A.Mabry 1

MABRY

AP® Studio Art: Drawing, 2-D Design and 3-D Design Syllabus

THE STUDENT WILL BE ABLE TO

  • Sustain an investigation of all three aspects of portfolio development—

quality, concentration, and breadth—as outlined in the Course Description and Poster throughoutthe duration of the course.

  • Develop mastery (i.e., “quality”) in concept, composition, and

execution of drawing, 2D design or 3D design

  • Develop a cohesive body of work investigating a strong underlyingvisual idea in drawing, 2D design or 3D design that grows out of a coherent plan of action or investigation (i.e., a “concentration”).
  • Demonstrate a range of abilities and versatility with technique. Such conceptual variety can bedemonstrated through either the use of one or the use of several media.
  • Demonstrate a range of abilities and versatility with problem-solving. Such conceptual

variety can be demonstrated through either the use of one or the use of several media.

  • Demonstrate a range of abilities and versatility with ideation (i.e. “breadth”). Such conceptualvariety can be demonstrated through either the use of one or the use of several media.
  • Engage in making art as an ongoing process that involves the student in informed and

critical decision making.

  • Engage in group critiques, with the teacher, enabling students to learn to analyze and

discuss their own artworks as well as artworks of their peers.

  • Engage in individual student critiques and or instructional conversations with the teacher,enabling students to learn to analyze and discuss their own artworks and better critique artworks oftheir peers.
  • Understand artistic integrity as well as what constitutes plagiarism.
  • Develop their work so that it moves beyondduplication.

Expectations for students:

  • Maintain a strong work ethic.
  • Work through and solve visual problems effectively.
  • Refine the ability to draw/render what you see.
  • Understand how art elements and design principles communicate content.
  • Increase awareness of the creative process.
  • Increase knowledge of art tools and materials.
  • Pursue the art-making process with an open, fearless and willing heart and mind.
  • Be willing to fail

Course Description

The instructional goals of the AP Studio Art program can be described as follows:

• Encourage creative and systematic investigation of formal and conceptual issues.

• Emphasize making art as an ongoing process that involves the student in

informed and critical decision making.

• Help students develop technical skills and familiarize them with the functions of

the visual elements.

• Encourage students to become independent thinkers who will contribute

inventively and critically to their culture through the making of art.

Through studio practice, application of design concepts, and informed decision making,

students will assemble a body of artwork that demonstrates a high level of quality and

growth over time of content, technique, and process. Students will develop mastery in concept, composition,and execution of Drawing, 2-D Design, or 3-D DesignStudents will address the

three components in their portfolios: quality, concentration, and breadth.Students

will submit this body of work to the College Board for grading and possible college credit.

Each portfolio is comprised of three sections: Quality, Concentration, Breadth

Quality: for the 2-D Design and Drawing portfolios 5 actual works that exhibit mastery of technique and/or concept; for 3-D Design, 5 works in digital form, 2 views of each, that exhibit mastery of technique and/or concept.

Concentration: works that describe an in-depth exploration of a particular artistic concern…12 images for each portfolio, some may be details. The students provide a written commentary along with their images to explain the intent of their work. This commentary is not graded, it is strictly regarded as information to guide the reader in understanding of the student's work. The student responds to two questions: (1) Clearly and simply state the central idea of your concentration. (2) Explain how the work in your concentration demonstrates your intent and the exploration of your idea. You may refer to specific images as examples.

Breadth: a variety of work that demonstrates understanding of the principles of design, the principles of three-dimensional design, or drawing issues relative to each portfolio…12 different images for 2-D Design and Drawing portfolios; for 3-D Design, eight works in digital form, 2 views of each for a total of sixteen images.

