• AP Studio Art: Drawing

    Course Syllabus

     

     

               

    Course Description

    The AP Studio Drawing Portfolio course is designed for students who are seriously interested in the practical experience of art and 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 submit portfolios or evaluation at the end of the school year. In building the portfolio, students experience a variety of concepts, techniques and approaches designed to help them demonstrate their abilities as well as their versatility with techniques, problem solving, and ideation. (C4) Students develop a body of work for the Concentration section of the portfolio that investigates an idea of personal interest to them. The five top pieces are selected for actual presentation in the Quality section of the Drawing portfolio.

     

    Summer Assignment

    Create an altered book. Document your summer.  Do not do copy work, but work from direct observation instead. Take risks and try new ideas and media. Glue stuff into your altered book: ticket stubs, receipts, pebbles, lists, found papers, gum wrappers, etc. Create photography and glue it into your book.  Draw or paint onto collaged materials in your book.  Go wild and fill the book.

     

    Goals

    • To encourage creative as well as systematic investigation of formal and conceptual issues in the Quality, Concentration, and Breadth sections of the portfolio.

    To emphasize making art as an on-going 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.

    • To encourage students to become independent thinkers who will contribute inventively and critically to their culture through the making of original art work. If a student’s work makes use of photographs or other artist’s works, it is taught that they move beyond mere duplication. Copyright issues are discussed. (C7) 

     

     

    AP work should reflect these three areas of concern: quality, concentration, and breadth. AP Studio Art: Drawing Portfolio requires the student to produce a minimum of 24 works of art that reflect issues related to Drawing. (C1) These works may include traditional as well as experimental approaches to Drawing.

    In the Concentration section, students develop a body of work that is derived from a planned investigation of an idea that is of personal interest to them. Ideation may be developed in any media or process.  Students will use informed decision-making and problem-solving skills in an ongoing process to develop and select the 12 pieces of work for their concentration. (C3) In the Breadth section, which will include 12 pieces of art, students will experience a variety of concepts and approaches to demonstrate their abilities and versatility with techniques, idea generation, and problem solving. The Elements and Principles of Art are explored extensively in the Breadth section.  Five Quality pieces are selected from either section or are created independently of Concentration or Breadth.

     

    During the first week of school, the course is outlined to the students. The indi­vidual sections of each portfolio—Quality, Concentration and Breadth—are dis­cussed in detail. I show extensive slide examples from both the College Board and past students’ work that corre­spond to each section of the portfolio—with special emphasis on the distinctions between the Drawing Portfolio and the 2-D Design Portfolio. Additionally, the students review the images and instructions from the AP Studio Art Poster.

    Homework

    As in any college-level course, it is expected that students will spend a considerable amount of time outside the classroom working on completion of assignments. Ideas for projects or solutions to problems should be worked out in a sketchbook/altered book both in class and outside of class. The sketchbook is an essential tool in recording ideas, capturing visual information, working on compositional issues, and just fooling around. Altered books/sketchbooks are checked frequently for progress.

     

    Exhibitions/Competitions

    AP Studio Art students are encouraged to participate in exhibitions and competitions. At the end of the school year, students will submit portfolios to the district-wide art exhibition where as a senior they will compete for scholarship awards. Students are also encouraged to attend exhibitions at local galleries and museums.  Several fieldtrips are scheduled per year for AP Studio Art students to attend local museums.

     

    Assignments/Evaluation

    Assignments are open-ended in nature and explore a variety of approaches to drawing/mark making. Assignments have end dates. Students should make every effort to complete work by the end date; however, there may be circumstances that cause an assignment to be late. It is important that students have a discussion with the instructor if work is going to be turned in late or if they will miss a critique. Throughout the course, students will receive individual mentoring regarding the selection of pieces for the portfolio sections.  Individual and group critiques will ensure an understanding of the sense of pursuit in visual problem solving. Open dialogue will ensure production of high quality pieces relevant to the sections of the portfolio. Work is evaluated in progress and in the finished state through critiques with teacher and peers. (C6) The AP Studio Art rubric, which is distributed separately, provides the grading criteria. Also, various written assignments are given in reference to artists-topics we study.  These may be short response or a paper. Various art videos are incorporated in the Breadth assignments such as the PBS series: Art21, Art in the Twenty-first Century.

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    Course Schedule

    Classes meet daily for 50 minutes.  The course focuses on both sections of the portfolio (Breadth and Concentration) throughout the year, with the best artwork selected for use in the Quality section of the AP Studio Art portfolio.  The Breadth work is generally teacher driven. Assignments are varied from year to year, and individual and unique responses to all work are encouraged. The assignments made are based on a variety of collected prob­lems commonly encountered in college-level Drawing courses. The students have specific in-class and out-of-class assignments; they also are expected to complete some in-class work out of class, depending on the schedule of assignments.

