AP STUDIO ART: DRAWING Mrs. Cecil 119Ia

AP STUDIO ART: DRAWINGMrs. Cecil | 119ia

Student Syllabus(rev. 9.16.15)

This course is designed for students to create a successful and comprehensive portfolio of their best work for submission to the College Board for AP college credit. AP students are expected to explore and grow in their art skills relative to drawing and painting materials, mediums and methods. AP students are expected to be self-motivated as the bulk of the course is time spent creating work that is appropriate for individual portfolios. Self-reflection is a must. The portfolio created will be modified as needed for college and/or scholarship submissions.

The essential components of good composition are stressed throughout the course as are creative thinking, visual literacy taught through a series of concepts and a variety of materials, creative problem solving and critiques. Students work in the areas of design, drawing, painting, digital art, photography and/or mixed media. Art history, critiques/discussions and aesthetics are incorporated.

Pre-assessment activities are designed throughout the course to facilitate differentiation and instructional decision-making. Students will be expected to complete assigned readings as they become available. Writing will be incorporated in relation to assigned readings and/or visual journal assignments.

In this class, creative thinking will be encouraged through the exploration of various materials or media, such as graphite, paper, charcoal, ink, watercolor, acrylic, oil (if applicable), mixed media exploration and digital drawing. Our plan could change as our needs do. Creative thinking will also be encouraged through exploration of your own identity, interests and thoughts as much as possible. Creative thinking means that youdo not copy ideas and images from other artists or students, but find your own way to express yourself once you have learned the tools and techniques available to you. Of course, you also have to learn who you are and how you differ from other artists.

Each AP Studio Art course and portfolio assessment focuses on students developing these practices and habits of mind through work with 2-dimensional design, 3-dimensional design, and drawing media and approaches, including the following:

•Critical analysis

•Evidence-based decision-making

•Innovative thinking

•Articulation of design elements and principles

•Systematic investigation of formal and conceptual aspects of art making

•Technical competence with materials and processes to communicate ideas

•Incorporation of expressive qualities in art making

•Demonstration of artistic intention

•Creation of a body of work unified by a visual or conceptual theme

AP Studio Art students work with diverse media, styles, subjects, and content. Each of the three portfolios consists of three sections:

The Breadth section illustrates a range of ideas and approaches to art making.

The Concentration section shows sustained, deep, and multi-perspective investigation of a student-selected topic.

The Quality section represents the student’s most successful works with respect to form and content.

The Drawing Portfolio is intended to address a very broad interpretation of drawing issues 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 invented works may demonstrate drawing competence. The range of marks used to make drawings, the arrangement of those 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 previously. There is no preferred (or unacceptable) style or content. (© 2014 The College Board.

YOU WILL NEED MORE THAN 24 PIECES. YOU NEED TO EDIT PIECES.

An important note on PLAGIARISM: What the AP Drawing Portfolio is NOT

Using photographs other than your own is strongly discouraged. Creating painted or drawn versions

of photographs is not a valid expression of your artistic voice unless you shot the photograph yourself. Likewise, using imagery other than your own is strongly discouraged. Any imagery appropriated should be Heavily manipulated. Do not copy other's work. READ Ethics, Artistic Integrity and Plagiarism next….

You will brainstorm ideas for your concentration on day ONE! (see resources at end) You are expected to thoroughly read all sections and aspects of the AP College Board site and related resources pertaining to your drawing portfolio. Submit your concentration goals and ideas on day 2. This most likely with change... it is okay to grow and progress! You need to start somewhere…..

FAQ – Submissions,etc.

** Individual portfolio assessments will take place on day 3,4 & 5.

Tentative Schedule – more detailed weeks to come

Q1: Write goals and structure individual calendar - YOUR Plan of Action for Concentration, Breadth &

Quality. What are you missing? What do you need to work on? Stay motivated! CREATE ART.

Q2:CREATE ART. Concentration, Quality & Breadth.Draft writing. Shoot artwork as available.

* Scholastic Portfolio - 8 pieces + Statement – due before you leave for Christmas break.

Q3: Revise work as needed. Restructure as needed. Final writing. Upload work and statements.

Portfolios DUE: April 18, 2016 – Including all shooting and uploads of files.

Q4: Final writing and submissions to AP siteprior to May 6, 2016.Our AP coordinator will schedule the

test date around last week of April or first week in May. The remainder of Q4 will be Reflection,

your Legacy Piece and File Management/Hierarchy of your pieces.

Materials and Methods:

Both semesters involve smaller skill-building lessons, problem solving, and application of the Elements and Principles of Art/Design as individually needed. When you feel ‘stuck’ you will gather interesting objects and create a still life for rendering, you will choose an area of the room or building to render or find a view of the beautiful grounds on campus for rendering. You could search artists and get visible inspiration from my Pinterest pages.

Drawing/Painting: Seeing and thinking differently through realistic drawing & painting assignments

Designing: Abstracting the 3D real to create 2D designs if applicable to your piece(s)

Visual communication of a specific idea through 2D imagery/color and/or mixing media with found objects, and/or Computer Design Software use.MUST address drawing and mark making issues - ALWAYS.

