AP 2D Design Summer Homework Welcome to AP 2D Design!

In order to ensure that you are prepared for the rigor and projects for 2D Design, there

will be a few summer assignments. In order to complete your College Board Studio Portfolio,

you will need to submit quite a few quality pieces. The total amount of pieces required to

submit will be 24. We try to accomplish a majority of this during the school year, but you will

need “back up” pieces just in case some of the work you completed is not up to par so the more

you work on this summer or have from previous classes, the better off you will be.

Summer assignments help alleviate the pressure during the school year of producing the

many quality pieces needed for a successful portfolio. You may also use pieces from previous

years as part of your portfolio. Your assignment is to produce quality pieces over the summer. A

list of all the assignments will be provided in the packet. If you have any questions about the

assignments please email me at : daniel_spellman@chino.k12.ca.us or

spellmanteach@gmail.com

Each quality artwork should :

➢ Take approximately 10 hours

➢ Be drawn or painted on a quality surface (no lined notebook paper or in your

sketchbook!) -----OR----- Created in a digital program such as Illustrator of

Photoshop

➢ Show forethought, good composition, exceptional craftsmanship, have mature

subject matter(avoid overused symbols)

➢ Be no smaller than 8” x 10” and no larger than 18" x 24". Good composition

means consider the background as well as the foreground.

➢ The negative space should be as attractive as the positive forms. Pace yourself

- work consistently. Don't wait until the end of July to start!

I want you to understand that this class is time consuming in order for you to produce

meaningful pieces of art! So come to this class with the mindset that it will be a little more

intense than the typical art classes you may have had in the past (Remember it is a college

level class)!

Helpful hints:

1. Draw directly from life instead of using reference photos, whenever possible. If you must use

a photo, take your own or use a photo from the public domain. Attach the photo to the back of

the work. The AP Readers (Judges), as well as art schools love to see a drawing made from life.

2. Use quality materials for your art. Good materials make it easier to create good work. Use at

least 80 lb white drawing paper and stretched canvases for painting.

3. Use standard sizes. Stay within the 18” x 24” size, so that these pieces could be used for the

quality section of your portfolio.

4. Use a sketchbook to plan your artwork. Make several thumbnails, jot down notes, glue in

reference images, and do color studies when needed.

5. Use a variety of media, even combining them for mixed media.

6. Use a complete range of values. All drawings and paintings should be complete with full

values – no exceptions!

7. Apply the elements and principles of design to all of your artwork – if you don’t know them,

research and understand them before the first day of school

8. DO NOT SIGN YOUR NAME TO THE FRONT OF YOUR WORK or place any identifying marks on

the front as per AP Guidelines. Be sure to write your name on the back.

9. Create ORIGINAL works! Do not simply copy a drawing, painting, animation, or cartoon that

you enjoy. Your piece could be at risk for plagiarism for doing so.

10. Visit the AP Central website for the portfolio you are submitting often to see sample

portfolios and to become familiar with requirements. Register for a free account!!!

https://apcentral.collegeboard.org/courses/ap-studio-art-2-d-design/course

SUMMER ASSIGNMENT LIST:

The following must be completed by the 2nd week of school:

1.) Artwork Evaluation Form Completed (50 pts)- See Attached Form

____________/50

2.) Sketchbook(50 pts)- Purchase a hard‐bound sketchbook (spiral bound generally do not

hold up to the demands of AP) no smaller than 8 ½ x 11” in size. This

sketchbook/journal will be used for AP Studio Art this summer and during the 2014‐15

school year. You will use this sketchbook/journal to start research and sketches for your

artwork as well as make notes as you view and read about art.

____________/50

3.) Three COMPLETED quality artworks for the Breadth Section(Students can choose any

subject manner) (100 pts for EACH ARTWORK) – See Attached Form

Work 1 ____________/100

Work 2 ____________/100

Work 3 ____________/100

4.) 200 Photographs(100 pts) - See Attached Form

____________/100

AP Artwork Evaluation Form

Look at the links of samples of AP portfolio artworks. Each link will show a different score of

portfolios starting at a score 2 and increasing to a score of a 6.

Look through all the works in the links attached.

Read the artist statements for each score.

Read the judges rationale of each score.

