AP Studio Art Syllabi: Drawing, 2­D Design, and 3­D Design Portfolios Grano Fall 2016 Course Description All Through studio practice, application of design concepts, and informed decision making students will assemble a body of artwork that demonstrates a high level of quality and growth over time of content, technique, and process. For a variety of concepts and approaches to the Drawing, 2­D Design, or 3­D Design portfolios where students will demonstrate a range of abilities in problem solving, the elements of art and principles of design, specific art mediums, art techniques, and content. Students will develop mastery in concept, composition, and execution of Drawing, 2­D Design, or 3­D Design. Students will address the three components in their portfolios: quality, concentration, and breadth. Students will submit this body of work to the College Board for grading and possible college credit. AP Studio Art Home Pages:

http://apcentral.collegeboard.com/apc/public/courses/teachers_corner/index.html

AP Studio Art Website: Drawing

http://apcentral.collegeboard.com/apc/members/exam/exam_information/2182.html

AP Studio Art Website: 2­D Design

http://apcentral.collegeboard.com/apc/members/exam/exam_information/2134.html

AP Studio Art Website: 3­D Design

http://apcentral.collegeboard.com/apc/members/exam/exam_information/2135.html

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Artistic Integrity

Plagiarism will not be tolerated therefore students must understand that their artwork must be original. All visual references used to inspire their artwork must be transformed into a new personal statement with no confusion of another artist’s work. Working from life or from direct observation is always favorable to references from photographs or published images. Although historically artists have borrowed from one another and find a value in learning from another artist’s approach, style and subject matter, it is important that an emerging artist accomplishes to not merely copy but borrow from another artist. When borrowing from an artist the work should be changed, altered and developed beyond the original to make it new and their own. Some helpful things to consider when borrowing from another artist and to move beyond duplication: Taken from image development strategies in Roukes’s Design Synectics: Stimulating Creativity in Design ( Worcester, MA:Davis, 1988).

This list provides ways for students to spark creativity and engage in creative problem solving. Beginning with either their own or a borrowed image, there are many ways they can change, alter or develop that image, including:

Abstraction, Animation, Distortion, Elaboration, Fragmentation, Juxtaposition, Magnification, Metamorphosis, Multiplication, Reversals, Simplification, or an

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Alternate Viewpoint. Drawing Portfolio Students will expand their drawing and two­dimensional design skills and advance their visual communication skills by exploring a variety of design processes and techniques, as well as compositional and aesthetic concepts. 2­D Design Portfolio Students will expand their two­dimensional design skills and advance their visual communication skills by exploring a variety of design processes and techniques, as well as compositional and aesthetic concepts. 3­D Design Portfolio Students will expand their three­dimensional design skills and advance their visual communication skills by exploring a variety of design processes and techniques, as well as compositional and aesthetic concepts. Student Objectives All • Maintain a strong work ethic. • Work through and solve visual problems effectively. • Refine the ability to draw/render what you see. Understand how art elements and design principles communicate content. • Increase the awareness of the creative process. • Gain the knowledge of art tools and materials. Expectations All

The process of developing a portfolio requires a great deal of time and effort. The regular class time is inadequate to create the amount of work necessary for the portfolio. The open studio is designed to provide concentrated work time in the studio with a teacher present as a resource. Open studio is not required but is recommended for success.

Homework, in­school assignments, and reflections: Students will receive specific

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assignments as well as be asked to spend time working on a particular in­class assignment at home. They should be prepared to spend four to eight hours a week outside of class on their work. During all activities and assignments, the students will demonstrate how they each make art and ways that they solve problems, emphasizing the ongoing process they are involved with and ways that they make their informed and critical decisions.

Students will use a sketchbook as an ongoing visual journal to work through ideas, practice

drawing and design skills, and record their journey through this year. Due to the amount of work students do outside of class, some specific sketchbook assignments will be made with the expectation that additional out­of­school time will be used by students to work in their sketchbooks as tools for developing and recording their ideas.

Attendance for the Spring Art Show is Mandatory.

