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NAME: _______________________________________CLASS PERIOD: _________________ AP 2D DESIGN AND PORTFOLIO DEVELOPMENT : 2D DESIGN HONORS

NEASE HIGH SCHOOL Megan Welch

megan.welch@stjohns.k12.fl.us

What is AP Studio Art, The 2D Design Portfolio? AP Studio Art, The 2D Design Portfolio is a rigorous college-level course where the student submits a 2D Design Portfolio to the College Board for assessment. This course enables students to develop mastery in concept, composition, and execution of 2-D design. The portfolio is broad in interpretation for the type of works that may be submitted. The first part of the portfolio requires the submission of 12 BREADTH pieces. These works demonstrate variety in visual problems, media, or specifics as related to the 2D Design Portfolio. These works are based on teacher prompts and some BREADTH works may be from works previously created in prior art classes. Please bring these works to class for a review of suitability in you AP Studio Art Portfolio. The second section of the portfolio requires the student to do a focused study to create a body of works for the CONCENTRATION section. The Concentration is student derived and must demonstrate mastery of the chosen techniques to execute 10 -12 individual works that demonstrate personal vision that are visually coherent. The third section of the portfolio submission is the QUALITY section, where the 5 most high-quality, college-level works (no larger than 18 x 24 inches) are physically submitted to the College Board. The other works in the student portfolio are submitted through a digital upload. This is a very demanding and exciting course for the highly motivated art student. Students are expected to meet the Florida Standards for the Visual Arts 2D Portfolio: http://www.fldoe.org/bii/Curriculum/Fine_Arts/pdf/0109320.pdf Course Description: Students work in a self-directed environment to develop a portfolio showing a body of their own work that visually explores a particular artistic concern, articulated and supported by a written artist's statement. Artists may work in, but are not limited to, content in drawing, painting, printmaking, mixed media, traditional photography, digital photography, and/or new media and emerging technologies that demonstrate understanding of design principles as applied to a 2-dimensional surface. Students regularly reflect on aesthetics and art issues individually and as a group, and manipulate the structural elements of art and organizational principles of design to create 2-dimensional works of art that are progressively more innovative and representative of the student's artistic and cognitive growth. In keeping with the rigor expected in an accelerated setting, students’ portfolios show personal vision and artistic growth over time, mastery of visual art skills and techniques, and evidence of sophisticated analytical and problem-solving skills based on their structural, historical, and cultural knowledge. Students are self-directed and display readiness for high levels of critical thinking, research, conceptual thinking, and creative risk-taking. Students will practice, sketch, and manipulate the structural elements of art to improve mark making and/or the organizational principles of design in a composition from observation, research, and/or imagination. Through the critique process, students will evaluate and respond to their own work and that of their peers.

