AP Studio A rt Course Syllabus Course Pre-requisites:

2D Design and Drawi ng

Grade of B or higher in Art Foundations Grade of A in Beg. Drawing and Adv. Drawing OR Grade of A in Beg. Photo and Adv. Photo Letter of Recommendation from an Art Faculty Five original works photographed digitally and submitted on a CD indicating: title, date, media, and dimensions of each piece.

Course Description
The AP Studio art course is for serious art students to excel in an inspirational environment while creating a college-level art portfolio that may allow students to receive college credit. The work produced in this course is that of a beginning level college course. The portfolio may be used for college admission and/or the Advanced Placement Exam. The submission of the portfolio in May is optional but all students are required to complete the work required for submission. This course may be repeated for credit.

Course Summary
The AP Studio Art Portfolio Course is designed for those students wishing to pursue the practical experience of art, while developing mastery in concepts, compositions, design and implementation of artistic ideas. [C2]. Students have the potential to receive national recognition for their artwork. Through the portfolio development students experience a multitude of techniques and approaches in the visual arts allowing them to demonstrate their mastery of the subject. AP Studio Art is not based on a written exam, but submission of a portfolio at the end of the school year. This course is part of the National College Board Advanced Placement Program.

AP Studio A rt Portfolio:
The current program at the high school offers two portfolio choices: Drawing and 2D Design. With the guidence of the instructor students will select one of the two portfolio choices to investigate. Students develop three portions to their portfolios which require students to demonstrate knowledge and competance of a wide range of visual concepts and methods. The three sections to each portfolio are Quality, Concentration and Breadth. [C1]. The Quality Portfolio demonstrates a students mastery of technical skills and concepts. For this section students are asked to submit five actual works in one or more media. Works may come from the Concentration or Breadth sections, but dont have to. They can be related or unrelated works. Works from this section demonstrate college-level excellence and are the students highest level of accomplishment. [C2].

2D Design quality portfolio select five high quality works that address 2D design issues. Mastery of design principles should be apparent in concept, composition and execution. [C2]. Drawing quality portfolio select five high quality works that successfully demonstrate engagement of drawing issues. Mastery of drawing techniques should be apparent in concept, composition and execution. [C2]. The Breadth Portfolio includes 12 artworks and is developed during the first and second marking periods and may include pieces created prior to, or outside the class, such as during a class or workshop at a local art center or college. In breadth students are exploring and demonstrating mastery through a variety of concepts, mediums, and techniques. In Breadth students evidence their understanding of problem solving, and development of ideas through systematic investigation of their subject. Students utilize continual revision of their ideas through personal assessments, critique/discussions, sketching, and visual research. [C4]. Students will use sketchbooks for brainstorming ideas, relating ideas to create innovative works in a variety of mediums. Work in this section will help in the development of the direction of a cohesive body of work for the concentration. 2D Breadth Portfolio will demonstrate an understanding of the elements of art and the principles of design. The students work should show evidence of expressive, conceptual, perceptual and technical mastery in composition in a variety of mediums. Work in this section will demonstrate the students visual organizational skills, variety of application, and creativity. This course meets the AP curricular requirement 4 by providing students with project units in a variety of concepts and approaches in 2D design. Students will demonstrate a range of abilities and versatility with technique, problem solving, and ideation. [C4]. Artworks in this section emphasize the elements art (line, shape, form, texture, value, and space) and are oganized using the principles of design (balance, emphasis/constrast, unity/harmony, variety, gradation, movement/rhythm, repitition/pattern, proportion/scale). Projects will focus on particular principles and elements. [C4]. Media can include drawing (pen, pencil, charcoal, conte, colored pencil), paint (watercolor, acrylic paint, ink, tempera), graphic design, photography (darkroom, digital, alternative) printmaking, collage, and mixed media. Application of these media will range from traditional to restricted, such as using the non dominent hand, or painting with sticks, leaves, utensels, etc. [C4].