Critiques: The majority of class time is spent making artwork, though students are expected to participate in ongoing group critiques with peers and teacher as well as ongoing, individual, one­on­one critiques and conferences with the teacher throughout the course. Furthermore, individual instructional conversations with the teacher will assist each student in assessing strengths and weaknesses in their own images and provide feedback on ways to further develop their individual and unique drawings and compositions. In turn, these conversations will help students discover ongoing ways to improve their art making. Drawing Portfolio Students will produce a minimum of 24 works that satisfy the requirements of the quality, concentration, and breadth sections of the AP Studio Art: Drawing Portfolio. 2­D Design Portfolio Students will produce a minimum of 24 works that satisfy the requirements of the quality, concentration, and breadth sections of the AP Studio Art: 2­D Design Portfolio. 3­D Design Portfolio Students will produce a minimum of 18 to 20 works that satisfy the requirements of the quality, concentration, and breadth sections of the AP Studio Art: 3­D Design Portfolio. Grading As in any college­level course, it is expected that students will spend considerable

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time outside the classroom working on completion of assignments during open­studio, the summer assignments, and throughout the course. Ideas for projects or solutions to problems should be worked out in a sketchbook 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 experimenting. Sketchbooks are checked frequently for progress. Portfolio Development (75 percent) Based on finished work per quarter. Graded using the evaluation rubrics as established by the College Board. Both volume and quality will be taken into consideration for final grades. Studio Conduct (25 percent) Regular attendance is mandatory. Use of in­class time Attendance for field trips and Spring Art Show Attention to lectures, directions and demonstrations Participation in critical discussion Proper, safe use of materials and equipment Clean up duties and storage of work. Late Work

Once a project is introduced it will be due approximately the next week.

Assignments have end dates. Students should make every effort to complete work by the end date and be present for critiques.

Students must speak to instructor if there are circumstances that cause an assignment to be delayed.

Late work must be approved by instructor. Otherwise points will be taken off for late work.

If Absent the day when assignment is due, the work will be due on the day the student returns to class.

Bibliography Nicholas Roukes, Art Synectics, Davis Publications1982 Nicholas Roukes, Design Synectics, Davis Publications, 1984. Francis D.K. Ching, Design Drawing, John Wiley and Sons, 2010. Paul Zelanski and Mary Pat Fisher, Design Principles and Problems, Thomson and Wadsworth, 1996. Lois Hetland, Studio Thinking, The

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Teacher’s College Press, 2007. Chaet, Bernard. The Art of Drawing. Wadsworth Publishing, 1983. Mittler, Gene, and James Howze. Creating and Understanding Drawings. Mission Hills, Calif.: Glencoe/McGraw­Hill, 2005.

Nicolaides, Kimon. The Natural Way to Draw: A Working Plan for Art Study. Boston, Mass.: Houghton Mifflin Company, 2011.

Rose, Ted, and Sallye Mahan­Cox. Discovering Drawing. Worcester, Mass.: Davis Publications, Inc., 2006.

Stelf, Jerry, ed. The AP Vertical Teams Guide for Studio Art. The College Board, 2002. Zelanski, Paul, and Mary Pat Fisher. The Art of Seeing. Prentice Hall, 2010. Course Outline and Schedule All

Students will primarily be preparing work for the breadth section of the portfolio during the first semester. A variety of specific concepts, specific approaches, specific mediums, and specific techniques will be used to demonstrate abilities and versatility with techniques, problem solving, and ideation. For specific information see the examples in the Course Overview.

The students will review and use the elements of art and principles of design as they think through, plan, and develop each of their works. How is the student using specific elements in conjunction with specific principles? These are what artists intuitively use to assist them as they create their images, forms, and structures.

Students learn to seek out creative problems that are challenging and use goals, informed decision

making, and problem­solving skills as they develop their works in an informed way. Each student is responsible for demonstrating mastery and use of elements of art to organize the principles of design in their images and structures.

Students will transition into more open­ended and exploratory work for the concentration section

of the portfolio during the second semester. Each student will develop a cohesive body of work for the concentration section, which is a planned, sustained investigation of a visual idea in drawing.