     

    Possible Breadth Assignments

     

    Create contour, cross contour, gesture and more realized drawings of common objects.  Look at Jim Dine’s tool series.  Look at Vija Celmin’s early work.

    Create a drawing of a toy. Explore media: graphite, colored pencil, crayon.  Look at Chris Cosnowski, local artist John Hartley, Cesar Santander and Andy Warhol.

    Create gridded and distorted self-portraits. Look at Hans Holbein’s “The Ambassadors”.

     

    Create a negative space drawing of a group of chairs.  Color in the negative space in an interesting way. (Betty Edwards, Drawing on the Right Side of the Brain)

     

    Illustrate a well-known story.

     

    Create a self-portrait, or several different ones, that expresses a specific mood/emotion–e.g., anger/rage, melancholy/loneliness, happiness/joy, etc. Manipulate light and color to enhance the psychological atmosphere. Also, consider the development of the environment/setting.

     

    Create a foreshortened self-portrait with pencil modeling techniques.

     

    Create a drawing of a reflective object with white prisma or chalk on black board.

     

    Create a monochrome self-portrait with prismacolor.

     

    Investigate the Principles of Design using various media: scratchboard technique, silver point, India ink, charcoal, graphite, pastel, and conte crayon.

     

    Create an Architectural Myth with Photomontage: Collect photographs/photocopies of city skylines, landscapes, and seascapes. Also collect photos/copies of household and technical objects—e.g., eggbeater, toothbrush, toaster, electric fan, automobile grill, etc. Carefully implant the photo of the technical gadget within the photo of the environment to create a surreal cityscape or landscape. (You might want to look at the work of the artist Max Ernst who took printed images and recombined them to create hybrid forms).  Create a drawing based on the montage.

     

    Create compositions that involve the use of inset imagery (image within image such as details/close up views).

     

    Create a graphite drawing of a still-life arrangement that consists of reflective objects—your goal is to convey a convincing representation with a full range of values. To add interest to the composition, you might also want to render yourself being reflected in the objects.

     

    Create tromp l’oeil drawings of objects.

     

    Create a value drawing of a still life with an exaggerated lighting set up.

    Draw from unusual perspectives.

     

    Create a pattern drawing. Draw outlines of shapes to create a composition.  Then create at least 5 different patterns, and fill in the outlines with these patterns.

     

    Create a value drawing of drapery. Change the rhythm, speed and pressure of your mark making.

     

    Create a pencil or charcoal value drawing of part of an insect.

     

    Create a drawing of cakes or candy.  Look at the work of Wayne Thiebaud.

     

    Create drawings of structures or landscapes employing one-point, two-point or three-point perspective.

     

    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).

     

    Explore liquid media: pen and ink, brush and wash and monotype.

     

     

     

    Concentration

    The students are encouraged from the beginning of the class to formulate ideas for their Concentrations and, where allowable, to start working on those ideas. The concept of working in a series is explained by looking at various artists.

    Possible Concentration Topics:

    A series created by drawing a still life and abstracting it and creating variations.  Look at Picasso.

    A series of tool drawings starting as simple investigation and broadening into complexity of composition and use of media.

     

    A series of drawings from everyday life from altered book exploring perspectives and media.

     

    A series of illustrations based on a well-known story or stories.

     

    A series of portraits that grow in complexity. A variety of mark-making, distortions and unusual perspectives explored.

     

    A series of drawings from observing the “inside of things” which grow in complexity of media and perspectives.

     

    A series of work as an “ode to the ordinary”.  Based on work of Vija Celmins and Jim Dine.

     

    A series of environments drawn in different lighting situations.

     

    A series which explores interior and exterior spaces, emphasizing Principles of Design.

     

    A series of abstractions from subjects that explore mark-making and various drawing media.

     

     

    Keeping Track

     

    Each student’s individual portfolio is reviewed at intervals to note the progress of the pieces.  A file is kept to list all completed work by category, notation of the concentration statement is kept and slides are updated as photographed.  There is no set order for organization of slides.  They should be organized to show the development of an idea in the Concentration section. The Breadth slides should demonstrate experimentation and a range of conceptual approaches using the Elements and Principles of Art.

     

     

    Bibliography

    Bernard Chaet. The Art of Drawing, Wadsworth Thomson Learning, 1983.

     

    Claudia Betti and Teel Sale. Drawing: A Contemporary Approach Wadsworth, 2004.

    Betty Edwards. Drawing on the Right Side of the Brain, 1989.

     

    PBS series: Art21, Art in the Twenty-first Century.