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AP Studio Art: Drawing

I. Course Description- The AP® Studio Art Portfolio course is designed for students who are seriously

interested in the study of art aesthetics and production and are willing to work towards mastery in the concept, composition, and execution of their ideas. AP Studio Art students will not be taking a written AP exam, however they will be responsible for submitting a digital portfolio of their work for evaluation at the end of the school year.

In building the Breadth section of the portfolio, students will tackle thought-provoking concepts, techniques, and approaches (including the study of famous artists and artworks) that are assigned to them in order to demonstrate their abilities and problem-solving skills through the completion of at least 12 individual projects.

Students will also develop a body of work for the Concentration section of the portfolio that focuses on a personal interest, theme, or idea that they will assign for themselves.

The Quality section of the portfolio will focus on choosing and submitting five works (no larger than 18”x24”) that the student and teacher agree best show the student’s mastery of materials, ideas and concepts, and clean and clear execution.

AP Studio Art: Drawing Portfolio requires students to produce a minimum of 24 works of art that reflect issues related to drawing (mark-making). These works may include traditional as well as experimental approaches to drawing. Drawing, painting, printmaking, mixed media, and digital media are all appropriate means for expressing drawing principles.

All assignments, handouts, helpful websites, homework, and project due dates will be located on the class wiki page: www.artsparks.pbworks.com. You are responsible for checking this site weekly to ensure that you are keeping up with all assignments in a timely manner.

II. Summer Assignments-

AP Art Studio Summer Assignments- Drawing

In this class, you will be completing around 20 quality works to submit as a portfolio

for your final AP score. Because this class is product-based, it is crucial that you have some of

the works completed upon your entry to the class. The idea is for you to be inspired and

working throughout the summer so that you will not be sluggish when the class starts in

August. You need to select 5 works from the assignments below to be completed and turned

in by the 3rd week of school. Treat each of these works with as much or more dedication as

you would give it in class so that they are quality, finished additions to your portfolio. It is

crucial that you space these out throughout the summer so that you will not have to “cram”

to get them all completed in the last 2 weeks of the summer. As an AP student, you MUST be

self-disciplined in giving yourself deadlines and sticking to them. I also expect for you to keep

a visual journal/sketchbook throughout the summer. The 5 assignments and sketchbook will

be graded by the 3rd week of school. You may use your choice of media to complete the

assignments, but each MUST BE COMPLETED on an 18x24 surface- no smaller, no larger. You

http://www.artsparks.pbworks.com/

can choose your type of paper/surface. I am counting on you to make this your best year of

art yet and expect to see some growth through these works. It is extremely important that

none of these assignments involve plagiarism.

Assignment examples:

Create an artwork that uses weighted line (changes in thinness and thickness) based on an extreme

light source. The line’s width should change based on how close to the light source it is. Complete an

interesting, finished composition using lines alone.

Create a self portrait that uses line quality to help aid in expressing an emotion. For example, choose

hatch marks for a rough attitude/feeling, or fluid thick and thin lines for a calmer feel. Consider what

psychological qualities lines have. Complete the composition, keeping lines as a main component of the

piece.

Create an artwork that utilizes patterns in all negative spaces. Try to use a different pattern in each

separate negative shape or, if you can decide on a strong pattern, unify the piece with a single pattern

in all negative spaces. This can be words, shapes, designs, doodles, etc.

Create a still life that uses reflective materials such as glass, mirrors, containers, glasses, etc. Be

creative in your choice of objects and in the arrangement for composition’s sake. Consider reflections

from the environment seen in the items as part of your composition, whether it be other objects or

yourself.

Create a still life that utilizes textural lines. If you choose objects that have specific textures or patterns

already, it will make your work come to life easier through the use of these expressive lines. Also

consider using them in the negative spaces and background.

Create an artwork that emphasizes a single object in an environment. Make sure that the environment

is fitting for the type of object you chose (it can be symbolic, historical, etc.) and that both the object

and the environment are equally emphasized.

Use colored paper to complete a still life, focusing on extreme lights and darks. You will need to use

extreme black and white drawing utensils to add to the effect. Consider the color of the paper in

choosing your objects (maybe using a theme or mood). Also try adding only lines that are necessary to

make the composition understood, leaving out some lines can also add interest to the piece.