Each student will present, to the class and teacher, an action plan for the development and

completion of his or her investigation.

Each student will choose an idea to explore in depth for the concentration section. In the concentration section, students are expected to develop a body of work that is an investigation of a theme or an idea important to them. During ongoing, individual, one­on­one conferences with each student, the teacher will assist the student in discovering and focusing on his or her concentration theme or concept.

The student will develop and present to the teacher, for approval, his or her specific plan of action

and plan of investigation, outline, thumbnail sketches, etc. for the development of his or her chosen concentration theme, idea, concept focus. This cohesive body of work investigating a strong underlying visual idea in drawing, 2­D design, or 3­D design will grow out of a coherent plan of

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action or investigation.

The student must include specific evidence of the process he or she is going to follow to develop this cohesive underlying original visual idea and include a specific plan, which may be modified, with teacher approval, as the body of work develops and evolves over time. Dates for each group critique with peers and teacher will be set and provided to students along with each assignment.

Students will at the beginning of class on each assigned critique day. Individual conferences, critiques, and one­on­one discussions be expected to have projects “critique ready” at with the teacher as well as group critiques with peers and the teacher are mandatory.

Sketchbook

Sketchbooks and all preliminary work will be collected and graded. The sketchbook you received should be your “new best friend”. You should try to carry it with you every day, everywhere. Make an effort to open it up first thing in the morning and last thing at night and many times in between. Draw in it, write in it, scribble in it, paint in it, glue things into it, cut the pages, tear the pages, change the way it looks to make it look like your own book. It should reflect you and your daily experiences. Work in your sketchbook is an ongoing process that will help you make informed and critical decisions about the progress of your work. Your sketchbook is the perfect place to try a variety of concepts and techniques as you develop your own voice and style.

Rules for working in your sketchbook: 1. 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. 2. Always fill the page you are working on. Go off the edges whenever possible. Do

not make tiny little drawings in the center of the page. Make every square inch count for something.

3. 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. 4. Always finish what you start, no matter how much you don’t like it. 5. Fill at least half your sketchbook by the end of the first semester. 6. Put the date on every page you finish. 7. Do not draw from photographs, magazines, or the like. The use of published photographs or the work of other artists or individuals is plagiarism. Draw from observation, things you see in the world. Learn to translate the dynamic three­dimensional world into a two­dimensional world. 9. No cute, pretty, precious, adorable, or trite images. This is a college­level art class. Expect your ideas about what makes good art to be challenged. 10. Don’t be boring with your work. Have fun and Challenge yourself! 11. 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.

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Don’t invite criticism unless you are confident that it won’t derail your free spirit Ways to work in your sketchbook: A sketchbook is used to document your everyday activities, travels and all your experiences that represent your life. For each experience visually capture the energy, excitement and perspectives using the media of your choice. Do your best to experiment in a variety of media. Be sure to employ your knowledge of the elements and principles of design introduced in earlier Art courses. Challenge yourself to take on interesting and advanced viewpoints for visual interest. Don’t hesitate to explore mixed media such as collage or a photomontage to document an event or special day. Do your best to fill the entire page, make notes and add photographic images that inspired you. Include themes such as still life, self­portrait, portrait of others, and landscapes. Collect all visual information to the best of your ability. This sketchbook will serve as a source for inspiration in future projects.

Draw, draw, draw, draw, draw, paint, paint, paint, draw, paint, draw, collage, and so on.

Use pencils, pens, crayons, sticks, charcoal, pastel, watercolor, acrylic, pine straw, fingers—basically anything that will make a mark. You have the power to make a mark. Work on paper, canvas, sandpaper, or the like. Use wet paper and dry paper to see how specific art mediums and techniques respond and/ or interact.

Draw what you see in the world. No drawings from published images (plagiarism).

Make an effort to not even use your own personal photographs. You need to learn to draw without the crutch of someone else’s composition or the flattening of space from the camera.

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, such as 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 and mark 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.