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STANDARDS CRITICAL THINKING and REFLECTION: Critical and creative thinking, self-expression, and communication with others are central to the arts. Cognition and reflection are required to appreciate, interpret, and create with artistic intent. VA.912.C.1.2 Use critical-thinking skills for various contexts to develop, refine, and reflect on an artistic theme. VA.912.C.1.2 Use critical-thinking skills for various contexts to develop, refine, and reflect on an artistic theme. VA.912.C.2.5 Develop and use criteria to select works for a portfolio and defend one’s artistic choices with a written, oral, and/or recorded analysis. VA.912.C.2.6 Investigate the process of developing a coherent, focused concept in a body of work comprised of multiple artworks. The processes of critiquing works of art lead to development of critical-thinking skills transferable to other contexts. VA.912.C.3.3 Examine relationships among social, historical, literary, and/or other references to explain how they are assimilated into artworks. SKILLS, TECHNIQUES, and PROCESSES: Through dance, music, theatre, and visual art, students learn that beginners, amateurs, and professionals benefit from working to improve and maintain skills over time. The arts are inherently experiential and actively engage learners in the processes of creating, interpreting, and responding to art. Development of skills, techniques, and processes in the arts strengthens our ability to remember, focus on, process, and sequence information. VA.912.S.3.3 Review, discuss, and demonstrate the proper applications and safety procedures to use hazardous chemicals and equipment during the art-making process. VA.912.S.3.4 Demonstrate personal responsibility, ethics, and integrity, including respect for intellectual property, when accessing information and creating works of art. VA.912.S.3.6 Develop works with prominent personal vision revealed through mastery of art tasks and tools. VA.912.S.3.7 Use and maintain tools and equipment to facilitate the creative process. VA.912.S.3.11 Store and maintain equipment, materials, and artworks properly in the art studio to prevent damage and/or cross-contamination. ORGANIZATIONAL STRUCTURE: Works in dance, music, theatre, and visual art are organized by elements and principles that guide creators, interpreters, and responders Understanding the organizational structure of an art form provides a foundation for appreciation of artistic works and respect for the creative process. The structural rules and conventions of an art form serve as both a foundation and departure point for creativity VA.912.O.1.3 Research and use the techniques and processes of various artists to create personal works. VA.912.O.2.4 Concentrate on a particular style, theme, concept, or personal opinion to develop artwork for a portfolio, display, or exhibition. Every art form uses its own unique language, verbal and non-verbal, to document and communicate with the world. VA.912.O.3.2 Create a series of artworks to inform viewers about personal opinions and/or current issues.

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HISTORICAL and GLOBAL CONNECTIONS: Experiences in the arts foster understanding, acceptance, and enrichment among individuals, groups, and cultures from around the world and across time. VA.912.H.1.1 Analyze the impact of social, ecological, economic, religious, and/or political issues on the function or meaning of the artwork. Connections among the arts and other disciplines strengthen learning and the ability to transfer knowledge and skills to and from other fields. VA.912.H.3.2 Apply the critical-thinking and problem-solving skills used in art to develop creative solutions for real-life issues. INNOVATION, TECHNOLOGY, and the FUTURE: Curiosity, creativity, and the challenges of artistic problems drive innovation and adaptation of new and emerging technologies. Creating, interpreting, and responding in the arts stimulate the imagination and encourage innovation and creative risk-taking. VA.912.F.1.2 Manipulate or synthesize established techniques as a foundation for individual style initiatives in two-, three-, and/or four-dimensional applications. LACC.1112.SL.1 Comprehension and Collaboration LACC.1112.SL.1.1 Initiate and participate effectively in a range of collaborative discussions (one­on-one, in groups, and teacher-led) with diverse partners on grades 11–12 topics, texts, and issues, building on others’ ideas and expressing their own clearly and persuasively. LACC.1112.RST.2 Craft and Structure LACC.1112.RST.2.4 Determine the meaning of symbols, key terms, and other domain-specific words and phrases as they are used in a specific scientific or technical context relevant to texts and topics. LACC.1112.WHST.2 Production and Distribution of Writing LACC.1112.WHST.2.5 Develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach, focusing on addressing what is most significant for a specific purpose and audience.

Students must also meet the requirements set by the College Board for submission of an AP

Studio Art 2D Design Portfolio.

EXAMPLES OF 2D DESIGN PORTFOLIOS http://apcentral.collegeboard.com/apc/members/exam/exam_information/2134.html AP SCORING GUIDELINES / RUBRIC http://media.collegeboard.com/digitalServices/pdf/ap/ap14_studio_art_scoring_guideline.pdf To accomplish the goals set in the standards and by the College Board, students will further analyze, discuss, and critique personal art and artists’ works using a variety of methods including personal art making, verbal and written critiques, reading / researching about art, and using technological and / or printed resources to investigate the visual arts. General Criteria for Grading: 1. Personal and thoughtful preparation and planning 2. Evidence of imagination and innovation 3. Care in craftsmanship and execution 4. Project meets assignment goals 5. Advanced Mastery of art skills / techniques and appropriate use of art media