Create an artwork under the theme of “artists’ tools.” This can be obvious (paintbrushes, pencils, etc.)

or not so obvious (hammer, brain, hands, etc.). Emphasize shading the negative space, especially right

up next to your objects to help the items “pop” off the page. Dark charcoal works well for this.

Tape off sections of your paper before applying your media (purple painter’s tape works best). Untape

layers gradually as you add new layers of media to play with the effects. Make sure that you don’t

completely lose the sharp line quality from the masked spaces. Choose colors, value intensity of these

spaces wisely to make them accented. This can be abstract or an actual drawing within these layers.

Also consider both dry and wet media as well as collage within your layers.

Create a landscape that has extreme perspective with focus on lines and patterns (think bridge,

skyscrapers, telephone poles, fences, etc.) You can choose 1, 2, or 3 point perspective, but zooming on

your subject helps to aid in the focus of the composition. You may want to take a photo instead of

trying to sit still and draw from life.

Create a landscape that has a strong focus on organic shapes. You may need to abstract the artwork to

achieve these fluid-like shapes and lines. Another interesting angle would be taking subjects that are

strictly geometric (like a cityscape) and morphing the setting into something organic.

III. Course Schedule

Year-long Plan (36 weeks)

Class meeting 5 times a week- 55 minute class periods

Week Unit Concepts Assignments Assessment Due

Week 1 (8/11-8/14)

Intro to class

Main ideas: syllabus, required materials, how to keep a sketchbook, what is plagiarism?, show and discuss AP examples Resources (art movements/artists): AP catalog disks and poster

Project: decorate studio space with inspiration, artworks, and ideas Homework: work on finishing summer projects Sketchbook: complete summer sketchbook

Critique: class discussion over grading of AP samples

no due dates this week

Week 2 (8/17-8/21)

Breadth Main ideas: What is art? PowerPoint and discussion, how to view/judge artwork, creating skin tones lecture Resources (art movements/artists): study of Goya’s “Saturn Devouring One of His Children”, Duchamp’s “Fountain”, Pollock’s “Lavender Mist”, and Wyeth’s “Christina’s World”

Project: Styrofoam cup sculpture Media: cup, x-acto knife Homework: finish cup sculpture and draw 3 sketches from different angles, collect decorations for studio space, practice blending skin tones on the wiki site Sketchbook: week 1 sketches: 3 facial compositions, up-close

Critique: group discussion during What is Art? PowerPoint, critique over cup sculptures Project Reflection due for Styrofoam cup

week 1 sketches due on Friday, cup sculpture and sketches due, skin tone blending practice sketches due

Week 3 (8/24-8/28)

Breadth Main ideas: what is copyright?, artist-inspired artwork research project, learning to mimic style and not composition Resources (art movements/artists): various artists

Project: birthday artist-inspired artwork Media: your choice Homework: research samples of your artist’s work and make notes of

Critique: group critique over birthday artist project, Project Reflection sheet for birthday artist project

Birthday artist-inspired artwork due Friday, week 2 sketches due

through history, students choose an artist who shares their birthday

their techniques, subject matter, and styles Sketchbook: week 2 sketches- symmetrical vs. asymmetrical composition

Week 4 (8/31-9/4)

Breadth Main ideas: how to build a canvas, cropped self-portrait of the face that shows personality through composition

Project: cropped self-portrait Media: acrylic paint on hand-built canvas Homework: create thumbnails for composition of self-portrait project Sketchbook: 3 sketches using skin tone and facial expression

Critique: summer work due-group critique over 5 projects and sketchbook

Week 3 sketches due on Friday, summer work (5 projects + sketchbook) due this week

Week 5 (9/7-9/11)

Breadth Main ideas: cropped self-portrait (continued)

Project: cropped self-portrait Sketchbook: week 4 sketches- 2 sketches that utilize only negative space

Critique: group critique over cropped self-portrait, Project Reflection sheet over self-portrait due

Cropped Self-portrait due Friday, week 4 sketches due

Week 6 (9/14-9/18)

Breadth Main ideas: what makes a good composition? Powerpoint, utilizing negative space Resources (art movements/artists): Hot Shots: Tips and Tricks for Taking Better Pictures by Kevin Meredith