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Make decisions about what you do based on 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 self­portrait using distortion, or cubism, or impressionism, or 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 an extensive series of gesture drawings from observation of the figure. Use wet and

dry paper. Try Conté crayons and sticks, vine and pressed charcoal, and Prismacolor sticks and see how these respond and how they help you convey gestures in your images of the figure. Change scale; work small and work large. Work with your opposite hand. Tie your crayon or charcoal to a long stick and draw with that.

Make contour drawings from observation of anything around you.

Remember to use the whole page. Fill the space behind the objects you draw. Make it count for something.

Make a simple contour drawing of an arrangement of objects. Repeat the drawing

four times. Using transparent watercolors, Prismacolors, and opaque watercolor, 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.

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Bring the book to class on the due dates. You will have an opportunity to

select the pages you want to share. We will use your experience as an introduction to some of the thinking that you will be engaged in during the course.

Developing the Portfolio

Sketchbook entries, previous work, and preliminary sketches that meet the high standards of the College Board may count toward the final required artwork to complete the portfolio.

Concentration

The College Board (www.collegeboard.org ) defines this portfolio section as:

“A body of related works that demonstrate a student’s commitment of the thoughtful investigation of a specific visual idea.”

The College Board stresses “it is NOT a selection of a variety of works produced as solutions to class projects or a collection of works with differing intents.”

While students “are free to work with any idea in any medium that stresses two­dimensional design issues”, they are “encouraged to explore a personal, central interest as intensively as possible.”

Presenting “ visual evidence of the student’s thinking, selected method of working and development of the work over time”.

Selecting a Concentration

Students by the end of the First Semester will be asked to select a theme or underlying idea in which to base a series of works. Examples of Ideas for Concentration taken from the AP College Board include:

An exploration of patterns and designs found in nature and/or culture A Series of works that begins with representational interpretations and evolves into

abstraction. A series of political satire using current events and images. A personal or family history communicated through symbols or imagery.

Developing a Concentration Series Project (A Pre­Concentration Project) This will serve as a practice before selecting a Concentration. Students will complete three works of art that revolve around one idea. They must clearly have a strong idea in common. This project will begin with a group discussion. Examples will be presented while focusing on the necessary qualities of what exactly makes a body of work a “series” versus just any other group of work? A proposal including thumbnail sketches, needed materials and a presentation with an explanation of how these three projects represent a united body of work will be developed by the student and submitted to the teacher for feedback.

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After the Series Project the following outlines, sketches, presentations, critiques will be required in order to design a plan of action and a plan of investigation for the necessary ongoing investigations on the chosen Concentration theme. The framework gives structure and provides opportunities for the project to be modified and evolve. Beginning with an Idea Once students consider a possible concentration theme for their proposal they will be encouraged to brainstorm and experiment in their sketchbook to create a visual series of steps or ways in which they could illustrate, capture, highlight and fully develop this idea or theme that interests them. We will begin with the same image development strategies (introduced earlier in class) taken from Roukes’s Design Synectics: Stimulating Creativity in Design ( Worcester, MA: Davis, 1988):

This list will help to spark creativity and provide specific ways students can experiment and fully develop an idea in many different ways.

Abstraction, Animation, Distortion, Elaboration, Fragmentation, Juxtaposition, Magnification, Metamorphosis, Multiplication, Reversals, Simplification, or an Alternate Viewpoint.

Proposal for Concentration­ Students propose a theme that they are personally interested in. They must complete a series of at least 5 thumbnail sketches of how they can visually express that idea. Each student must also complete a written statement that includes what media they will work in. What materials will be needed should be included? What size or scale will they will they be working on? What techniques they will be using? What necessary resources will be useful to explore to help them complete their work? Teacher/Student Critique­ A private critique and discussion will be held between teacher and student. This concentration proposal, with included plan of action/investigation, must be approved and/or any modifications should be made as needed. Teacher will give feedback on chosen theme and if the proposed projects best reflect the underlying idea, concept. Guidance will be given on how to select the best techniques and media for that student’s chosen theme. Group Critique­ (done after approval from Teacher Critique) A final detailed sketch of at least one concentration piece will be due along with a presentation to the class, so each student will further explain their concentration to their peers and teacher. A group discussion will foster discussion and feedback of ideas on possible new related projects, as well as how the student could improve on the specific work on view. What artistic strengths is the student demonstrating? Does the sketch include a well­planned and thoughtfully designed composition that includes a front, middle ground, and back ground? What techniques, elements of art with the principles of design, could best match up and help in expressing this visual idea? Each Week a private and group critique will be given to encourage creative problem solving and provide strategies for work to improve, develop and evolve.