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6. Serious, focused effort by student demonstrating personal vision 7. Self and class critiques 8. Sketchbook development of ideas and research for projects 9. Assignment is completed on time and turned in for teacher evaluation Grading is based on a point system. Each assignment will have specific criteria, which the student must meet. Project assignments are assigned points – 100 – 600 pts. Homework is also assigned points – 10 – 40 points. Sketchbook works may be graded as PROJECTS. Projects will address specific visual problems as related to the chosen area of in an advanced manner. Preliminary studies will be completed in the sketchbook or work kept in an art folder / portfolio. We will use multiple online resources including my teacher website as well as class resource books. The work created in AP Studio Art is a serious endeavor. The work of each student will be photographically documented throughout the year so it can be included in his or her AP Studio Art Portfolio to be submitted to the College Board for college. Students are responsible for photographing and editing each completed work. It is highly suggested to photograph work in process. Work will also be entered in area competitions and art shows. AP Course Overview This individual program allows the student to explore individual interests as a portfolio is developed along with meeting the standards set by the College Board. The AP Portfolio is a demanding undertaking that is for the advanced art student, seeking to challenge himself or herself and develop an art portfolio to earn college credit. Students may work with traditional and non-traditional art media to explore 2D Design visual problems. Cultural and Social Perspectives may be incorporated into projects, as well as art historical references, and symbolism. Creative analog manipulation of traditional artwork may be explored with traditional media or through experimentation and / or using Adobe Photoshop / Gimp or Digital techniques. Students will develop their portfolio by creating twenty-four HIGH QUALITY COLLEGE LEVEL WORKS for the 2D DESIGN Portfolio. Twelve works are created demonstrating an exploration of Design issues based on the Elements and Principles of Design for the 2D DESIGN Breadth section of the portfolio. The Concentration section requires ten - twelve IMAGES that are explored from a personal thematic / thesis perspective. The two sections of the portfolio require dedication to complete a total of twenty-four required quality works by April. Five works are selected from the 24 created works from the Breadth OR Concentration or from both sections of works that demonstrate the quality of the portfolio and these are submitted under the Quality Section. These works are no larger than 18 x 24 inches. Students work at a college level and are expected to work on their artwork in class and outside of class time to complete the required pieces for the portfolio. The quality section of the portfolio contains artwork that best represent your accomplishments and technical skills. The works that you chose for this section show an in-depth understanding and mastery of 2-D concepts, compositions, and execution. The works for the quality section can be new works or can be taken from the Breadth or Concentration sections. These works should be on par with the

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high-quality work of a college-level art student. You are required to submit 12 artworks. These works are no larger than 18 x 24 inches. Students work at a college level and are expected to work on their artwork in class and outside of class time to complete the required pieces for the portfolio ORIGINALITY AND APPROPRIATION (the portion of text below is from a SAMPLE SYLLABUS FOUND ON THE AP CENTRAL WEBSITE) All individual student work must be original in concept, composition, and execution. Throughout the course, explicit and specific examples of ongoing activities will take place that will help students understand how artistic integrity, plagiarism, and moving beyond duplication are incorporated into all aspects of the course. Ongoing individual conferences and group critiques will aid student understanding. In addition to these activities, the teacher will conduct discussions and assign readings that reflect what constitutes ethical behavior in the making of art. What is an original voice in a work? Students are not to use someone else’s designs and/or images from the Internet, books, or published or unpublished sources as a basis for their individual creations. If a student uses another person’s image or a published image as a basis for his or her own piece, there must be significant alteration to the piece for it to be considered original. Artistic integrity is essential to this course. Students are to work from direct observation, dreams, fantasies, life experiences, and their own photographic compositions and designs. SUPPLIES: Most class project supplies are provided for you. This is a list of supplemental supplies that you are strongly encouraged to bring to class. Please take care to label ALL your personal art supplies and to return them to my art office shelf for AP students at the end of each class. Suggested materials for the AP STUDIO Art classes: 1. Sketchbook at least 9x12 2. Drawing Pencils Set with H, HB, and B pencils 3. Kneaded or White Eraser 4. Black Permanent markers (Pitt Artist pens, Sharpie ultra-thin, Sakura Micron 5. Metal or Metal Edge Ruler 6. Masking Tape and Blue Painters’ tape 7. Quality Colored Pencils (Koh-I-Noor Non-Toxic Woodless Colored Pencil Set or

