Oak Park High School

                                                                                                                                            

 

 

 

Anna Bojorquez
Oak Park High School

A.P. Studio Art: Drawing

Course Overview

The A.P. program in Studio Art enables highly motivated students to perform at the college level while still in high school. The A.P. Studio Art portfolio is a performance based exam rather than a written exam. The portfolio requires submission in three distinct sections. The sections are designed to assess different aspects of student�s performance. The sections require the student to demonstrate quality, breadth and in depth engagement in the process of making art. (C1)

Section I: Quality- the development of a sense of excellence in art
Section II: Concentration- an in-depth commitment to a particular artistic concern.
Section III: Breadth- a variety of experiences in the formal, technical, and expressive means available to an artist. (C1)

The A.P. program explores a variety of techniques and media with an emphasis on individual expression. Students will build upon design ideas to create original artwork. Students are encouraged to develop their own personal and creative style while working with diverse media and various sized papers and canvases. Students must be open to class critiquing, adhering to project guidelines, maintaining a good working environment and sustaining classroom supplies and materials.

Objectives

The student will:

*(C4) Demonstrate advanced skill building in drawing and/or painting production, applying the fundamentals of the elements and principles of fine art and design.

* (C2) Investigate a variety of sketchbook assignments involving still-life, landscape and portraiture with an emphasis on diverse arts styles.

*(C5,C6) Analyze and make critical assessments about art works through art history slides, reproductions and peer assessment.

* (C7) Be inspired from art and art history for knowledge and artistic inspiration only.

* (C7) Be aware and cognizant of plagiarism and duplicating art work while adhering to regulation at the instructor�s guidance.

*(C5) Develop their critical decision making through museum and gallery visits.

*(C3) Develop advanced observational drawing skills through a variety of mediums such as graphite, charcoal and ink.

* (C2) Explore complex Color Theory projects through pastels, acrylics and watercolor on canvas.

*(C7) Submit a portfolio for evaluation demonstrating growth and exploration of the students� own style and creativity progressively through the school year.

* (C3) Develop a Concentration of a body of work showing growth and exploration from the students� individual expression and creativity.

*(C1) Select five top-quality pieces for presentation to the College Board after deciding with the instructor.

* (C4) Develop a body of work showing mastery in Breadth through high quality projects showing versatile techniques and concepts using the Art Elements and Principles of Design.

Sketchbook Assignments/Summer Work

Many ideas and inspiration for portfolio content is derived from sketchbook exploration. The following are ideas, but not limited to, sketchbook entries submitted for homework assignments and outside work. (C1,C2) All sketches should be from life/observational study not photographs or published pictures. (C7)

*Hand and foot observational drawings
* Shoe observational sketch
* Fruit and vegetable observation
* Interior of a drawer
*Rough textures and fabrics
* Jewelry, bracelets, necklaces still-life sketch
*Plants/flowers, organic shapes from nature
*Self-portrait, from life observation
*Architectural observation
*Clothing, drapery
*Multi-Media Art 

 

Assessment and Evaluation

Portfolio Development

All A.P. Studio Art students are expected to submit a portfolio to the College Board in May. Every project produced in class will be considered for the portfolio for Quality and Breadth, demonstrating fundamental drawing concerns using effective line quality, composition, value, expressive creativity. In addition, every student will produce a body of work, a Concentration, of considerable time, effort and thought to an investigation of a specific visual idea showing growth and discovery. (C3,C4)

Portfolio (60%)

*graded based on the College Board rubric
* volume and quality based on term (four quarters)
* evidence of on-going breadth and concentration pieces


Studio Conduct (20%)

* maintenance of work space
*respect for materials and supplies
* critical listening skills to demonstrations and lectures
* class attendance is mandatory


Critique/Participation (20%)

*participation in on-going class critiques and discussions
* use of class time and 7th period support period
*use of sketchbook, for review and reference
* daily performance based on project



Term 1- September, October, November

Overview

All class projects will be introduced with a time frame for a due date. All drawings and paintings will be included for consideration into the final portfolio. Materials will consist of drawing paper, canson paper, charcoal paper, sketchbook, watercolor paper, Bristol board, rail road board, stretched and board canvas, and a variety of sketching and painting supplies. In addition to class supplies and materials each student will receive a drawing/pencil set and brushes.
Through a variety of specific assignments, students may be working on more than one project at a time working towards their breadth and quality sections. (C4)
Art supply fee/donation is $50.00 for one school year (2 semesters).