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Quality

The College Board (www.collegeboard.org) defines this portfolio section as one that “permits the student to select the works that best exhibit a synthesis of form, technique, and content.” Mastery of skills and an effective use of the elements and principles of design are essential to demonstrate “quality” in concept, composition, and execution of 2­D design. Some two­dimensional examples that may demonstrate excellence in this area may include:

Filling the entire picture plane, exhibiting good composition and successfully employing advanced perspective techniques to create an interesting work that catches the viewer’s eye.

Developing color and value gradations or using extreme contrast to demonstrate the idea of emphasis highlighting the focal point within a design.

Filling the entire picture plane, exhibiting good composition and successfully employing advanced perspective

Some three­dimensional examples that may demonstrate excellence in this area may include: The work shows evidence of thoughtful decision­making and intention in the activation

of physical space. The work shows successful engagement with experimentation, risk taking, or both.

Selecting pieces for your Quality section should choose works that are the very best examples of their work. Work should show a variety of style, techniques, subject matter, and media used. All two­dimensional work for this section should be 18”x24” or less. The three­ dimensional work will use digital images of five works (with two views of each) that demonstrate mastery of 3­D design­principles apparent in the form, concept, activation of physical space, and execution of the work. Principles of 3­D Design include: Unity/Variety, Balance/Emphasis/Contrast, Rhythm, Repetition, Proportion/Scale, Occupied/Unoccupied Space.

Breadth These guided assignments will be completed both during and outside of class. New techniques will be introduced along with strategies of how to demonstrate the principles of design best to represent the full range of student’s ability. Individual and peer critiques will be given to refine skills and encourage risk taking preparing them for the more independent work required in the concentration section. Students may work in the appropriate 2D, Drawing or 3D using any media.

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AP 2D and AP Drawing Course Overview (3D students see Modified 3D Assignment Overview ) Pre­Ap­ During the school year before the AP Studio Art course students will choose two

to four pieces of work (first and second breadth pieces) to be considered for breadth from previous art courses in the Pre­AP years.

(2 Total Breadth Count)

Summer Assignment Third, Fourth, and Fifth Breadth pieces are to be completed. Start Sketchbook Research possible Concentration Ideas. Artist statement for Concentration in draft form due. (5 Total Breadth Count)

August­ Two Breadth projects (due August 30th)

September­ Two Breadth (due September 30th).

Work on Concentration sketches. Ten sketches for concentration pieces due by October 3.

October­ Three Breadth (due October 14, 21, 31). Concentration One due October 14 (12 Total Breadth Count)

November­ One and Two Concentration both due by November 15.

Digital Pictures complete to date. Upload by November 18.

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December­ Concentration Four and Five (each due December 9, & 16th)

Revise Artist Statement for Concentration to align with work due December 16th.

January­ Concentration Six and Seven (each due January 13 and 23rd) February­ Concentration Eight and Nine (each due February 10 and 14) March­ Concentration 10 and 11 (each due March 3rd and 15th) April­ Final Artist Statement Completed due April 4

Quality work selected and matted Attend BHS Art Show at Beachwood Community Center Concentration Twelve due April 11

May­ Digital images completed

All work completed for portfolio

Original Work, Copyright Issues, and Moving Beyond Duplication All student work must be original. Activities throughout the course and discussions will take place, and these will assist the student in understanding how artistic integrity, plagiarism, and moving beyond duplication are included in every aspect of this course. Students will not use someone else’s

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work, images from the internet or books, or any published or unpublished images or photos created by another person. The student is to work from direct observations of his or her life and life events, environment, dreams, fantasies, and self­made photographs. Ongoing conferences with the teacher, as well as one­on­one individual discussions and/or group peer critiques with the teacher, will provide additional activities to help with this understanding. Artistic integrity is essential. If a student uses someone else’s work as a basis for one of his or her own pieces, there must be significant alteration to the work for it to be considered original and/or appropriate for this college­level portfolio. Student Self­Critique Upon completion of your work, fill out the following self­critique to be submitted with each assignment. Be sure to complete both the rubric section and the explanation section below.