Project: negative space artwork (use/work only the negative space in your drawing) Media: your choice Homework: make thumbnails to plan out your negative space work Sketchbook: Week 5 sketches: 2

Critique: group critique over negative space artworks, group discussion of composition PowerPoint, Project Reflection sheet over negative space work

Week 5 sketches due Friday, negative space artwork due

freedraw

Week 7 (9/21-9/25)

Breadth Main ideas: creating unique compositions, focal points, color theory, figure/ground, point-of-view, rule of thirds

Project: unique composition project Media: your choice Homework: create thumbnail sketches in preparation for project Sketchbook: week 6 sketches: magazine collage- object in a new environment

Critique: group critique over unique composition project, Project Reflection sheet over unique composition project

week 6 sketches due, unique composition project due

Week 8 (9/28-10/2)

Breadth Main ideas: rejected/abandoned objects, color theory, value shading, high-key vs. low-key, contrast, textures Resources (art movements/artists): various artists listed on wiki page

Project: abandoned object project Media: your choice Homework: create thumbnails for project, research 2 artists on wiki page, sketch one of their works, and reflect on what inspires you about their work

Critique: group critique over abandoned object work, Project Reflection sheet over abandoned object work

Artist research sketches and reflection due, abandoned object project due

Week 9 (10/5-10/9)

Breadth Main ideas: together vs. apart, symbolism, narrative quality of artwork

Project: together vs. apart artwork, 1 work each to show object together and object apart Media: your choice Homework: thumbnail sketches for project Sketchbook: project 1 from project log on wiki page

Critique: group critique over together vs. apart project, Project Reflection sheet over together vs. apart project

Project 1 from project log due, together vs. apart artworks (2) due

Week 10

(10/12-10/16)

Breadth Main ideas: installation art, natural art media, elements and principles of art, temporary art Resources (art movements/artists): Andy Goldsworthy: Rivers and Tides video and book

Project: create natural installation art and create 3 drawings based on your composition, Field Trip to Botanical Garden and local pond Media: natural media only, photography, dry media Homework: create thumbnails for project, create sketches at Botanical Garden Sketchbook: project 2 from Project Log

Critique: Group critique over photos of installations and drawings, Project Reflection sheet over installation art and drawings

Project 2 from project log due, 3 drawings of installation due

Week 11

(10/26-10/30)

Breadth Main ideas: architecture, repetition, texture and color, perspective Resources (art movements/artists): various artists listed on wiki page

Project: take photos of old downtown buildings and signs, choose 2 for final drawings Media: digital photography (Photoshop), dry media Homework: Sketchbook: Project 3 from Project log

Critique: group critique over architectural photos and drawings, Project Reflection sheet over photo assignment and drawings

Project 3 from Project Log due, 2 drawings of final architectural project

Week 12

(11/2-11/6)

Breadth Main ideas: Purposes of Art PowerPoint-(emotional, ceremonial, narrative/identity, advertisement, functional vs. non-functional, aesthetics) Resources (art movements/artists):

Project: student choice- create a project that serves one of the purposes that we have studied Media: your choice Homework: look up artists that have worked

Critique: group critique over the purposeful project, Project Reflection sheet over the purposeful project

Project 4 from project log due

various artists from history as listed on the wiki page

with this purpose of art on the wiki page, make notes in your sketchbook Sketchbook: Project 4 from the project log

Week 13

(11/9-11/13)

Breadth Main ideas: Color Theory, warm vs. cool colors, Fauvism Resources (art movements/artists): Fauvism, Henri Matisse

Project: wheel, color-mixing activities, 6 primary color activity, warm/cool watercolor cutout, Fauve room interior Media: watercolor, acrylic paint Homework: research Henri Matisse, sketch 2 of his works, record information Sketchbook: project 5 from the project log

Critique: group color matching activity, group critiques over the Fauve room and warm/cool watercolor projects, Project Reflection sheets over Fauve and watercolor works

Project 5 from the project log due, watercolor cut out project and Fauve room interior due

Week 14

(11/16-11/20)

Breadth Main ideas: Painting, mixed media, textures within painting, artists in history, color palettes Resources (art movements/artists): artists and art movements on the wiki page such as Monet, Seurat, Van Gogh, Picasso, Rembrandt, O’Keeffe, etc.