The student will:

*(C2,C4) Develop their compositional skills, using cropping techniques, creating an effective composition where the viewers� eye flows throughout the piece

*(C2) Be introduced and develop their line quality through, implied line, value as line, stippling and contour lines through an organic still-life.

* (C4) Develop their values and range of contrasts through pencil, charcoal shading and pen and ink techniques.

*(C2) Be presented with multi-cultural art history examples, through slides and books, depicting diverse drawing techniques.

*(C4) Develop their techniques of hatching and cross hatching to depict texture through observational studies.

*(C7) Be presented with a still life possessing light and dark contrasts and create a charcoal observational sketch of drapery with direct lighting on fabric.

*(C4) Use pen and ink to create a still life drawing of diverse textures and fabrics, using line to create value, such as stippling and hatching.

* (C6) Respond in class, via oral critiques, identifying techniques that are effective using constructive criticism, such as light and dark contrast, foreshortening, implied lines, and color scheme.

*(C7) Develop their own personal style and techniques in observational sketches.

* (C4) Develop fundamental drawing concerns such as perspective and distorted proportion using foreshortening.

*(C3) Utilize their sketchbooks for references and rough sketches for final pieces.

*(C1) Develop assignments/projects that demonstrate high quality within the size limitations of the portfolio.

* (C4) Explore a multimedia project utilizing at least 2 mediums in one assignment.



Term 2- December, January, February

Overview

The development of the Concentration Section is presented. While working on and completing a range of class projects students will be developing an in-depth exploration of an investigation or a specific visual idea. Students are to present rough sketches, sketchbook work, all leading up to the related work showing growth and discovery. Students should define their Concentration ideas at this time. Student will understand that the Concentration is not a plethora of diverse projects not relating to one another, nor sketches from photographs from a magazine, for example. The exploration of Color and Color Theory will be developed. (C7)

The student will:

* (C4) Utilize the water color techniques with ink technique to create a mixed media assignment.

* (C5) Mix the primary colors to achieve the color wheel in creating an abstract non-objective drawing/painting.

* (C3) Recognize their strengths and interests for future assignments and grow on their best style in creating projects.

* (C4) Use a variety of materials such as watercolor paper and canvas board.

* ( C2) Touch up and finalize assignments from first quarter with the critical eye of their peers and instructor.

* (C5) Develop their critical decision making with their peers in class through oral critique using anonymous numbering of projects.

* (C6) Analyze their art while relating to individual assignments.

*(C3) Keep a portfolio with projects for the Breadth Section, clean and safe.

* (C4) Create gesture drawings from a live model with compressed charcoal.

*(C4) Use charcoal and pencils to sketch figure drawing from a live model.

*(C2) Use etching or scratchboard techniques to create compositions through crosshatching.

*(C3) Expand upon their individual style in creating an abstract expressionistic figure drawing utilizing pastels and conte crayon.

* (C2,C7) Expand their own personal style through portraiture, and overlapping of figures.

*(C1,C3) Consider their intent for their Concentration Section and explain their investigation.

*(C3) Show growth and investigation of a Concentration.

*(C5,C7) Discuss multi-cultural artists that inspire and influence their work/style.

*(C6) Visit the Norton Simon Museum of Art to discover, sketch and discuss multi-cultural works of art.

* (C1) Submit their College Board fee at the appropriate time.