Prismacolor: School Specialty, Michaels, Reddi-Arts, online stores) 8. Soft Black Charcoal and White Charcoal Pencils – if desired 9. Scissors 10. Quality Talon Bristles Flat Paint Brushes 11. 22x24 inch Portfolio – if desired 12. Your personal favorite art tools 13. 2-4GB SD to document your work photographically and to save your work Your personal preferred items may be stored in my office if you have an art bin / toolbox. Though I will have some supplies for you, you will be working with individually chosen media. If your supplies of choice are not available in the class studio, you will be responsible for acquiring your own materials of choice if you wish to work with other media not readily available in class. CLASS ART STUDIO: Others use the same space to work. PLEASE make sure to leave your work area clean at the end of class. Take a last look before you leave class to make sure everything is

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in order and you have all your supplies returned to the correct place. This is part of your studio practice / responsibilities. FOCUS - 2-D Design Issues may include, but are not limited to, the following: Unity Variety Balance Emphasis

Contrast Rhythm Repetition Proportion

Scale Figure/Ground Relationships

Sketchbooks THE TEXT BELOW IS FROM A SAMPLE SYLLABUS ON THE AP CENTRAL WEBSITE. PORTIONS HAVE BEEN MODIFIED TO SUIT OUR TIMELINE. Your Sketchbook is your new “best-friend”. You need to carry it with you every day, everywhere. 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. 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 dinky 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 before December 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 three-dimensional world into a two-dimensional world. 8. By December, your sketchbook should be twice as thick as it was when you got it. 9. No cute, pretty, precious, adorable, or trite images. This is a college-level art class. Expect your ideas about what makes good art to be challenged. 10. Don’t be boring with your work. 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. Don’t invite criticism unless you are confident that it won’t derail your free spirit. • Draw, draw, draw, draw, draw, paint, paint, paint, draw, paint, draw, collage, and so on. • Use pencils, pens, crayons, sticks, charcoal, burnt matches, 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) or personal photographs. You need to learn to draw without the crutch of someone else’s composition or flattening of space.

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• 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? Process: https://www.youtube.com/watch?v=5_UphwAfjhk https://www.youtube.com/watch?v=ja4Wk7g6sdE BREADTH: At present, the goal for the first semester is to complete 12 Breadth pieces. This may vary from year to year, depending on the amount of time spent on specific Breadth assignments. Breadth assignments are designed to clearly show experimentation and a range of conceptual approaches to the work; demonstrate exploration, inventiveness, and the expressive manipulation of form, as well as knowledge of compositional organization. Understand that you may demonstrate a range of approaches in a single medium or in a variety of media. If you choose a single medium, the images must show a range of approaches, techniques, compositions, and subjects; submit the correct number of images. (12) Works demonstrating understanding of a range of 2D Design issues. Look for engagement with a range of 2D Design issues such as the following: Unity Balance Variety Emphasis

Rhythm Contrast Proportion Repetition

Scale Figure/Ground Relationship

College Board Key Scoring Descriptors http://apcentral.collegeboard.com/apc/public/repository/ap11_studio_art_scoring_guidelines.pdf Key Scoring Descriptors A. Application of 2-D Design Principles to a Broad Range of Design Problems B. Originality and Innovative Thinking C. Range of Intentions or Approaches D. Confident, Evocative Work that Engages the Viewer E. Technical Competence and Skill with Materials and Media F. Appropriation and the Student “Voice” G. Image Quality (for Weak and Poor Breadth sections only) H. Overall Accomplishment Pre AP 2D Design will work on the Breadth section of the AP 2D Design Portfolio AP 2D Design will complete the Breadth and the Concentration sections in order to submit their portfolio to the College Board for assessment.