The 2-D Design Portfolio is intended to address two-dimensional design issues. Design involves purposeful decision making about how to use the elements and principles of art in an integrative way. In the 2-D Design portfolio students should demonstrate their understanding of design principles as applied to a two-dimensional surface. The principles of design(unity/variety, balance, emphasis, contrast, rhythm, repetition, proportion/scale and figure/ground relationship) can be articulated through the visual elements (line, shape, color, value, texture, space). Any 2-D process or medium may be submitted, including, but not limited to, graphic design, digital imaging, photography, collage, fabric design, weaving, fashion design, illustration, painting, printmaking, etc.

The Drawing Portfolio is designed to address a wide range of approaches and media. Line quality, light and shade, rendering of form, composition, surface manipulation, the illusion of depth and mark-making are drawing issues that can be addressed through a variety of means, which could include painting, printmaking, mixed media, etc. Abstract, observational and inventive works may be submitted. The range of marks used to make drawings, the arrangement of the marks and the materials used to make the marks are endless. Any work submitted in the Drawing portfolio that incorporates digital or photographic processes must address drawing issues such as those listed above, as well as mark-making. Using computer programs merely to manipulate photographs through filters, adjustments or special effects is not appropriate for the Drawing portfolio.

The 3-D Design Portfolio is intended to address engagement with physical space and materials. Design involves purposeful decision making about using the elements and principles of art in an integrative way. In the 3-D Design Portfolio, students should demonstrate their understanding of design principles as they relate to depth and space. The principles of design (unity/variety, balance, emphasis, contrast, rhythm, repetition, proportion/scale, and occupied/unoccupied space) can be articulated through the visual elements (mass, volume, color/light, form, plane, line, texture). These issues can be explored through additive, subtractive and/or fabrication processes. Examples of approaches include, but are not limited to, figurative or nonfigurative sculpture, architectural models, metal work, ceramics, 3-dimensional fiber arts/fashion, jewelry and body adornment.

Homework, in-school assignments, and reflections:

Students will receive specificassignments as well as be asked to spend time working on a particular in-classassignment at home. They should be prepared to spend time each outside of class on their work. During all activities and assignments, the students will

demonstrate how they each make art and ways that they solve problems, emphasizing

the ongoing process they are involved with and ways that they make their informed

and critical decisions. Students will use a sketchbook as an ongoing visual journal

to work through ideas, practice drawing and design skills, and record their journey

through this year. Due to the amount of work students do outside of class, some

specific sketchbook assignments will be made with the expectation that additional

out-of-school time will be used by students to work in their sketchbooks as tools for

developing and recording their ideas

Weekly out-of-class projects will include, but are not limited to, the following:

  • Critical assessment of the imagery in a magazine advertisement
  • Scratchboard drawing with focus on texture and value
  • Drawing of crumpled magazine pages, shaped to resemble animals
  • Drawing of forms seen through water
  • Drawing using mono-directional lines with a variety of thicknesses
  • Single-line contour drawings of objects in an environment
  • Self-portrait made from product packaging
  • Critical evaluation of 20 separate types of creative visual work (photography,

installation, illustration, fashion, tattooing, etc.)

  • Photograph of a drawing made on human skin
  • Drawings on clear vellum and black vellum
  • Drawing using erasers on a grey charcoal field
  • Painting made to the movement/rhythm of a song
  • Drawing that illustrates a song
  • Drawing of human shadows on architecture
  • 1 page of drawings that capture everything seen on a television channel in 30

minutes

  • Drawings using ink washes (both black and colored ink)
  • Watercolor landscapes using masked areas
  • Concentration variations
  • Art made from a system of chance (possibly with ideas tied to dice, or cards, etc.)

Critiques:

The majority of class time is spent making artwork, though students are

expected to participate in ongoing group critiques with peers and teacher as well as

ongoing, individual, one-on-one critiques and conferences with the teacher throughout

the course. Furthermore, individual instructional conversations with the teacher will

assist each student in assessing strengths and weaknesses in their own images and

provide feedback on ways to further develop their individual and unique drawings and

compositions. In turn, these conversations will help students discover ongoing ways to

improve their art making.