Project: create an artwork inspired by a famous work in that artist’s color palette and make the final product mixed media with layers of marks Media: water-based oil paint, papers, other various mixed media Homework: research your famous artist and work, sketch the work with color scale

Critique: in progress self-critique with teacher

Project 6 from project log due, artist research sketches due

and make notes Sketchbook: project 6 from project log

Week 15

(11/23-11/27)

Breadth Main ideas: painting, color palettes, mixed media (cont.) Resources (art movements/artists): on wiki page

Project: artist’s color palette mixed media work (cont) Sketchbook: project 7 from project log

Critique: group critique over mixed media work, Project Reflection sheet for mixed media work

Project 7 from project log due, artist-inspired mixed media work due

Week 16

(11/30-12/4)

Breadth Main ideas: Graphic Design, typography, logo design, visual puns Resources (art movements/artists): Photoshop program

Project: 1) create a visual pun that combines two images into a common saying (eye+ pod) through a drawing2) create a logo design for an imaginary company of your own (hand-drawn) Media: digital, photoshop, photography, drawing media Homework: create thumbnail ideas for each project before beginning Sketchbook: project 8 from project log

Critique: group critiques of visual pun and logo Project Reflection sheets over both design projects

Project 8 from Project log due, visual pun due, logo project in progress

Week 17

(12/7-12/11)

Breadth Main ideas: graphic design (cont.) Resources (art movements/artists): Photoshop

Project: complete 2 graphic design projects Sketchbook: project 9 from project log

Critique: continue group critiques over 2 projects, Project Reflection sheets due for both assignments

Project 9 from project log due, logo project due

Week Breadth Main ideas: Drawing, Project: 1) Critique: Christmas

18 (12/14- 12/18)

dry and wet media, gesture and contour lines, texture and pattern Resources (art movements/artists): Jim Dine- contour lines of art media

Contour line of art media, 2) apple drawings- stages of decay Media: 1) your choice of one dry media and one wet media, 2) pastels Homework: research Jim Dine and his work on the wiki page, take notes in sketchbook

teacher/student critique over contour and apple projects, Project Reflection: sheets over contour and apple projects (as MIDTERM)

break assignments- 1) draw an unusual interior working hard to capture details, textures, and values 2) draw 5-10 pieces of silverware and try to capture shadows and reflective qualities 3) set up 3-5 objects that overlap and draw them using implied lines that start and stop so the objects appear lost and found in-between their boundaries

Week 19 (1/4-

1/8)

Breadth Main ideas: Printmaking, monotype, relief

Project: 1) block relief print that interchanges positive and negative space through the cutting of planes 2) monotype over a precious work that was previously completed Media: linoleum block, printing inks Sketchbook: Project 10 from project log

Critique: group critiques over block print, monotype print Project Reflection sheets over both projects

Project 10 from project log due, block print and monotype due

Week 20

(1/11-1/15)

Breadth Main ideas: photography, unity, emphasis

Project: 1) take 2 photos of different colors, textures, and subject matter and hand-draw

Critique: group critiques over photo projects, Project

Project 11 from project log due, hand-drawn photos and emphasis photos due

details in to form a new work in Photoshop. 2) set up a still life of similar objects with one object that is emphasized and take photos from 2 angles. Then apply filters that emphasize mark-making. Media: photography Sketchbook: Project 11 from project log

Reflection sheets over both projects

Week 21

(1/18- 1/22)

Breadth Main ideas: non-traditional media, power of words, symbolism Resources (art movements/artists): Ed Ruscha

Project: create a multi-media work using food products around a nonsensical yet sensuous phrase in the style of Ed Ruscha Media: various found media Homework: research Ed Ruscha’s work, make sketches, draw thumbnail ideas Sketchbook: project 12 from project log

Critique: group critique over Ruscha work, Project Reflection sheet over Ruscha work

Project 12 from project log due, Ruscha-inspired work due

Week 22

(1/25-1/29)

Breadth Main ideas: homelessness, mood through color, symbolism

Project: 1) create an artwork that focuses on the feelings and moods behind homelessness through symbolic composition 2) decorate a bowl that brings

Critique: group critique over homeless project and bowls, Project Reflection sheet over homeless project

Project 13 from project log, homeless project and bowl due

awareness to the need for food kitchens Media: your choice Homework: create thumbnail sketches of your composition Sketchbook: Project 13 from project log

Week 23 (2/1-

2/5)

Concentration Main ideas: theme, focus, what is a concentration?

