Learn to translate the dynamic three-dimensional world into a two-dimensional
world. .... Dynamic Anatomy, Burne Hogarth, Watson-Guptil Publications,. 1958 ...
Pre-AP Studio Art Syllabus This course is designed for the highly motivated visual art junior student that has expressed an interest in completing the AP portfolio exam their senior year. 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, therefore all contents meet the requirements in the student exam poster. Emphasis will be placed on the production of quality pieces of artwork through direct teacher instruction.
Learning Outcomes Students will be expected to: -Comprehend the AP portfolio program. -Show knowledge of the breadth of the portfolio. -Demonstrate a breadth of high-quality work consisting of 12 pieces. -Create a personal focus of high-quality work consisting of 12 pieces. -Research two post-secondary career options and prepare an oral and visual presentation to their peers.
Expectations Students will be expected to develop their own personal original work. Individual conferencing from the instructor will assist in the development of their focus work. Students will develop a body of work that is a study of an idea or theme that is of personal interest to them. Students will build on a mastery of composition, concept, and execution of their personal ideas and themes. In constructing the portfolio, students will explore the distinctiveness of creative thinking. Students will also understand that creating is an ongoing process that uses knowledge and critical thinking to solve problems. Students will be expected to build a comprehensive portfolio that addresses each of these issues in a personal way. Creative problem is a necessity. Students must research their ideas for the independent projects and document this in a sketchbook journal. The following are rules to work in your sketchbook: • DO NOT make “perfect” drawings. Make imperfect drawings; make mistakes; make false starts. Let your hand follow your feelings, not what your brain is telling you to do. • ALWAYS fill the page you are working on. Go off the edges of the paper. Do not make dinky little drawings in the center of the page. Make every square inch count for something. • Do not start something and abandon it. Go back later, change it, and make it into something else. Being able to rescue bad beginnings is the sign of a truly creative mind.
• Always finish what you start no matter how much you don’t like it. • Fill at least half your sketchbook before the end of the first semester. • Put the date on every page you finish. • DO NOT DRAW FROM PHOTOGRAPHS, magazines, etc. The use of published photographs or the work of other artists for duplication is plagiarism. Draw from observation, things you see in the world. Learn to translate the dynamic three-dimensional world into a two-dimensional world. • By the end of the 1st semester, your sketchbook should be twice as thick as it was when you got it. • NO CUTE, PRETTY, PRECIOUS, ADORABLE, or TRITE images. This is a college-level art class, not a recreation program to make pretty pictures to hang in your house. Expect your ideas about what makes good art to be tested. • Don’t be boring with your work. Challenge us! • Avoid showing your work to others unless you know they are going to understand what you are trying to do in your sketchbook. You don’t need negative feedback when you are trying out new ideas or experimenting. This is a place for risk taking. Don’t invite criticism unless you are confident that it won’t derail your free spirit.