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Resources: http://www.pinterest.com/artzheart/ Sketchbook Assignments will be given each week! WARM UPS https://www.tumblr.com/reblog/92432606450/Bcb9NvcE https://www.youtube.com/watch?v=qwOXumLJgGg BREADTH: BREADTH Project 1: Still Life Concept: Unity Balance Variety Emphasis Proportion Scale Figure/Ground Relationship 2D - Review http://pinterest.com/artzheart/still-life/ Media: Charcoal on Paper quick studies; Graphite, Charcoal, or Pastel on Paper final work Sketchbook Assignments Preliminary ideas worked (B&W, Value) out in your sketchbook and teacher / student dialogue BREADTH Project 2: Legos Concept: Unity Balance Variety Emphasis Proportion Scale Figure/Ground Relationship 2D - Review http://www.pinterest.com/artzheart/legos/ http://www.huffingtonpost.com/2014/07/23/50-states-of-lego_n_5614732.html?ncid=fcbklnkushpmg00000063 Media: Colored Pencil on Construction Paper Sketchbook Assignments Preliminary ideas worked out in your sketchbook (Mark Making, Blending, Perspective) and teacher / student dialogue BREADTH Project 3: Movement Concept: Unity, Rhythm, Balance, Contrast, Repetition 2D - Review Kandinsky http://www.pinterest.com/artzheart/kandinsky/ Op Art http://www.pinterest.com/artzheart/op-art/ Line http://www.pinterest.com/artzheart/line/ Media: Cut Paper, Pen & Ink, Sharpie, Colored Pencil Sketchbook Assignments Preliminary ideas worked out in your sketchbook and teacher / student dialogue BREADTH Project 4: Bone-ified, Re-Inventing the Skull Concept: Figure / Ground, Scale, Emphasis 2D - Skull http://pinterest.com/artzheart/bone-ified/ Media: Supply Room Selection Sketchbook Assignments Preliminary ideas worked out in your sketchbook and teacher / student dialogue BREADTH Project 5: Cubism Concept: Unity Balance Variety Emphasis Scale Figure/Ground Relationship 2D - Review Cubism http://www.artyfactory.com/art_appreciation/art_movements/cubism.htm http://www.guggenheim.org/new-york/collections/collection-online/movements/195210 http://www.moma.org/collection/details.php?theme_id=10068 Media: Supply Room Selection

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Sketchbook Assignments Preliminary ideas worked out in your sketchbook and teacher / student dialogue BREADTH Project 6: Portrait Concept:Unity Balance Proportion Scale Figure/Ground Relationship 2D - Review http://www.pinterest.com/artzheart/portraits/ http://www.pinterest.com/artzheart/eyes/ http://www.pinterest.com/artzheart/lip-gloss/ Media: Drawing Media or Oil Paint or Mixed Media Sketchbook Assignments Preliminary ideas worked out in your sketchbook and teacher / student dialogue BREADTH Project 7: What Goes Around Concept: Unity Balance Variety Emphasis Rhythm Repetition Figure/Ground Relationship 2D: http://pinterest.com/artzheart/what-goes-a-round/ Media: Supply Room Selection Sketchbook Assignments Preliminary ideas worked out in your sketchbook and teacher / student dialogue BREADTH Project 8: Color Concept: Unity Balance Variety Emphasis 2D – Review http://www.pinterest.com/artzheart/color/ Media: Supply Room Selection Sketchbook Assignments Preliminary ideas worked out in your sketchbook and teacher / student dialogue BREADTH Project 9: Birds Concept: Unity Balance Proportion Scale Figure/Ground Relationship 2D – Review http://www.pinterest.com/artzheart/birds/ Media: Supply Room Selection Sketchbook Assignments Preliminary ideas worked out in your sketchbook and teacher / student dialogue BREADTH Project 10: Shoes Concept: Unity Balance Emphasis Proportion Scale Figure/Ground Relationship 2D – Review Shoes http://www.pinterest.com/artzheart/shoes/ Media: Supply Room Selection Sketchbook Assignments Preliminary ideas worked out in your sketchbook and teacher / student dialogue BREADTH Project 11: Silhouettes / Negative Space Unity Balance Emphasis Figure/Ground Relationship 2D – Review http://www.pinterest.com/artzheart/silhouettes/ http://www.pinterest.com/artzheart/negative-space/ Media: Supply Room Selection Sketchbook Assignments Preliminary ideas worked out in your sketchbook and teacher / student dialogue