Project: view sample concentration, begin individual concentration work Media: your choice Sketchbook: project 14 from project log

Critique: individual teacher/student critiques Project Reflection sheets: completed throughout semester

Project 14 from project log

Week 24 (2/8-

2/12)

Concentration Main ideas: individual concentration themes

Project: will vary Media: your choice Sketchbook: project 15 from project log



Week 25

(2/15-2/19)





Week 26

(2/22-2/26)



Critique: individual teacher/student critiques Project Reflection sheets: completed


throughout semester

Week 27 (3/1-

3/5)





Week 28 (3/8-

3/12)





Week 29

(3/15-3/19)





Week 30

(3/22-3/26)


Project: finish all concentration projects Media: your choice


All concentration projects due

Week 31 (4/5-

4/9)

Quality and submissions

Main ideas: choosing quality work, uploading best photos of work

Project: upload portfolio

Critique: final teacher/student critiques

Upload at least ½ of your portfolio

Week 32

(4/12-4/16)

Quality and submissions

Main ideas: choosing quality work, uploading best photos of work

Project: upload portfolio

Critique: final teacher/student critiques

Upload complete portfolio and submit quality work

Week 33

(4/19- 4/23)

Wrap-Up Main ideas: art careers PowerPoint Resources (art movements/artists): art careers DVD

Project: research project over art career of your choice Homework: research job statistics for the career of your choice

Critique: group critique over career presentation Project Reflection sheet over information found

Art career research project and presentation

Week 34

(4/26-4/30)

Wrap-Up Main ideas: nesting sculptures, organic forms Resources (art movements/artists): Dale Chihuly

Project: create two nesting bowls in organic forms Media: dura-lar film, pebeo paint

Critique: self-critiques over nesting bowls

2 nesting bowls due

Week 35 (5/3-

5/7)

Wrap-Up Main ideas: how to display and mat your artwork

Project: mat and perfect your works in preparation for the final art gallery

Critique: group critiques over all projects

No due dates this week

Week 36

(5/10-5/15)

Wrap-Up Main ideas: art gallery

Project: display your finished works at the art gallery as a FINAL

FINAL artist statements and reflections

Artist statement/reflection due

IV. Grades Grading Scale- will be followed as stated in the School Handbook:

93-100= A

85-92= B

75-84= C

65-74= D

Below 65= F

Incomplete= I

Class Grading Breakdown:

Projects (Breadth, Concentration, Quality, sketchbook, BLART book, homework

assignments)= 70%

Written work (project self-critiques, research assignments, on-demand writing, portfolio

piece)= 10%

Participation (attendance, participation in group critiques, staying on-task)= 10%

Final (cumulative art gallery, artist statement, and written reflection)= 10%

V. Copyright In no way will copyrighted artworks be submitted to the AP portfolio or scored as part

of this course. Copyright infringement is a serious issue that we will discuss at the

beginning of class. As a working artist, it is important that you maintain creativity and

originality in your work and that you understand the difference between being inspired by

other artists versus taking or copying their ideas. This includes the use of Google images,

photos in magazines, and other images found on the internet or in books. Make sure that

if you look at images of subject matter to understand an object’s framework, anatomy,

and details that you take notes of these characteristics through sketches and then insert

your final image from your sketch research into a composition that is your own.

Trademarked images, logos, slogans, etc. are off-limits. If you turn in an artwork as your

own and it is found to be in violation of copyright laws, you will be given a 0 for the

assignment, it will not be allowed to be uploaded to your digital portfolio, and you will be

assigned time in ISLA (in-school suspension) in accordance with school policy.