Drawing Breadth Portfolio will demonstrate a variety of drawing skills and approaches evidenced through expressive, conceptual, perceptual and technical mastery. Work in this section should demonstrate an understanding of fundamental drawing concepts, elements of art, principles of design, and include observational drawing, invented form, use of line quality, surface manipulation, composition, and expressive mark making. [C4]. This course meets th AP curricular requirement 4 by providing students with project units that explore a variety concepts that demonstrate versatility with respect to the use of media, techniques, problem solving, and ideation. [C4]. Artworks in this section explore a variety of techniques in mark making using a variety of tools (pencils brushes, sticks, rags, etc.), both wet and dry media and mixed media. Drawing techniques used throughout the course include conceptual and observational drawing ; expressive, gesture, contour, cross contour, and other drawing mechanics with an emphasis on line quality, chiroscuro, intuitive and linear perspective.[C4]. Media can include pen, pencil, charcoal, conte, colored pencil, marker, watercolor, acrylic paint, tempera, ink, tea, dyes and other mixed media. [C4]. Drawing problems can include figure-ground relationships, composition in perspective, evoking emotion through use of mark making, narrative exploration of portraits, metamorphosis, and patterns and structures in nature. [C4]. [C5]. Breadth assignments include some of the following visual problems explored in a variety of wet and dry media. Students will demonstrate a range of abilities in problem solving and ideation through the application of the organization of the elements of art and the principles of design. Projects evolve as a result of sketching, notes, critical analysis, and a variety of techniques where students can make informed choices about their art work. [C5].[C6]. Natural Patterns and Structures Narrative Figure Figure Ground Reversal positive negative space Portrait, still life or landscape - limited color scheme Six stage metamorphosis of a common object on one drawing paper Memory project using text and image Self portrait depicting an expressive mood that you have been in; rage, glee, panic etc. Repetition Rhythm Shape Texture Emphasis Contrast Value Form Balance Space Color Harmony/Unity Color Gradation Movement Form Value Emphasis Line Color Contrast Proportion Value Form

Figure Landscape or Architectural drawing using extreme perspective Social commentary Metallic objects, such as a close-up part of a bike, motorcycle, spoons, eggbeater, etc. Make use of hard-edge metal reflections and cast shadows. Image within an image such as a close up Interior/Exterior Space Observational drawings with and without restrictions of tools Close ups of objects that create drawings that verge on abstraction Landscape, portrait or still life use at least 3 different mediums (wet, dry, collage) Figure/Ground Relationships
[C4] Other Possible Breadth Projects

Proportion Variety Space Form Emphasis Color Contrast Value Space Shape

Repetition Scale Shape Movement Line Form Variety Harmony Gradation Balance Shape Line Variety Emphasis Space Value Color Emphasis Contrast Balance Space Value Color

High Contrast Studies Positive/Negative Abstraction from Nature Repeated Patterns Classical Compositional Studies Texture Studies Design and contemporary compositional studies Line Studies Simplified Shape Studies Psychological and Emotional Studies Abstraction Studies Portrait and head studies Non-objective work Narrative figures Triptych Rituals and events

Juxtaposition Absurd objects Extreme perspective or point of view Dreams and nightmares Reflections Color Organization Color Theory Typographic organization Design a logo in computer graphics Linoleum Print Poster Graphic Design Logo design CD Design Industrial Design Visual Closure

The Concentration Portfolio requires students to create a body of artwork that demonstrates a depth of investigation and the growth of a strong visual idea that has been developed through the process of discovery. The portfolio must include twelve digital images of completed works related in concept. Students may have the option of one or two closeups as part of the twelve.The evolution of the idea for the concentration is developed throughout the first and second marking periods. Brainstorming exercizes, class critiques, and discussions with student groups and individually with the instructor will allow students to form a specific cohesive plan of action exploring a vsual concept. Students will create a written outline describing the details of their plan and subsequently write further evaluations during the production of their art detailing the evolution of their ideas. [C3]. Students will pursue personal content while producing a body of work for the Concentration portion of the portfolio. The Concentration portfolio is developed in a chosen 2D medium, such as photography, drawing, painting, etc. Within the Concentration portion of the portfolio, students develop and nurture their artistic voice, exploring personal interests and developing an underlying visual idea through thematic concepts, goals, explorations or growth that is visually compelling and technically strong. Through guided prompts, research, brainstorming activities, sketchbook assignments, journals and project development both in and outside of class students will understand that making art is an ongoing process that involves the student in informed and crtical decision making. [C5]. The table below describes the three section requirements for the two portfolios. The three sections carry equal weight in the composite AP Exam Score. The order of the sections does not indicate the sequence of lessons and art production. The artwork submitted may have been completed over a period of time longer than a single school year, in other art classes in or outside of school, or on your own time. [C5].
2D Design Portf oli o Secti on I Q ualit y One thir d of t otal sc ore Secti on II Concent rati on One thir d of t otal sc ore 5 actual works that demonstrate mastery of design in concept, composition,and execution. 12 digital images; some may be details A body of work investigating a strong underlying visual idea in 2D design 12 digital images; 1 image each of 12 different works Works that demonstrate a variety of concepts and approaches in 2D design Dr awing P ort f olio 5 actual works that demonstrate mastery of drawing in concept, composition,and execution. 12 digital images; some may be details A body of work investigating a strong underlying visual idea in drawing 12 digital images; 1 image each of 12 different works Works that demonstrate a variety of concepts and approaches in drawing