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BREADTH Project 12: Collage / Mixed Media Concept: Unity Balance Emphasis Variety Proportion Scale Figure/Ground Relationship 2D – Review http://www.pinterest.com/artzheart/collage/ http://www.pinterest.com/artzheart/mixed-media/ Media: Supply Room Selection

How we will assess the Breadth Assignments during production

Ongoing individual one-on-one conferences between the teacher and each student will assist students in analyzing and discussing their own artworks.

Ongoing individual conferencing with the teacher will assist students in the development of their concentration work.

Ongoing instructional conversations with the teacher will help students develop their work, assessing the strengths and weaknesses in their images, and will provide feedback on how they can further develop their drawings. This will also help students learn to analyze and discuss their own artworks and the works of their peers.

Group critiques and displays of work are ongoing. Students are expected to participate in class group critiques of their personal work as well as the work of their peers and master artists. The vocabulary of art, elements of art, and principles of design will be used to engage in written and verbal constructive critiques of these works.

CONCENTRATION This is your focused study of high-quality created works that are visually cohesive and have an underlying thematic concept. You are required to have 10 – 12 work depending on size and details, 12 images overall, some of which may be details. Sketchbook work and student teacher dialogue is required in your planning from a personal artist statement / commentary.

CONCENTRATION PRODUCTION PROCESS

The second semester of this course will be devoted to the concentration section in its entirety. At the end of the first semester you will be first introduced to what a concentration entails. In this introduction, you will be shown visual examples of concentrations from the past AP portfolios online as well as examples of concentrations from contemporary artists. After being introduced to the concentration section of the portfolio, you will begin to sketch and brainstorm ideas for possible concentrations. This process may occur over a long period of time, and will involve students investigating multiple ideas or starts for concentrations. For example, you may start out by sketching what the first five artworks would look like for 3 different concentration ideas that hold a personal interest. This will ensure that you understand how to develop coherent high-quality college-level work from a visual or conceptual concept, and will also ensure that they can produce the amount of work necessary from each concept. Throughout this introductory process, you will be critiquing with your classmates and me to analyze these possible ideas and investigations. Once you have settled on a strong concentration theme or idea to explore visually and conceptually, you will develop a specific plan of action for investigating their concentration. You will sketch thumbnails of what the 12 pieces of their 2D concentration will look like. You may also develop a storyboard or some type of written documentation to show how your concentration will progress. This progression must

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be clear and coherent in your plan of action. In addition to 12 sketches of the possible concentration artworks, you may choose to include references to artists, historical connections, and research of 2-D techniques in your plan of action. You will present your plan of action to the class for a critique, and then will make any changes or adjustments that you feel is required. Finally, you will present his plan of action to me individually. We will have an in depth conversation about everyone’s concentration idea and plan of investigation. Once the plan is approved you can begin creating concentration artworks according to the project timeline I have created below. You can change the plan of action throughout the development of their artwork as their idea grows or develops, but only after having an individual critique with me.

As you create artwork for your concentration series, you will be documenting your progress in their sketchbooks through visual and written means. You will be documenting:

1. how your ideas were translated into your artwork 2. how you made decisions about the visual components of the artwork 3. how the artwork relates conceptually to the concentration 4. the coherence of the artwork in relation to the other works in the concentration 5. what problem solving took place during the creation of the artwork 6. what challenges you overcame

It is expected that your ideas and artwork will grow, evolve, and develop throughout the course of this in-depth investigation of one visual and/or conceptual idea. Documenting in your sketchbooks after the creation of each artwork will enable you to analyze your process, and to create artwork with intention according to your concentration idea or theme. The progression of works in a concentration may:

1. Tell a story 2. Express a point of view on a topic, 3. Grow or decay in sequence 4. Explore a global or social issue 5. Investigate a specific style of visual interest.