Ways To Work In Your Sketchbook: • Draw, draw, draw, draw, draw, paint, paint, paint, draw, paint, draw, collage, etc. • Use pencils, pens, crayons, sticks, charcoal, digital images, burnt • matches, pastels, watercolor, acrylic, pine straw, fingers, basically anything that will make a mark. You have the power to experiment. • Draw what you SEE in the world. No drawings from published images (plagiarism) or personal photographs. You need to learn to draw without the crutch of someone else’s composition or flattening of space. • Use gesture, line, and value in your drawings. Try to create a sense of light and depth in your images. • Use the principles of perspective to show depth in a drawing. • Glue stuff into your sketchbook, i.e., ticket stubs, gum wrappers, tin foil, lace, lists, receipts, sand, leaves, twigs, pebbles, shells, earrings, shoelaces, whatever. Make a collage with the stuff. Add these things to pages that you started but don’t like. Let your imagination go wild. • Build the pages up by layering things, paint on top of collage, newspaper, and drawing. Attach pieces of fabric and photographs and paint over parts of them. What did you do? What are you trying to say? • Express yourself! Work to develop mastery in concept, composition, and execution of your ideas. • Make decisions about what you do based upon how things look. Go for the tough look, not the easy solution. Do not be trite; say something
important about the world you live in. • Take a news story and interpret it visually, use abstraction to express an idea. • Play around with geometric and organic forms, interlocking and overlapping to create an interesting composition. Use color to finish the work. • Create a self-portrait using distortion, Cubism, Impressionism, Minimalism, or Pop. • Create a drawing of the interior of your room but add collage elements for the lamps, and furniture. Glue sheer fabric over the collage. Draw an image on the sheer fabric of yourself moving around the room. • Make at least 100 small gesture figural drawings from observation. Remember to use the whole page! Fill the space behind the figures you draw. Make it count for something. • Make a simple contour drawing of an arrangement of objects. Repeat the drawing four times. Explore different color schemes in each of the four drawings. Write about how the color changes the feeling in each • image. • Write about your work. Write about what you like about a drawing, what you don’t like about it. Write about your hopes for your artwork. Write about why you like to make art. • Write about how your artwork could impact another’s thinking or feeling. Write about what you want to say with your artwork, and what it means to you in the larger sense. • Lastly, this experience should be for your growth as an art student, as a person who values art as a means of expression. Keep it for yourself so that you will feel free to work without judgment. Remember this is an ongoing process that uses informed and critical decision making to develop ideas.
Assessment and Evaluation Portfolio Development (90%) Based on finished work as per quarter quota. Graded using the evaluation rubric as established by the College Board. Volume, quality and creativity will be taken into consideration for final grades.
Overall Performance Goals Through goal setting, students are guided in setting challenging but attainable goals for projects. Students utilize a set of standards set for the class, which they use to gauge their progress. These standards are based on the state course expectations for the Advanced Placement portfolio exam. Critiques are a required component of the course. All students
participate and give a brief description of their work during a critique. Students are expected to engage in verbal and written critiques of their own personal work as well as the work of their peers. During critiques the vocabulary of art will be used to discuss work on exhibition or display. It is mandatory that a project be modified if the project does not meet rubric standards. All altered pieces must then be critiqued again. An average of both grades will be applied to the modified project. Students are expected to use artistic integrity throughout the course. Artwork that is based on published photographs or the work of other artists must move beyond duplication to illustrate an original idea. Students may receive specific assignments or just be asked to spend time working on a particular assignment at home. They should be prepared to spend four to eight hours a week outside of class on their work. As an additional component to their coursework, students will be required to submit a portfolio for juried review at the Scholastic Art Awards and the Old State Capitol Art Fair Poster & Scholarship Competition.
Assessment & Evaluation - Portfolio Development 90% Structure of Portfolio The three-sections of the portfolio require the student to demonstrate a fundamental competence and range of understanding in visual concerns and methods at the first-year college level. The Advanced Placement Studio Art course addresses three major concerns that are constants in the teaching of art: (1) a sense of quality in a student’s work; (2) the student’s concentration on a particular visual interest or problem; and (3) the student’s need for breadth of experience in the formal, technical and expressive means of the artist. 1) Quality Section: “For this section students are asked to submit slides of their best 5 works, with 2 views of each work, for a total of 10 slides and CD. Students should carefully select the works that demonstrate their highest level of accomplishment in Design. The works submitted may come from the Concentration and/or Breadth section, but they don’t have to” (The College Board)) 2) Concentration Section: “A concentration is a body of related works describing an in-depth exploration of a particular artistic concern. It should reflect a process of investigation of a specific visual idea. It is not a selection of a variety of works produced as solutions to class projects or a collection of works with differing intents. Students should be encouraged to explore a personal, central interest as intensively as possible; they are