Review all of these and then answer the following questions:

1.) What was lacking in the Principles of Design and the Elements of Art when looking at

artworks that received a score of a 2 or 3? Why is the composition lacking in some of

these artworks? How would you have improved these pieces? Be Specific (Minimum 3-4

sentences)

2.) Look and read through the artist statements of the works that were evaluated a score of

a 2. Compare that to the artist statements of works evaluated at a 5 and a 6. What is the

difference from each statement? Provide an example to support your claim. Why is it

important to describe your thought process and intention for your art pieces? (Minimum

3-4 sentences)

3.) Read through the judges rationale for the scores of each group of works. What are they

evaluating on when looking at the pieces? What comments do they provide to show their

reasons why they decreased or increased a score for their works? (Minimum 2-3

sentences)

4.) How does the quality of work improve as you look from artworks of different scores?

What is changing as you think about the Principles of Design and the Elements of

Art?(Minimum 2-3 sentences)

5.) What is the biggest takeaways you got from looking at these works? What will you do to

ensure you get the highest score possible. (Minimum 2-3 sentences)

6.) What do you plan to do for the breadth section of your portfolio? What different things

do you want to test in your portfolio? (Minimum 2-3 sentences)

7.) What ideas do you have for your concentration section of your portfolio?( Minimum 2-3

sentences)

Links for Different AP Scores

Score: 2

https://apcentral.collegeboard.org/series/ap-studio-art-2-d-design/2017-sample-portfolio-

section/score-2

Score: 3

https://apcentral.collegeboard.org/series/ap-studio-art-2-d-design/2017-sample-portfolio-

section/score-3

Score: 4

https://apcentral.collegeboard.org/series/ap-studio-art-2-d-design/2017-sample-portfolio-

section/score-4

Score: 5

https://apcentral.collegeboard.org/series/ap-studio-art-2-d-design/2017-sample-portfolio-

section/score-5

Score: 6

https://apcentral.collegeboard.org/series/ap-studio-art-2-d-design/2017-sample-portfolio-

section/score-6

Three Completed Artworks

Since there is a large amount of pieces needed for the portfolio( 24 artworks), students will create

3 completed pieces of work for the breadth section of their portfolio. Works in the breadth section should

show a wide range of conceptual approaches in a students’ work.

For example, a student could choose a particular design element (such as line, shape or color)

and experiment with ways of using the chosen element to achieve unity in some compositions, while

using the same element in different compositions to achieve the effect of variety. For example, in

Escher’s Whirlpools, color is used to unify groups of fish swimming in opposite directions, while color is

employed in his Circle Limit III to contrast and differentiate one fish from the next. Exploration of color

organization and interactions could also be the basis of a conceptual approach to composition.

Another idea students may wish to explore is figure/ground relationships in the spirit of op art;

they may be inspired by works of Vasarely, Bridget Riley and Richard Anuszkiewicz.

Additionally, students can consider working with a specific mode of design presentation. For

instance, one could investigate fabric designs. A student could photograph fabric designs through the lens

of personal history and heritage, such as West African adinkra prints or Early American quilts. The

photographs could be used as is, and could also be a starting point to develop new design-based

compositions using collage, digital manipulation, fabric or any number of media. The student could find

that the photographic images lead toward a prosperous Breadth exploration for the 2-D portfolio.

Remember ALL artwork must be:

➢ Take approximately 10 hours

➢ Be drawn or painted on a quality surface (no lined notebook paper or in your

sketchbook!) -----OR----- Created in a digital program such as Illustrator of

Photoshop

➢ Show forethought, good composition, exceptional craftsmanship, have mature

subject matter(avoid overused symbols)

➢ Be no smaller than 8” x 10” and no larger than 18" x 24". Good composition

means consider the background as well as the foreground.

➢ The negative space should be as attractive as the positive forms. Pace yourself

- work consistently. Don't wait until the end of July to start!

If students are struggling on what to create for their artwork in the Breadth Section,

here are some ideas that students can use or students can use to start thinking on

what they would want to create for their breadth section.

1.) Create a colorful design for a handbag, clothing, chair, etc. Research Trina Turk’s bags

and the psychedelic art movement.

2.) Abstraction. Research abstraction and the works of Tom C. Fedro. Create an abstract

work similar to his designs. Faces, animals, objects, etc.