Optional Activity: Concentration Quick-Fire Brainstorming Activity:

Step 1: Make two lists; 1. 10 things you LOVE 2. 10 things you HATE

Step 2: Cross off five things on each list that you wouldn’t want to do a Concentration on.

Step 3: Cross off three that you can’t come up with at least 5 concepts for high-quality artworks of.

Step 4: Pick 1 to create a 12 thumbnail storyboard.

THE FOLLOWING PORTION IS AN EXCERPT OF A SAMPLE SYLLABUS POSTED ON THE COLLEGE BOARD AP CENTRAL WEBSITE The following are examples of past concentrations that would be feasible for the 2-D Design Portfolio: • A mother’s illness investigated in a variety of graphic forms, including the use of actual X-rays combined into other imagery as well as prints and pages of a visual journal.

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• A series of interiors simplified to contour lines that served as the basis for a process of investigation of other elements, most predominately color and space ( the assertion and negation of space). • A series of works done with encaustic, printmaking, and a variety of other media, concerned with different approaches to the picture plane as discussed in the text Drawing: A Contemporary Approach, fifth edition (Claudia Betti and Teele Sale; Wadsworth, 2004). • A series of works done in 2-D and low relief as a response to slide discussion on the work of Jim Dine. The student investigated a tool (hammer) in a body of work done in a variety of media, with a variety of techniques as well as processes. Investigation combined interest in imagery developed from direct observation as well as engaged in issues of formal design. • An illustrated story, “A Boy and a Frog.” • A photographic and illustrative investigation into the subject “My Little Brother.” The student produced a number of photographs that were strong in composition as well as technical (processing) ability. He furthered his investigation into the specific subject by producing a series of illustrations showing his brother engaged in various pursuits. • A series of works done in graphite, colored pencil, and Adobe Photoshop illustrating aspects of the subject “Roller Coaster.” The investigation increasingly moved away from illustrative renderings to bold, graphic symbols. • A series of works based on the subject “Skateboards.” The student began painting random pictures of (cartoonish) characters on broken/discarded skateboards—two were brought in as summer assignment work. I encouraged the student to pursue the idea but to paint images that were more relevant to the idea of “skateboard” or his experiences as a skateboarder. • A series of works from a student’s visual journal. Sophisticated in terms of development, the book included text, personal photographs, collage items—ticket stubs, product labels, fortunes (fortune cookies), netting, bubble wrap. Student enhanced the compositions with intimate illustrations, many figurative and/or based on human anatomy. Key Scoring Descriptors A. Integration of the Topic of the Concentration and the Work Presented B. Decision Making and Discovery Through Investigation C. Originality and Innovative Thinking D. Evocative Theme and Engagement of the Viewer E. Understanding and Application of 2-D Design Principles F. Transformation and Growth G. Technical Competence and Skill with Materials and Media H. Appropriation and the Student “Voice” I. Image Quality (for Weak and Poor Concentration Only) J. Overall Accomplishment In applying these descriptors, consider the content, style, and process of the work. Also, keep in mind 2-D design issues such as the following: Unity, Variety, Balance, Emphasis, Contrast, Rhythm, Repetition, Proportion, Scale, Figure/Ground Relationships

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QUALITY This section comes from your created works – The quality section of the portfolio contains artwork that best represent your accomplishments and technical skills. The high-quality college-level works that you chose for this section show an in-depth understanding and mastery of 2-D concepts, compositions, and execution. The works for the quality section can be new works or can be taken from the Breadth or Concentration sections. These works should be on par with the high-quality work of a college-level art student. You are required to submit 5 artworks in total. These works are no larger than 18 x 24 inches. Students work at a college level and are expected to work on their artwork in class and outside of class time to complete the required pieces for the portfolio TIPS FROM THE AP COURSE BROCHURE

Carefully select five works that show in-depth understanding of and engagement with 2-D Design, Drawing, or 3-D Design issues in their concept, composition, and execution.