Exhibitions:

In addition to viewing current exhibitions (individually and as a class), AP students are also encouraged to participate in art exhibitions and contests in the area. Two that are required are the VASE competition and the annual Student Juried Art Exhibition. A few of the others that are encouraged are Culture Shapers, HLSR Rodeo Competition, Lawndale’s Dia de los Muertos, the Contemporary Art Museum’s Teen Exhibition, The Big Show, and the Houston Area Exhibition. Submitting to shows requires a considered self-evaluation and critique.

Original Work, Copyright Issues, and Moving Beyond Duplication

All student work must be original. Activities throughout the course and discussions will

take place, and these will assist the student in understanding how artistic integrity,

plagiarism, and moving beyond duplication are included in every aspect of this course.

Students will not use someone else’s work, images from the Internet or books, or any

published or unpublished images or photos created by another person. The student

is to work from direct observations of his or her life and life events, environment,

dreams, fantasies, and self-made photographs. Ongoing conferences with the teacher,

as well as one-on-one individual discussions and/or group peer critiques with the

teacher, will provide additional activities to help with this understanding. Artistic

integrity is essential. If a student uses someone else’s work as a basis for one of his or

her own pieces, there must be significant alteration to the work for it to be considered

original and/or appropriate for this college-level portfolio.

Alvin Independent School District

Academic Integrity Guidelines

It is the policy of Alvin Independent School District to facilitate honesty and integrity among the student body. Students must work to be successful in the classroom, each on his/her own merits.

Academic misconduct can be defined to include but not limited to, giving or receiving of unauthorized aid on examinations or in the preparing of notebooks, themes, reports or other assignments, knowingly misrepresenting the source of any academic work; unauthorized changing of grades; unauthorized use of school approvals or forging of signatures, plagiarizing of another’s work, or otherwise acting dishonestly in the classroom.

Academic misconduct of any kind is unacceptable and will result in disciplinary consequences. The assignment will receive a zero and the parent will be notified at that time. Repeated offenses may jeopardize the student’s ability to successfully complete the course.

Examples of Academic Misconduct

Cheating – giving, using, or attempting to see unauthorized materials, information, notes, study aids, or other devices in any academic exercise, including unauthorized communication of information

Fabrication or Falsification – unauthorized alteration or invention of any information or citation in an academic exercise

Plagiarism – knowingly presenting the work of another as one’s own (i.e. without proper acknowledgement of the source). The sole exception to the requirement of acknowledging sources is when the ideas or information are common knowledge. This includes the use of Internet sources.

Facilitating Academic Misconduct – giving or attempting to help another commit an act of academic misconduct

Tampering with Materials, Grades or Records – interfering with, altering or attempting to alter school records, grades or other documents without authorization from an appropriate school official for the purpose of changing, falsifying or removing the original information found in such records

Copyright Laws – All applicable copyright laws will be in effect as related to both computer software and printed materials. (See the Alvin ISD Technology Usage Policy.)

Source: University of Kansas and Bentonville High School

Grading

Student grades fall into two categories: classwork/projects (60 percent) and class

participation (40 percent). Classwork/projects is self-explanatory. Class participation

includes students’ participation in ongoing group critiques with the teacher and

individual critiques with the teacher, preparation for final projects, taking photographs of

their work, etc.
Late Work

One day85%

Two Days70%

Three days no credit

Four days no credit

Advanced placement (AP) and pre-AP courses for high school credit will accept late work only during the first nine weeks of the course.

Rubric

Design Quality — The elements of art (line, color, texture, shape, form, space, and

value) and principles of design (rhythm and movement, balance, proportion, variety and

emphasis, harmony and unity) are utilized successfully; there is strong evidence of the

artist’s plan or organization of thought, and the basic assignment criteria are met or

exceeded.

Creativity— The work is conceptually innovative, the materials used and the process ofcreating the work are inventive, or the work is simply quite original.