free to work with any idea in any medium that addresses design issues. The concentration should grow out of the student’s idea and demonstrate growth and/or discovery through a number of conceptually related works. In this section, the evaluators are interested not only in the work presented but also in visual evidence of the student’s thinking, selected method of working, and development of the work over time. For this section, 12 slides must be submitted, some of which may be details. Regardless of the content of the concentration, the works should be unified by an underlying idea that has visual and/or conceptual coherence. The choices of technique, medium, style, form, subject, and content are made by the student, in consultation with the teacher” (The College Board). It is recommended by the Visual Arts faculty that students submitting a 3-D portfolio have a minimum of 12 concentration assignments completed by portfolio completion deadline. This ensures that students will have ample projects to achieve mastery of concepts and/or to further develop processes before submitting the final portfolio. Students will be asked to complete written assignments throughout the course of the year to help them develop their concentration ideas. Students are required to answer specific questions about their concentrations as part of the portfolio requirements set by the College Board. 3) Breadth Section: “The student’s work in this section should demonstrate understanding of the principles of design, including unity/variety, balance, emphasis, contrast, rhythm, repetition, proportion/scale, and figure/ground relationships. The work should show evidence of conceptual, perceptual, expressive, and technical range. The student should be introduced to problems of concept, form, and materials as they pertain to 3-Dimensional Design” (The College Board). Additionally, students will be responsible for all projects and assignments as described in the Scope & Sequence. The work should demonstrate a wide range of media, which could include ceramics, metals, furniture, 3-Dimensional fiber, apparel, and/or architectural and industrial design models, and beyond. The best demonstrations of breadth clearly show experimentation and a range of approaches to the work (The College Board).
Assessment & Evaluation - Class Conduct 10% Students will be expected to perform in the following manner: -Maintain a strong work ethic. -Work through and solve visual problems effectively. -Attention to lectures, directions, and demonstrations.
-Understand how art elements and design principles convey content. -Appropriately use materials and equipment in chosen media. -Increase knowledge of art tools and materials. -Responsibly cleanup and store work. -Involved consistently in the open studio time. 7
Supplies Students will need to obtain an 11x14 sketchbook (min. of 80 sheets). There will also be other supplies that will need to be acquired as specific projects necessitate on an “as-needed” basis.
Student Readings & Visual Research 1. Dynamic Anatomy, Burne Hogarth, Watson-Guptil Publications, 1958, 1990. 2. The Visual Experience, Jack Hobbs, Richard Salome & Ken Vieth, Davis Publications, 2005. 3. Art Fundamentals, Otto G. Ocvirk, Robert E. Stinson, Phillip R. Wigg, Robert O. Bone & David L. Clayton, McGraw-Hill Publications, 1998 4. Understanding Art, Lois Fichner-Rathus, Thomson-Wadsworth Publications, 2004. 5. Extruded Ceramics, Diana Pancioli, Sterling Publications, 1999. 6. The Encyclopedia of Pottery Techniques, Peter Cosentino, Sterling Publications, 1990, 2002. 7. Claywork, Leon I. Nigrosh, Hendrick-Long Publishing, 1975. 8. Experience Clay, Maureen Mackey, Davis Publications, 2003. 9. Beginning Sculpture, Arthur Williams, Davis Publications, 2005 10. Beginning and Advanced Sculpture Syllabi, Dalton Maroney, University of Texas at Arlington Beginning and Advanced Sculpture class, 1994, 1996 and 1997. 11. Beginning and Advanced Ceramics Syllabi, Nick Woods, University of Texas at Arlington Beginning and Advanced Ceramics class, 1995, 1996 and 1997.
Course Outline & Schedule Students will primarily be preparing work for the Breadth section of the portfolio during the first semester. A variety of concepts and approaches will be used to demonstrate abilities and versatility with techniques, problem solving, and ideation. During the second semester students will transition into exploratory work for the Concentration section of the portfolio. Students will develop a body of work for the Concentration section that is a planned study of an idea of interest to them. Critique dates will be at the end of each quarter. Students will be expected to have a minimum of three projects ready at the beginning of class on the assigned critique days. Critiques with peers and the teacher are mandatory.
Supplies: *Flash Drive With Your Name Written On The Case
Grading Scale A+ 97-100 A 94-96 A- 90-93 B+ 87-89 B 84-86 B- 80-83 C+ 77-79 C 74-76 C- 70-73 D+ 67-69 D 65-66 F 0-64