Assessments:

Group critiques are used to help you see how other students solved the same problem. They are opportunities not only to learn from others, but also to improve

your own eye (seeing successful and less successful artistic choices),
your own ear (hearing how to help not hurt other artists improve),
your own mind (analyzing art for the elements and principles of Design), and
your own voice (expressing your thoughts, feelings, and interpretations of art).

Individual critiques on paper are used for certain lessons for students to self-assess. You may fill out a rubric for specific lessons to evaluate how well you have fulfilled the goals of that assignment. You may also write in comments. I will respond with my assessment based on the same rubric criteria/goals.

Grades will be based on the aesthetic appeal of the final product, the stated objectives to follow and how well the design is communicated; also on your process of problem solving, overall craftsmanship (drawing, painting, print or photo clean? Matted/ mounted?), attention to detail, meeting specific learning goals, and—especially—your use of class time to practice, focus and improve your skills.

Every student starts with 15 Participation Points at the beginning of each quarter. Participation points are easy to lose - and hard to get back! If you lose participation points you may earn them back by coming in before or after school (when I am available) towork on your own art pieces or help with supplies and organization of your studio. You may also earn them back during down times in class as needed and available.

In addition to graded pieces, participation will count toward 15% of your grade each quarter. Participation is observable. It includes being on time, working IN CLASS - I do not accept work that is solely done outside of the classroom WITHOUT process pictures as documentation, performing your cleanup daily, being attentive, and sharing thoughts and ideas in critiques. Participation means being involved and working to your potential in class as well as cleaning up after yourself. It also means participating in group critiques and working as a team when it comes time to organize and take care of supplies in the studio classroom.

Supplies:

You should bring a pencil/eraser to every class. A sketchbook and a set of graphite pencils should be purchased if possible. You should have a folder for handouts that you cannot loose, such as your assessment rubrics that may be required for specific lessons and writing components.

Materials such as drawing paper, graphite and paints for assignments are supplied.

Code of Conduct - You will sign your name to this on the survey handout.

Come prepared to have a successful day – Be on time! Instruction starts immediately.

Pay attention to instruction!

Be respectful of others & keep personal space

Keep your hands to yourself and off of other’s belongings

No negative comments or talk amongst each other daily or during critiques

Work for duration of class time

No Games

Stay in assigned seat

Be respectful of the computer hardware

Be respectful of ALL materials & supplies in the room, including the tables and chairs

Be respectful of other’s artwork

Save files in correct location as instructed in the S: Drive

Save files using appropriate file names as instructed

NEVER mark on anyone else’s work, even if they ask!

Do Not Plagiarize – see page on Academic Integrity

(If you must use an image from the web that is copyrighted for appropriation, etc. you MUST change it at least 90% to make it your own, i.e. need image of Statue of Liberty – find appropriate image and change it enough that it is unrecognizable from the original – we will discuss more – You MUST always get my permission first) When in doubt… ask!  Your AP Portfolio requires your OWN voice. Find it through sketching and exploration!

Do not use printer to print files for other classes, etc. – ONLY use printer when permission is granted

DO NOT line up at the door before the bell rings – if you have the time to do so, then you have the time to create.

Tardiness = Lack of instruction, which in turn comprises your grade. Be punctual and prepared. Cases beyond our control will be overlooked.

READ over the Course Description AGAIN. Pay particular attention to the DRAWING.

SEE PAGE 8 (screen shot below) of the AP Studio Art Course Description_Eff Fall 2014 for info regarding Drawing vs. Design Portfolios !!!

RESOURCES:

Drawing Resources :(Source: College Board Course Description)

Bell, Julian. 500 Self Portraits . London: Phaidon, 2004.

Berry, William A. Drawing the Human Form: Methods, Sources, Concepts . 2nd ed.Englewood Cliffs, N.J.: Prentice Hall, 1994.

Betti, Claudia, and Teel Sale.Drawing: A Contemporary Approach . 6th ed. Belmont,Calif.: Thomson Wadsworth, 2008.

Brommer, Gerald F. Understanding Transparent Watercolor . Worcester, Mass.: DavisPublications, 1993.

Brown, Clint and Cheryl McLean.Drawing From Life. 3rd ed. Belmont, Calif.:Thomson Wadsworth, 2004.

Chaet, Bernard. The Art of Drawing . 3rd ed. New York: Harcourt Brace, 1983.

Cody, John. Atlas of Foreshortening: The Human Figure in Deep Perspective . 2nd ed.New York: John Wiley, 2002.

Enstice, Wayne, and Melody Peters.Drawing: Space, Form, Expression . 3rd ed. UpperSaddle River, N.J.: Prentice Hall, 2003.

Goldstein, Nathan. The Art of Responsive Drawing . 6th ed. Upper Saddle River, N.J.:Pearson Prentice Hall, 2006.