Works may come from your Concentration and/or your Breadth section, but they don’t have to.

Quality works may be related, unrelated, or a combination of related and unrelated works.

DO

1. Mat or mount any works on paper, preferably on neutral colored matboard; 2. Mount works smaller than 8˝ x 10˝ on backing at least 8˝ x 10˝ to ensure they are not

overlooked in the portfolio. 3. Use fixative on works that may smudge; cover any work that has a delicate surface with

an overleaf fastened to one edge so it can be lifted easily. 4. Unstretch canvases and back them with matboard 5. Remember the home address you provide in the Studio Art Digital Submission Web

application is the address to which your portfolio materials will be returned in late June or July. We cannot ship your work to a P.O. Box; and

6. Note that, although ETS makes every effort to avoid loss or damage to your materials when they are being evaluated or in transit, accidents do happen. ETS does not assume responsibility or liability in such cases.

DO NOT 1. Send work under glass, fragile work, or stretched canvases (they will be evaluated, but

they are very likely to be damaged in shipment); 2. Send three-dimensional works (they will not be evaluated); send works rolled or folded,

and do not roll or fold works to make them fit in the portfolio (they will not be evaluated);

3. Send books or journals (they will be opened to one page at random for evaluation); 4. Send more than five works (extra works will not be evaluated); 5. Send works that will not fit easily into the 18” x 24” portfolio envelope (they will not be

evaluated, and your score for that section will be based on the work remaining in that section);

6. Slace any information identifying you or your school on any of the materials in your portfolio, except where requested. Your AP Coordinator or teacher will give you instructions on how to label your works. If you have already signed your work, however, do not risk damaging it to remove a signature.

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Key Scoring Descriptors A. General Use of Design Elements and Application of the Principles of 2-D Design B. Decision Making and Intention C. Originality, Imagination, and Invention of Composition D. Experimentation and Risk Taking E. Confident, Evocative Work, and Engagement of the Viewer F. Technical Competence and Skill with Materials and Media G. Appropriation and the Student “Voice” H. Overall Accomplishment 2-D design issues to consider when applying these descriptors may include, but are not limited to, the following: Unity, Balance, Variety, Emphasis, Rhythm, Contrast, Proportion, Repetition, Scale, Figure/Ground Relationship

A FINAL NOTE ON COPYRIGHT (FROM AP CENTRAL’S SAMPLE SYLLABI)

During ongoing activities throughout the course, students are made aware of the need to create original work from direct observation, fantasy, the imagination, and photographs they have taken. They are not allowed to work from published photographs or other works created by others, found in books, and/or on the Internet. Artistic integrity is essential in creating their works. College foundation drawing and design courses are based on drawing and working from direct observation and the personal life of the student. Some students may come into the program with the idea that there is nothing wrong with drawing from photographs or works created by others, and many of them are quite accomplished at it. Nonetheless, it is a practice that we do not allow in any class and strongly discourage out of class. Students may work from their own photographs, yet they are made aware that the resultant image might have a distinctly flat and stiff look about it. Copyright issues are discussed with the students throughout the course—they are made aware of the legal issues involved with working from someone’s published work. If a student uses the work of someone else, which is discouraged, the student knows that the work must be significantly altered and only be a small component of his or her individual creation. Again, in these instances the students thoroughly understand that the image must become part of their larger individual expression, and move beyond duplication. IMPORTANT: The College Board reserves the right to decline to score an AP Portfolio Exam or cancel an AP Portfolio Exam score when the following misconduct occurs: copying from another student’s or any other artist’s work.

Follow the class timeline. ALL work must be completed by April 10, 2016 due to school testing

schedule. Any questions – ASK!

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Unity Balance Variety Emphasis Rhythm Contrast Proportion Repetition Scale Figure/Ground

Relationship