3.) Various thicknesses of lines, a dynamic (not static) arrangement of lines at various angles;

visual paths of movement; depth of field, and balance of design

4.) Altered stack of cards

5.) Altered series in mixed media

6.) Scratch board showing elements and principles

7.) Print making linocut repetition

8.) Social issues sandwich between two pieces of bread in realism – representational things

as meet and topping

9.) Mixed media blending more than one story memory with same emotions (day lost dog,

day you moved) = loss

10.) Visualize your most vivid memory using materials and items from that memory to

construct

11.) 2” x 3” close-up do 5 can be different crops rotate then blow up

12.) Look down at yourself, where would you like to be or what you like to be or what.

Ex. Draw fins on feet in artistic style.

13.) Line exploration – contour still life – something soft, vary line and make it

emotional and then abstract it or distort it. Or something mechanical.

14.) Flippidy flip – well known image of productive artists that either complement or

contrasts their ideas. Create line drawings of compositions, enlarge, add or subtract or

both, and flip dark to light, warm to cool, or emotion.

15.) Dichotomy – literal diptych

16.) Fractals with line, geometry and match

17.) Mechanical imitations – large scale, underline geometry

18.) Logo manipulation and repetition

19.) Skeleton study – no pencil. Take dowel rod and dip into ink. Cover floor with

poster paper and draw.

20.) Illuminated letters. Pick letter, make word and take each letter and make it into

emotion take sheet music as background take a font and fill with elements and principles.

21.) Right to bear arms, bear with muscle drawn human arms

22.) 15 post modern principles of possibility, Olivia Gude

23.) Still life juxtapose medium and objects. Texture hard and soft, medium pencil and

paint, emphasize parts.

200 Photographs

Description: Students will take a minimum of 200 photos over the summer(it must be YOUR photo.

Nothing from google or another photographer). These photos will be used for a wide variety of things.

Examples could include :

--Reference that students can use for drawings and painting

--Photos used for a design such as in a digital program such as photoshop or illustrator.

-- Cut and modified photos in a mix media piece or collage

RULES: You can take whatever photographs you want for the 200 photographs. Make sure, however,

that you have 5-10 photos in each of the following composition categories. If there is a composition that

you don’t understand, use google to research and understand the idea better: Students will turn in an

electronic version of the portfolio to Mr. Spellman either via flash drive, email, or Dropbox.

Types of Composition

1.) The Rule of Thirds- The king of compositional rules! The human eye tends to be more interested in

images that are divided into thirds, with the subject falling at or along one of those divisions

2.) Rule of Odds- The eye tends to be more comfortable with images that contain an odd number of

elements rather than an even number. The reason for this is that the human eye will naturally

wander towards the center of a group.

3.) Leaving Space This rule incorporates two very similar ideas: breathing room and implied

movement. If your subject is looking at something (even something off camera), make sure there is

some "white space" for them to look into. (White space, of course, is not a literal term but a term

used to describe the space that surrounds your subject, usually that part of the frame where there

isn't anything happening.) Likewise, "implied motion" means that if your subject is in motion you

need to give them some space that they can move into.

4.) Simplification Simple images tend to be more appealing than complicated ones.

5.) Balance / Symmetry There are various ways to visually balance the weight of your composition.

Symmetrical versus asymmetrical balance, Radial symmetry, etc.

6.) Lines The human eye is drawn into a photo along lines whether they are curved, straight, diagonal

or otherwise. A line whether geometric or implied can bring your viewer's eye into an image and

take it wherever you want it to go. Diagonal lines in particular can be useful in creating drama in

your image. They can also add a sense of depth, or a feeling of infinity.

7.) Patterns - Pattern can be very visually compelling because it suggests harmony and rhythm, and

things that are harmonious and rhythmic make us feel a sense or order or peace. Pattern can

become even more compelling when you break the rhythm then the eye has a specific focal point

to fall upon, followed by a return to that harmonic rhythm.

8.) Color - How you use color can dramatically change a viewer's perception of an image. Pay attention

to the colors in everyday scenes and use them according to what you want your viewer to feel when

looking at your image.

9.) Texture - Interesting texture is another way of creating dimension in a photograph.

10.) Viewpoint - Viewpoint can dramatically change the mood of a photograph. Perspective can also

change the viewer's perception of an object's size. Viewpoint isn't just limited to high, low and eye-

level of course you can also radically change the perception of an object by shooting it from a

distance or from close up.