VI. Selecting Pieces for Quality Section Near the end of the course, after you have completed your works in the Breadth and

Concentration sections, we will go over each of your artworks to decide which five pieces

are of the best quality in craftsmanship, ideology, composition, and aesthetics to include

in the Quality section of your portfolio. These works may be submitted again in either the

Breadth or Concentration sections digitally. For the drawing portfolio, these works must

measure 18”x24” or smaller (matting included) and will be submitted separate from the

digital portfolio in the portfolio that is provided by the AP College Board. It is important

that these works show your best potential and range as an artist.

VII. Student Responsibilities/Organization

A) Homework- AP students are responsible for working on several

assignments that coincide with in-class projects. These need to be completed

and turned in on time and must reflect the same work ethic and dedication as

you give projects in class.

Project Log- As stated on the class wiki page, AP students are

required to complete a project of their choice from the project log listed on

the website (one per week). These should be completed on your own at

home in addition to work that you may be taking home as part of class

assignments. They will be collected and graded each Friday as part of your

class grade. These projects can also be used as part of your digital portfolio

and will help us have more to choose from when selecting works for your

portfolio. See examples:

AP/advanced weekly project ideas- 2-D and Drawing

Choose 1 project below per week to complete ON YOUR OWN as your weekly sketch

grade. I expect each work to be completed and turned in as a final draft. This should be a

step above what a usual sketch might be and the media is up to you unless specified. Your

options:

1) Action portrait- have a friend or family member pose for you doing some sort of

movement (jump roping, walking, riding a bike, walking down stairs, etc). Capture the

entire sequence of their action in several shots, which you can choose to layer or

arrange on your final artwork. The final product should have a sense of movement

through repetition, line, arrangement, and value tones.

2) 200 straight lines- make a composition indicating space non-objectively using only 200

straight lines. Use a straight edge and drawing medium and work fully within your

picture plane. To indicate space, think about overlapping lines and lines that differ in

scale, value, texture, and weight. Focus on a range of rhythms, textures, and values.

3) Create a drawing using white charcoal on black paper. Focus on drawing in the values

of light instead of the values of dark. Setting up a still life or object in the dark under

extreme lighting conditions will help achieve the deeper shadows and contrast.

4) Go to a public place (mall, park, etc) and do 50 quick gesture sketches of people in

various activities. Layer/arrange these figures into a final picture plane. The space

should be filled with gestural lines and values to create a sense of movement and

rhythm. Consider having some figures smaller and some figures larger as a focal point.

Also consider overlapping some figures or turning them in awkward angles to fill your

space. The final product should not seem realistic but an overall study of the human

figure.

5) Have a friend pose or look at yourself in a full length mirror. Locate the halfway point

on your body while standing and mark this in the middle of your paper. Use the size of

the head to measure out the figure (7 ½-8 human heads tall). Do the same figure

seated within the same picture plane. Practice proportions along with creating

interesting poses.

6) Create an artwork that involves a view from a window. Make sure that there is room

to draw some details of the interior of the room you are in as well as many details out

of the window. Work on perspective, horizon line, and also lighting changes from

indoors to outdoors and how that affects the color of the objects.

7) Use your imagination to put together a unique composition of objects in a space not

usually related to the objects. You should draw from observation of both the objects

and then the environment that you select. You may choose to change the scale of your

objects so they feel larger than life in your environment. Research Rene Magritte for

ideas, specifically his work “Personal Views.” The final product should have an

abstract or surrealistic feel.

8) Do a drawing depicting either a bird’s eye view or ant’s view of something. Your

drawing should demonstrate knowledge of linear perspective.

9) Draw using silverware. Create an interesting arrangement utilizing line, rhythm,

repetition, etc. but focus on capturing the shine and reflection within the silverware,

possibly capturing surroundings.

10) Draw a section of your automobile- inside or outside. Use a viewfinder to find an

interesting composition.

11) Draw something that is very messy (your unmade bed, the bottom of your closet, etc.)

12) Sit on the sofa with your legs stretched out in front of you or on a chair with your feet

propped on another chair. Draw your feet and some of your lower legs, and all the

surrounding areas. Shoes optional.

13) Draw a close-up of a door knob, including the door or drawer behind it. Also consider

things that are reflected in the roundness of the knob if it is metal.

14) Draw a highly textured surface (fur, tree bark, terrycloth towel, etc.) You may zoom in

or show the item with its surroundings.