Craftsmanship — Time and care are taken to create a piece that feels finished and is

well made — it doesn’t seem to the viewer that the work was “slapped together in a

hurry.”

Extremely. Well Qualified
(95-100) / Well Qualified
(90-94) / Qualified
(80-89) / Possibly Qualified
(70-79) / No Recommendation
(69 or below)
Design Quality / Excellent use of Design / Good use of Design / Proficient
use of Design / Sufficient
use of Design / Insufficient
use of Design
Creativity / High concept and innovation / Above Average concept and innovation / Proficient concept and innovation / Sufficient
concept and innovation / Insufficient
concept and innovation
Craftsmanship / Excellent Craftsmanship / Good
Craftsmanship / Proficient Craftsmanship / Sufficient Craftsmanship / Insufficient
Craftsmanship

5= (95 to 100): Excellent work

  • Shows evidence of original thinking
  • demonstrates verve
  • addresses complex visual or conceptual ideas
  • uses materials well
  • technique is excellent
  • dynamic design or composition
  • impeccable craftsmanship
  • clearly individual voice
  • concept clearly addressed in a sophisticated way
  • evidence of experimentation or risk-taking
  • work completed on time

4 = (90to 94) Strong work

  • Work at this level is strong, although there may be inconsistencies
  • Is fairly confident
  • Has a grasp of the elements of art and principles of design
  • Highly effective design/composition
  • High quality craftsmanship but not perfect
  • Individual voice
  • Mostly original source material
  • Work completed on time

3 = (80 to 89) Good work

  • Work at this level shows some sense of direction, but may not be fully resolved
  • Exhibits some degree of success
  • Shows some manipulation of ideas
  • Shows a good understanding of the elements and principles of design
  • Technical aspects are handled well but do not always match the idea
  • Capable design/composition
  • Good craftsmanship, some areas not handled as well as others
  • Does not clearly indicate individual voice
  • Fairly successful solution to the problem
  • Most source material is original
  • Works basically complete but still needs some finish work

2 = (70to 79): Moderate work

  • Work at this level shows a sense of real effort but problems are not successfully resolved
  • May be more accomplished technically than conceptually
  • Demonstrates an emerging awareness of the elements of art/principles of design
  • Erratic in technique
  • Inconsistent but decent design/composition
  • Craftsmanship is erratic
  • Minimal individual voice
  • Problem addressed but addressed weakly
  • Work is incomplete or rushed

1 = (50 to 69): Weak work

  • Work at this level is weak or awkward
  • It is simplistic in addressing solutions to problems
  • Shows no clear intent
  • Limited artistic decision-making
  • Weak design/composition
  • Poor craftsmanship
  • Limited individual voice
  • Trite source material
  • Incomplete

0 = (50 and below): Poor work

  • Work at this level show little if any evidence of thinking
  • Poor in technique
  • Trite in addressing solutions to problems
  • Poor composition
  • Poor grasp of elements of art /principles of design
  • Sloppy craftsmanship
  • No individual voice
  • Copied sources
  • Unfinished

COURSE OVERVIEW (In-Class Project Possibilities --- subject to change)

Schedule / Drawing Portfolio / 2-D Design Portfolio / 3-D Design Portfolio
Section1
(1 wk) / Improvisation
Use multiple “accidental” techniques and then consciously rework the results into 5 finished artworks.
focus:
Max Ernst / Improvisation
Use multiple “accidental” techniques and then consciously rework the results into 5 finished artworks.
focus:
Max Ernst / Improvisation
Use multiple “accidental” techniques and then consciously rework the results into 5 finished artworks.
focus:
Max Ernst
Section 2
(1 wk) / Figure Studies
Contour, blind contour, gesture, pos/neg space, and combinations.
focus: Egon Schiele, Francis Bacon / Figure Studies
Contour, blind contour, gesture, pos/neg space, and combinations.
focus: Egon Schiele, Francis Bacon / Figure Studies
Clay work from the human figure with an emphasis on movement and balance.