11.) Framing- In photography, the term "natural frame" doesn't necessarily mean a natural object. A

natural frame can be a doorway, an archway or the branches of a tree or the mouth of a cave.

Using natural frames is a trick that will isolate your subject from the rest of the image, leading the

viewer's eyes straight to the place you want it to go.

12.) Orientation - Many beginning photographers make the mistake of shooting everything with

horizontal orientation. This is short sighted and easy to correct by following this simple rule: when

an image contains a lot of horizontal lines, us a horizontal orientation. When it contains strong

vertical lines, use a vertical orientation.

Art Vocabulary

In an effort to make sure we are all speaking the same language when we write about,

critique, discuss or prepare art, I have provided a few terms we should all become familiar with:

➢ Composition – Placement of subject matter on the page.

➢ Design – to plan or to organize

➢ Elements of Design – Basic parts of an artwork. These include:

1.) Line – edge of shapes; shows direction; path of a moving dot

2.) Shape – 2D; an enclosed space, the boundaries of which are defined by other

elements of art (i.e.: lines, colors, values, textures, etc.)

3.) Form – the shape of a 3D work; the totality of its mass, as defined by its contours.

4.) Space – distance between objects; showing distance

5.) Value – lights and darks

6.) Texture – surface feel or how it appears to feel

7.) Color – breakdown of light; ROYGBV (red, orange, yellow, green, blue, violet)

➢ Principles of Art—Organizing tools; used to organize Elements. These include

1.) Emphasis – area that grabs your eye first

2.) Unity – parts working together; commonality

3.) Contrast – showing difference

4.) Pattern – flat shapes repeated; surface design

5.) Rhythm – repetition of parts/elements to create a sense of movement

6.) Movement – suggests motion or leads the eye visually

7.) Balance – visual weight within the artwork

➢ Positive Shape – shape of the subject/object

➢ Negative Shape – shape of the space around the subject/object

➢ Gesture drawings – quick drawings to capture the position/essence of the figure

➢ Contour – line drawing; outside edges and inside details

➢ Observational Drawing – drawing done by studying/looking at subject matter while

drawing

➢ Thumbnails – small drawings to plan the composition

➢ Perspective – use of the Elements to create the illusion of space and/or depth

➢ Media – materials used to create art. This could include watercolor, ink, graphite,

acrylic, pastel, charcoal, etc.

➢ Mixed media – using two or more media in a unified way

➢ Color Wheel – an organization of color hues that shows relationships between primary

colors, secondary colors, complementary colors, etc. in a circle

➢ Primary colors ―red, blue & yellow― theoretically, every other color can be created by

combining these, but the primary colors cannot be created by combining other colors

➢ Secondary colors ― violet (commonly called purple), orange & green ― created by

combining any two primary colors

➢ Tertiary colors ― yellow‐green, yellow‐orange, blue‐green, blue‐violet, red‐violet,

& red‐orange― colors created by the combination of a primary and the secondary next

to it on the color wheel

➢ Color scheme – group of working colors, ex. warm colors, cool colors, complementary

colors, split complementary colors, analogous colors

➢ Complementary colors ― any two colors opposite one another on the color wheel ie.

red & green. The combination of complementary colors will result in a low intensity,

neutral gray or brown

➢ Analogous colors ― colors that are next to each other on the color wheel and closely

related

Complementary Colors Analogous Colors

➢ Properties of color:

1.) Hue – color family, ex. Yellow orange, red orange, blue green; name of the color

2.) Value – relative lightness or darkness of any color

3.) Intensity – relative brightness or dullness of any color

➢ Expressive color – color used to show feeling/emotion of artist

➢ Realistic – true to life; correct proportions

➢ Abstract – changed or altered to be more expressive

➢ Non‐representational – no clear subject/image present

➢ Styles/Art movements – group of artists working in a unified style/time period

➢ Proposal – a plan/blue print for a finished work of art

➢ Artist Statement – reflection of the artist’s processes and experiences of creating a

work of art

➢ Critique – to analyze a work of art

➢ Qualities of a good composition

1. Interesting break‐up of positive/negative shapes

2. Complexity of shapes

3. Overlap

4. Contrasting angles, positions of objects to create movement

5. Focal point