Secti on II I B rea dth One thir d of t otal sc ore

With the exception of the quality section the all artwork in Concentration and Breadth will be photographed and submitted uploaded to the AP College Board site. Digital submission must be jpeg file format. Maximum file size 3MB per image. Recommended Image size Landscape orientation: Portrait Orientation: Maximum size 780 X 530 (10.83 X 7.36 inches) Maximum size 530 X 780 (7.36 X 10.83 inches) Minimum size 480 X 480 pixels (6.67 X 6.67 Minimum size 480 X 480 pixels (6.67 X 6.67 inches) inches)

Sketchbooks
Sketchbook assignments include vocabulary exercises related to the elements of art and priciples of design, photos, short assignments/sketches, mindmapping, practice of design techniques, drawing from observation, from invented forms, and written records of ideas, observations, and responses to readings and prompts. Students can expect weekly sketchbook assignments to be completed outside of class time. Sketchbooks are used to document, plan, and reflect on the ongoing art making experiences. [C5]. Ways to develop in your sketchbook Draw paint, collage every day. Collage ideas drawings paintings photos, tickets, wrappers, ribbons, leaves, flowers, letters, envelopes, fabric, anything that is fairly flat that you can glue etc. Layer, layer, layer, different media, collage items Make lift up areas, cut through windows Have an area of every page connect with a related image or word. Interpret a word with images Interpret a song with movement of line or color or? Make lots of contour drawings large small layered blind modified blind Make drawings and paintings with unusual tools Fill pages Dont make things that are precious or cutsie respect that you are in acollege level class make things beautiful, grotesque, shocking, challenging, messy etc. Scribble all over a page and look to see what reveals itself to you. Go back to previous days and add to work Fill a page with words that pop into your head in the moment Dont judge, just make and reflect after Dont share everything with our class, some things can stay safe and personal. Make quick sketches of patterns, patterns of people gathering in a courtyard, patterns in nature, patterns in fabric, patterns in design.

Draw while you listen to your favorite song. Let the song dictate your movements. 2-point perspective of your home or apartment building, Visit the museum and sketch people at the museum, Sketch sculptures at the museum, Visit the zoo and draw animals, Visit an area park and sketch people or landscape, etc. Make notes of artist you find interesting, record why, what princples and elements are dominant? Print off small images and paste them in your sketchbook, Dont copy from these, but consider what about the images inspired you. [C7].

The sketchbook is used to explore to the students interests, to find their voice as an artist, to reflect on their choices and think critically about art and design. Record your thoughts about your work, what you like, what you dont like. Goals you have for your art work. Ideas you want to communicate through your work. How your art can affect another persons feelings. This is a personal activity for the student to explore ideas and make choices about their art. Art making is an ongoing process requiring informed and critical decision making. While there will be instructor directed assignments, a major portion of the sketchbook is for the student to experience a continual discovery of art as process. [C5].

Summer Work
The summer prior to the beginning of the course, students are required to conduct research of the AP studio portfolio requirements, brainstorm three possible concentration ideas, complete a portrait, and complete five sketch assignments. Lists of themes and design options are available in the assignment packet. Students are required to send images of progress to instructor in the middle of the summer, and all assignments are due the first day of class. Summer work carries a large grade, and the class will critique the work the first week of school. [C6].

Plagerism, Artistic Integrity, and Copyright Issues

Student artwork must be original. Work submitted that is based on another artists artwork or photographs must move substantially beyond duplication in design and concept. Discussions with references to the AP course description will take place throughout the course. Student work must be of a high integrity and quality expressing the students personal voice. It is unethical and unacceptable to copy anothers work regardless of the source; internet, magazines, photos of famous art or the art of another student. Class discussions include the differences between finding inspiration from and duplication of another work of art. [C7].

Critiques
Students can expect weekly group critiques. Constructive critisim is focused on the discussion of concept, composition, and technique. Critiques of unfinished works are required throughout the art

making process to allow time for modifications and changes to be made. Vocabulary of art including the elements of art and the principles of design that students were intoduced to in art foundations are used throughout crtiques with peers, individual discussions with the instructor and in the studwents personal evaluative critiques required for each project. Discussions strengthen the understanding of art vocabulary, allowing students to practice verbal communication, and the class is focused on sucesses and areas that will benefit from improvement. Students are required to take notes during critiques. [C6]. [C5]. In addition to group critiques with peers students are provided ongoing conversations with the instructor to dicscuss strengths and weaknesses, with feedback for improvement during studio time while the student is engaged in the art making process. These conversations occur during scheduled meetings and informally during studio work time. [C6]. Students will use a rubric based on th AP Studio Art rubrics to complete self evaluations, to analyze and discuss their own art works, and the artworks of peers and professionals. [C6].