Week 1

All Portfolios Begin Sketchbook.

Drawing Portfolio Individual Portfolio Review — sign up for a time to meet with the instructor to discuss previous work that may be used for the AP portfolio.

2­D Design Portfolio Individual Portfolio Review — sign up for a time to meet with the instructor to discuss previous work that may be used for the AP portfolio.

3­D Design Portfolio Individual Portfolio Review — sign up for a time to meet with the instructor to discuss previous work that may be used for the AP portfolio.

Week 2

Drawing Portfolio Movement Through Mark­Making — experiment with a variety of mark­making tools and techniques to estab­ lish a sense of rhythm and movement in a nonobjective drawing. Use Prismacolor pencils and Prismacolor sticks, charcoal sticks and charcoal pencils, India ink with brushes and sticks. (Resources: Cy Twombly, Franz Kline, Alma Thomas, and so on.)

2­D Design Portfolio Contrast Positive/Negative Space Study — using contrast, create a composition with a visually interesting and bal­ anced use of positive and negative space (resource: Jazz by Henri Matisse). Use graphite, graphite pencils, and sticks.

3­D Design Portfolio Hundreds or Thousands of Things Sculpture — use small objects that come in hundreds or thousands (such as paperclips, clothespins, toothpicks, nails, pushpins, etc.) to create an interesting form that demonstrates a sense of rhythm and movement.

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Week 3

Drawing Portfolio Mark­Making Study in progress … 2­D Design Portfolio Contrast in progress … 3­D Design Portfolio 100s/1000s of Things Sculpture in progress …

Week 4

Drawing Portfolio Subtractive Charcoal Self­Portrait — with a combina­ tion of vine and compressed charcoal, use the dark­field method to create a self­portrait (lay a field of charcoal over the entire surface of the page and use an eraser to create a range of values).

2­D Design Portfolio Cyanotypes — 1. Use found objects to create an inter­ esting composition on photosensitized paper and place in the sun to achieve a print. 2. Place fish net or similar fabric on the photosensitized paper and place in the sun to achieve a print. Use this as an under­painting and work back on top of it with a self­portrait or other sub­ ject matter (resource: Breaking the Rules: A Photo Media Cookbook by Bea Nettles). Add Prismacolor pencils, sticks, and varied hardness in graphite pencils.

Name: _ Assignment: _

Excellent Average Needs Work

Design Quality Uniquely utilizes given design concepts

Utilizes given design concepts

Insufficiently utilizes some design concepts

Creativity Work is distinctly original in terms of the concept, process, or materials used

Work demonstrates some originality of concept, process, or materials used

Work is clichéd, basic, or doesn’t demonstrate Inventive ideas from the artist

Craftsmanship Extraordinary or proficient level of craftsmanship

Sufficient level of craftsmanship

Mediocre or inferior level of craftsmanship craftsmanship

Design Quality — The elements of art (line, color, texture, shape, form, space, and value) and principles of design (rhythm and movement, balance, proportion, variety and emphasis, harmony and unity) are utilized successfully; there is strong evidence of the artist’s plan or organization of thought, and the basic

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assignment criteria are met or exceeded. Creativity — The work is conceptually innovative, the materials used and the process of creating the work are inventive, or the work is simply quite original. Craftsmanship — Time and care are taken to create a piece that feels finished and is well made — it doesn’t seem to the viewer that the work was “slapped together in a hurry.” Self­Evaluation Mark one box under each category above to describe the level of success in your own work. For example, next to Design Quality, do you believe your work is excellent, average, or needs work? Then, in the space provided below, describe why you rated your work as you did in each category. (If you need more space, write on the back of this paper.)

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