15) Put some small objects in the palm of your hand or inside a small open container

(push pins, nails, seeds, paper clips, etc) and draw them inside your hand or the

container.

16) Draw a composition of food, uneaten, half-eaten, or a combination of the two.

17) Draw body parts as they change with age (hands, eyes, ears, nose, back, legs, feet,

etc). Practice drawing your own part and then observe the same part on someone

older than you. Combine the youthful image with the elderly image within your final

composition.

18) Create a self-portrait of yourself as a product. This product can be natural or

manufactured but should serve as a symbol of yourself. You can add yourself into the

final work or allow the object to stand alone and speak for you.

19) Create a drawing, collage, or mixed media work that deals with personal symbolism or

personal history. The finished work should deal with layers and have a narrative feel.

20) Create an artwork that emphasizes foreshortening. Scale and/or perspective should

be the main focus of the work.

21) Create an artwork using stippling/pointillism.

22) Create an artwork that shows what you consider your “quiet space.” This should be

where you spend the most time and the place you go to think/work and be alone from

the world. Your viewpoint of this space should have a highly narrative/personal feel.

Sketchbook- Every AP student is required to keep at least one

sketchbook that is regularly updated throughout the course. Sketches

should be done before each project to plot out ideas and basic

composition. Constant sketching is the key to the work ethic, observational

skills, and practice of every artist. Students are encouraged to “box-in”

their sketches on the page, both for composition-planning purposes and in

the case that a sketch becomes a candidate for digital uploading. This way,

the sketch has clean edges for matting or picture-taking. I will be checking

on these sketchbooks and their progress throughout the class. Each student

must completely fill at least one sketchbook by the end of the class as part

of your final grade.

BLART book- the BLART book (Blog + Art) is a class sketchbook that is

rotated among each student in the class every 3 days. We will draw numbers

during the first week of class to establish the rotation schedule. This sketchbook

serves as a launch pad of ideas, emotions, and current inspirations of each student

during that particular week that he/she has the book. The student receives a

grade for covering a 2 page spread with words, images, illustrations, etc. This book

serves as a tool to promote group cohesion, trust, and community and also gives

students a way to constantly be inspired by the new thoughts and ideas of

working artists around them.

Research/practice assignments- occasionally, I will assign

artist research assignments and practice activities that coincide with the

projects that we complete in class. These will be posted on the class wiki

page and will be graded as homework assignments from your sketchbook.

These are meant to help students better understand and complete the

projects we work on in class in a more thought-provoking way. B) Studio Hours- AP students are encouraged to spend as much time as

possible working within their studios in order to complete projects on time.

Students may arrange to come in before school, during lunch, during breaks, or

after school as long as they have given me ample notice so they are supervised.

Visiting your studio outside of class will become crucial near the spring

submission deadline. At no time is the student allowed to work in their studio

space if a teacher is not present to monitor them. C) Exhibits/Competitions- Students are encouraged to enter their

work into contests that arise throughout the year as long as their work is

photographed and digitally uploaded before the work is submitted to the

contest. This ensures that the work is photographed in its best condition

should something happen to the work as it is transported to/from the

competition or show. If the work is up for consideration for the quality section

of the portfolio, students are encouraged to not submit their work into long-

term competitions or exhibits that may not return their work in time to submit

for the quality section. All AP assignments and at-home projects must be kept

by the student throughout the year for submitting into the AP art gallery at the

end of the year as part of your final grade. D) Rules and Tips for Sketchbook-

Ideas for creating a unique and interesting sketchbook

Remember- you are responsible for filling an entire sketchbook by year’s end

to turn in for a final grade. The pace that you keep for drawing in this book is entirely

up to you, but remember that the purpose of a sketchbook is to keep you readily in

practice and if you put off drawing in it for several weeks, you will begin to see the

effects in your artworks that you complete in class. Don’t wait until the last minute to

begin filling up pages in your book. Below, I’ve listed some interesting tips and

techniques to keep in mind when completing your book. Hopefully, keeping your

techniques for drawing interesting and unique will help you avoid artist’s block. The

finished book should look like a piece of artwork!

