleiner, Fred S. and Christin J. Mamiya, Gardner’s Art Through the Ages. 12th ed. (Thomson/Wadsworth).

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