Grading
Semester grades consist of : 60% completed artwork, completion of the portfolios, and the AP artist statement. 20% sketchbook assignments, class readings, visual and written activities. 20% daily attendance, cleanup, participation in production, discussion, exhibitions, competitions, and critiques. Attendance and ongoing dedication to art production is essential. Late work will be marked down up to 20%, and will not be accepted later then one week after the due date. Students must keep pace with the assignment dates to ensure a minimum of 24 pieces are completed for the AP Portfolio submission. Student artwork will be graded using a modified AP scoring rubric. This is an abbreviated description of the scoring levels. The actual scoring grid used throughout the semester is more detailed.
AP Scoring Scale Extremely well qualified Well qualified Qualified Possibly qualified No recommendation

5 4 3 2 1

Although the AP rubric is used to assess semester grades, the grade for the class is different from the AP grade. AP grades are awarded from the college board and are a composite score of the three portfolio sections Quality, Concentration, and Breadth, evaluated by 3-7 art educators. The AP readers evaluate your portfolio as if you have completed freshman college art course. The scores are reported to students, their high schools, and selected colleges in July and will determine if a student recieves the AP credit. It is imperitive that students review and follow the guidelines in the current AP Studio Art Course Description and on the AP Studio Art Poster. Each college has different policies regarding acceptance of AP credit. The AP Exam fee is approximately $87.

Pace of Pro duction

Students should expect to produce two finished works per week, one at home and one in class. Every project will require a minimum of three preliminary sketches exploring concept, design/composition, and method of execution. [C5] [C6]. Students are also required to photograph work as its completed. Class Studio time outside of the scheduled hour will be determined. All work regardless of where it was made will be required during crtiques. Students must keep a minimum of five works in school once the class has completed five weeks of school. Students will also store and update a weekly an inventory sheet at school of all artworks complete or in progress. Marking Period 1 Predomently instructor led assignments addressing a wide range of techniques, problem solving related to elements and principles, as well as thematic approaches to concepts. Students will develop the majority of the Breadth portfolio during this marking period. Students will brainstorm and research their area of concentration, and with instructor approval, may begin on this portfolio near the end of the marking period. Marking Period 2 Students will continue to work on pieces for the Breadth portfolio with teacher led assignments, but the a larger proportion of work time is devoted to the development of works for the concentration. Students continue to have sketchbook assignments and spend more time reflecting on choices in concentration. The scholastic art and writing competition entries are due during this marking period. Students begin working on the artist statement for the concentration. Marking Period 3 Work on Concentration pieces continues as students rework their artist statements. The three sections of the portfolio are continually evaluated and adjusted. Students organize artworks for order and selection of quality pieces. Critiqes focus on whole portfolios and the modification of pieces where needed. Students organize their digital files verifing size

requirements in preparation for submission to the college board. The artist statements are finalized with a third draft and students have them proofread by another teacher if available. Marking Period 4 Students finalize the Concentration and Breadth portfolios, and the artist statements. The digital files are uploaded and reviewed by the instructor. Artwork for the Quality portfolios are matted and prepped for mailing. Students will upload digital portfolios for web presentation to a site determined by the instructor and submit a CD of portfolio imagery. Final class critique of portfolios will be digital. Students will prepare a final school show of select work. The class will then create a donation of artwork to the school. This community service project is mandatory and will be graded.

Art History, Conte mpo rary Artists and Art Colleges

It is vital to any path of art making to be aware and study historical and contemporary arts. Field trips will be determined in the future and are dependant on the availability of funds from students and the school. Students will be required to conduct virtual excursions to websites and reflect upon artists in their sketchbooks. If time allows visiting galleries and museums will be arranged. Students are encouraged to visit galleries and museum on their own as much as possible. Students can expect visiting representatives from art colleges throughout the school year.

References and Resources

There is no formal text for this course. Several excerpts will be used from the following books. Students are encouraged to examine books in the classroom and at local and school libraries for information and inspiration. AP Central http://apcentral.collegeboard.com AP Studio Art Poster College Board, 2011. David Bayles & Ted Orland,Fears About Yourself in Art & Fear: Observations on the Perils (and Rewards) of Artmaking (Image Continuum Press, 1993), pp. 23-36. Anna Held Audette, 100 Creative Drawing Ideas, Shambhala Publications, Inc., 2004. Wayne Entice and Melody Peters, Drawing Space, Form, and Expression, Pearson Edcuation, 3rd Edition, 2003. Gatto, Joseph; Albert Porter and Jack Selleck, Exploring Visual Design. Davis Publications, 2000. Mary Stewart, Lauching the Imagination, McGraw Hill, 2nd Edition, 2006. Brian Curtis, Drawing from Observation, McGraw Hill, 2002.