Example Ideas:

1) Cut out holes or openings in your pages

2) Create a secret language

3) Manipulate existing text

4) Gesso over pages

5) Use sheets of color

6) Incorporate transparency

7) Draw, paint, layer….

8) Write

9) Create a clasp

10) Collage

11) Sew

12) Tear

13) Create new text

14) Try out different materials

15) Glue pages together

16) Paint pages

17) Juxtapose images

18) Create secret compartments

E) Critiques- Each student is required to participate in class critiques on

project turn-in days. Students should be prepared to give constructive

criticism, tips, and compliments for other students’ work as well as receiving

this criticism for their own work and using the advice to bring their project to

final draft form. Both the teacher and the students will comment on each

work. Students are encouraged to write down the ideas that are given to them

and to perfect the work in a timely manner. F) Assignment Reflection- Each student is required to fill out the

following sheet upon completing and turning in a project to be submitted. It is

important that the reflection is filled out at the time of project completion

while the objectives and criteria for the project are fresh on your mind: Assignment Reflection Attach a digital image of the work to the front of this reflection. Name_________________________ Assignment___________________________ Research What resources did you use to research ideas for this project? What artist/art movement influences can be found in your work? What inspired you to make this work? Did you do any preparatory sketches? Did you change things as you developed the work in your sketchbook? Content What ideas/symbolism/purposes/themes are found within your work? How did you want the viewer to respond to your work? Do you think you were successful in meeting your goals for the project? Explain. Technical Applications How well do you think that you used the art elements and principles throughout your work? Give specific examples. Reflect on the decisions you made about the color, composition, media, etc. What were you trying to emphasize in your work? How did your media help you achieve your compositional goals? How did you problem-solve in order to complete this work? Creative Solutions What risks did you take in developing this work? What makes this work different from other works you have done? How does this work show originality in its concept/idea?

G) Uploading project images- After the completion of each project,

students must set up their artwork, appropriate backdrops, and lighting and

shoot photos of their work from at least 2 angles. These photos should then be

uploaded to each student’s digital portfolio PowerPoint on the class

computers. Students must be sure to save their images to their flash drive as

well as their PowerPoint so that the images are protected for the final digital

upload to the College Board site in the spring. This must be done upon

completion of the project to ensure that the best format of the work is

presented in the photo (in case the work was to fade, receive damages, or

become lost throughout the year). Even though students are instructed to keep

and store their artwork with the upmost care, students are also instructed to

be thoughtful of the worst-case scenario that could befall their artwork and

take proactive measures to ensure the documentation of their hard work.

Artwork must be re-photographed if the student edits or reworks the project

before the submission date. In this case, the best format of the project will be

decided upon and uploaded in the spring. VIII. Resources

The following are texts or resources that are used during the sequence of

the year in AP Studio Art to create lesson ideas, research, and evaluation

tools for this course: Hot Shots: Tips and Tricks for Taking Better Pictures. Meredith, Kevin. 2009,

Chronicle Books

SchoolArts Magazine. Davis Publications

A Design Manual, Fourth Edition. Brainard, Shirl. 2006, Pearson/Prentice Hall

The Annotated Mona Lisa. Strickland Ph.D., Carol. 1992, Andrews and McMeel

Drawing: A Contemporary Approach, Fifth Edition. Sale, Teel and Betti, Claudia.

2004, Wadsworth/Thomson

Drawing on the Right Side of the Brain. (and workbook) Edwards, Betty. 1999,

Penguin Putnam Inc.

The Art of Seeing, seventh edition. Zelanski, Paul and Fisher, Mary Pat. 2007,

Pearson/Prentice Hall

Color Workbook, second edition. Koenig, Becky. 2007, Pearson/Prentice Hall

Drawing: Structure and Vision. Drury, Fitz and Stryker, Joanne. 2009,

Pearson/Prentice Hall

From Ordinary to Extraordinary: Art & Design Problem Solving. Vieth, Ken. 1999,

Davis Publications

How to Draw What You See. De Reyna, Rudy. 1996, Watson-Guptill Publications

Drawing as Expression: Techniques and Concepts, Second Edition. Brooke, Sandy.

2007, Pearson

AP Studio Art Professional Development Workshop Materials. CollegeBoard. 2007-

2008.

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