Goldstein, Nathan. Figure Drawing . 6th ed. Upper Saddle River, N.J.: Prentice Hall,2004.

Kaupelis, Robert. Experimental Drawing . New York: Watson-Guptill, 1992.

Loscutoff, Lynn Leon. Painters’ Wild Workshop: 12 Master Artists Help Expand YourCreativity . Gloucester, Mass.: Rockport Publishers, 2002.

Laseau, Paul. Graphic Thinking for Architects and Designers . 3rd ed. New York: JohnWiley, 2000.

Mendelowitz, Daniel M., and Duane Wakeham.Guide to Drawing . 7th ed. Belmont,Calif.: Thomson Wadsworth, 2007.

Mittler, Gene A., and James D. Howze.Creating and Understanding Drawings . 3rd ed.New York: Glencoe, 2001.

Montague, John. Basic Perspective Drawing: A Visual Approach . 4th ed. Hoboken, N.J.:John Wiley, 2005.

Nicolai des, Kimon.The Natural Way to Draw: A Working Plan for Art Study. London:Souvenir, 2008.

Rawson, Philip S. The Art of Drawing . Englewood Cliffs, N.J.: Prentice Hall, 1984.

Ruby, Erik. The Human Figure: A Photographic Reference for Artists . New York: JohnWiley, 1999.

Simmons, Seymour, and Marc S. A. Winer.Drawing: The Creative Process . New York:Simon and Schuster, 1992.

St. Aubyn, Jacklyn. Drawing Basics. 2nd ed. Belmont, Calif: Thomson Wadsworth,2007.

White, Gwen. Perspective: A Guide for Artists, Architects and Designers . 3rd ed. London:Batsford, 2003.

Concentration Ideas(Source: York)

A series of expressive landscapes based upon personal experience of a particular space

Abstractions developed from cells and other microscopic images

Interpretive self-portraiture and figure studies that emphasize exaggeration and distortion

A personal or family history communicated through the content and style of still-life images

A project that explores interior or exterior architectural space, emphasizing principles of perspective,

structure, ambiance created by light, etc.

A figurative project combining animal and human subjects — drawings, studies, and completed works

Expressive caricatures of animals engaging in human way — "anthropomorphism".

Common still life objects drawn with little pretention—ex: cheese.

Drawings based on the effects of light on a subject, derived from photographs.

Distortions of the human figure based on Surrealism, but executed in a personal way.

A series of drawings based on various leaf patterns.

A series of personal artworks based on the human condition using a rich narrative style –German

expressionism.

Blind Contour Drawings using color schemes and abstraction to portray the subject.

Concentrations from other teachers:(source: York)

New York school of art in the 30's, 40's, and 50's. The student picked artist he liked

and did works in the style of that artist without any duplication of any work. This was

strictly his own interpretation of their styles and unique works.

Women who have had a hard life-- terrorized, abused lonely, poverty,

ethnic differences. Each was done in different media and/style.

12 themes from something in the Bible. The artist interpreted them with her own

imagery and used different media. (could be adapted to any holy book)

Objects that are made with, have, look like, and resemble circles. The series included

many household objects, designs, letters, etc

Self-portraits using several artists' styles or "Ism's" including, Surrealism, Impressionism,

Cubism, Realism, Expressionism, Fauvism, super realism.

Other past winning ideas:

Fasteners

Pathways

Indians of Columbia

Life in and around Monterey Bay

Designs based on icons of the 70's,60's, 50's etc.

Sounds

People in my life

Hunter and prey

Flowers done in 14 different media

Drawing in ink and watercolor

Sequential photography

Painting from imagination

Focusing on design elements/principles

Mixed Media drawings/paintings focusing on texture

Creating abstract pinhole photographs

Photo-realism with colored pencil

Story board creation for a comic/illustration

Self-portraiture

Figure Drawings

Abstract Paintings

Nature or Landscapes

Portraiture

Designs for a book (characters to cover designs)

Automotive design

Illustration

Expressive photography

Documentary Photography using yourself as a subject to convey feelings andemotions

Using design elements and principles to convey mood in figurative drawingsand paintings

Using technology to create original references for abstract figurative drawingand painting studies

Creating mixed media assemblages with found object materials that relate tothe theme/concept of each piece

Creating a series of illustrations for a story/comic with an overall idea orpoint to the story

Need more inspiration?

GOLook at art - sketch and brainstorm. Document notes!

Detroit Institute of Arts

DAM

Toledo Museum of Art

Grosse Pointe Art Center

Scarab Club

Visit local art fairs and galleries

Simply Google art themes, etc.

Simply Google artists, techniques, skills, art methods, etc.

Read about art! Read art magazines, such as Art News, Art Forum,The Artist’s Magazine and International Artist. You will find these in local libraries or from me. Check out books about famous artists in the library while you are there. Study the images in them.

Refer to Visual Journals Handout for Concentration, Breadth and Quality.

Let’s have a great year! Get excited for creating YOUR Body of Work! 

Ready, Set… GO! 