Christopher James, The book of Alternative Photographic Processes, Thompson Learning Inc., 2002. John Inledew, The Creative Photographer, Lawrence King Publishing Ltd., 2005. Robert Hirsch, Seizing the Light, McGraw Hill, 2000.
Inter net Supp lier s www.dickblick.com (art supplies) www.utrecht.com (art supplies) http://www.jerrysartarama.com/ (art supplies) http://www.ultrafineonline.com/ (photo/digital supplies) http://www.freestylephoto.biz/ (photo supplies) Local S upplier s Utrecht (Royal Oak) - (248) 548-7679 28878 Woodward Ave, Royal Oak, MI 48067 Miller s - 248-489-8070 (offers student discounts)33332 W 12 Mile Rd, Farmington MI Gree ns 248-644-1644 400 S Old Woodward Ave, Birmingam, MI Michaels, Hobby Lobby, Jo-Ann Fabrics, Walmart

Supply Lists and Suggestions

Depending on the type of work you will be creating you will need some of the supplies listed. Suggested additional consumable supplies Supplies All students will need to purchased by students for Photo/Graphics purchase the following items available for use by all Selection of materials will depend on students student choice of Concentration
Rulers Fixative Scissors Xacto knives Light Tables Masking Tape standard Limited Brushes Limited Colored Pencils Soft Pastels Oil Pastels Charcoal Limited Acrylic Paint Limited Drawing Paper Large Portfol io Envelope Mat Board - for the five quality pieces this should be purchased in the second marking period Fla sh Drive storage of digital record of artwork. Dra wing pe ncils variety of hardness (H to 6B and ebony) K neaded er aser Wh ite pla stic era ser Blac k per ma ne nt pe ns uniball vision works well on a variety of surfaces, sharpies Sketch boo k no smaller than 9x12 50 pages. Dar kroo m Tra dit io nal Photograp h y SLR film Camera Film Photo Paper explore larger paper sizes, finishes and fibers. Alternative Darkroom Printing Materials dyes, liquid light, toners, etc. (We might be able to order these together) Fees for printing (digital) (darkroom) Co mputer Dig ital Graph ic s a nd Photo SLR Digital Camera Photo printer paper for images you want to print Other types of paper for printing

Sugge sted add itio nal co nsu ma ble suppl ies purc hased b y stude nt s for Dra wing /2 D Desig n Selection of materials will depend on student choice of Concentration Pa inting Mater ial s Pa intyou may purchase acrylic, watercolor, or waterbased oils (no regular oils) can be used like watercolor or oil paint. Sugge sted Co lors: Cadmium Red Medium or Deep, Ultramarine Blue, Alizarin Crimson, Violet, Cadmium Yellow Medium, Light Green Permanent, Yellow Ochre, Permanent Hookers Green, Cadmium Orange, Paynes Gray, Titanium White, Burnt Sienna, Raw Sienna, Raw Umber, Mars Black Other great colors: Cerulean blue, Prussian blue, any Phthalo colors, Viridian Green, or other colors that you would like. Pa int Br ushes etc . variety of rounds and flats, detail, small #1 or 2 to 1 inch. synthetic and bristle. Large paint palette with a lid Palette knife for mixing colors Pa int Surf aces Pre-Stretched and Primed Canvas (9x12 -18x24)---WalMart has pretty good, cheap ones Watercolor Paper Sheets (at least 90 pound paper or heavier) Canvas Boards (9x12 -18x24) Masonite boards (9x12 -18x24) Dra wing M aterials Drawing Pencils - variety of hardnesses (H 8B, ebony) Tortillions Conte variety of colors Charcoal vine, compressed black and white Soft pastels, oil pastels Colored pencils prismacolors are the best Colored Markers prismascolors are the best Assorted Dr a wing Paper s (Look for acid free sheets 18x24 in 90 lb or heavier, sheets can be cut smaller) Textured Drawing Paper Illustration Board Charcoal Papers Marker Paper (if you want to blend them) Colored Paper Tracing Papers- 19x24

The recommendation to purchase first is acrylic paint as it Erasers- gum, kneaded, white

I have read the AP Studio Art Syllabus and understand and agree to the course expectations, conditions and requirements.

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