Term 3- March, April, beginning of May

Overview

At this time, students should be close to finalizing the breadth section.
Students are encouraged to build upon and enhance their greatest strength and interest. The instructor is very clear with the student as to how their concentration evolved and where it is going. A variety of materials and supplies are introduced or re-visited should the instructor see necessary per each student. Most students continue to work on assignments, though there may be a diverse approach to most projects at this time. Students are reminded of the size restrictment for the A.P. portfolio quality section in considering the five entries. Students will state their written commentary describing what their Concentration is. Students will answer: How did your idea evolve? How does it demonstrate exploration? Students will refer to specific works of art in their Concentration Section II. (C1,C4)

Time lines are set and individual evaluations with portfolio and student are scheduled. Anticipation for photographing work and schedules are posted:
It is the students� responsibility to show up at their designated time to have their work photographed into slide form. If illness should occur, transport the portfolio for photographing, regardless, or switch dates with another A.P. student.

Mid April- Continue touching up, finishing up Breadth Section for a total of 12 bodies of work. Concentration pieces should be completed for a total of 12 slides, including details of work. There is time to complete one more project.

Reminder:
Quality Section: 5 actual pieces of work
Breadth Section: 12 slides
Concentration Section: 12 slides (including details)

Fees:
Film (Ectachrome, 100 speed, 36 exposures) $10.00
Slide Processing, $10.00

STAR Testing Schedule- Continue to work on projects one week before the portfolio is due. Due to special scheduling, you must sign up for work to be photographed after school. For example, either 12:20pm, 1:20pm or 2:25pm.
The A.P. College Board states very specific guidelines in slide labeling. Students will refer to their A.P. College Board poster for reference. (C1)


The student will:


*(C2,C3) Create an assignment based on a metamorphosis, influenced by an animal, utilizing color, figure drawing sketches and pattern.

* (C5,C6) Meet with the instructor for individual evaluations.

*(C5,C6) Discuss and show outside work related to the A.P. portfolio to the instructor for consideration, such as nude studies from an outside class.

*(C1) Follow A.P. guidelines in labeling slides with correct information.

*(C6) Continue with class critiques and peer evaluations as their portfolio has progressed, make decisions about portfolio work to be included.

*(C1,C3) Describe their written commentary for section II involving the evolution and exploration of growth, including sketches and final pieces.

* (C1) Complete required paperwork for portfolio submission including parent signature.

*(C1) Select five pieces for the Quality Section in compliance with matting and size limitations stated on the A.P. poster.
.






Originality and Copyright Issues
(C7) Students must understand artistic integrity and what is considered plagiarism. Students must learn from art history and creative references and develop their own style so as to move beyond copying and duplication.








A.P Studio Art, Curricular Requirements

(C1)- The course promotes a sustained investigation of all three aspects of portfolio development, quality, concentration, and breadth, as outlined in the Course Description or Studio Art poster throughout the duration of the course.

(C2)- The course enables students to develop mastery (i.e.quality) in concept, composition, and execution of drawing.


(C3)- The course enables students to develop a body of work investigating a strong underlying visual idea in drawing that grows out of a coherent plan of action or investigation (i.e., a concentration)

(C4)- The course teachers students a variety of concepts and approaches in drawing so that the student is able to demonstrate a range of abilities and versatility with technique, problem-solving, (i.e.breadth). Such conceptual variety can be demonstrated through either the use of one or the use of several media.

(C5)- The course emphasizes making art as an ongoing process that involves the student in informed and critical decision making.


(C6)- The course includes group and individual student critiques and instructional conversations with the teacher, enabling students to learn to analyze and discuss their own artworks and those of their peers.

(C7)- The course teaches students to understand artistic integrity as well as what constitutes plagiarism. If students produce work that makes use of photographs, published images, and/or other artists works, the course teaches students how to develop their own work so that it moves beyond duplication.


















Bibliography

The Basics of Drawing Techniques, Greg Albert, 1994.

Basic Figure Drawing Techniques, Greg Albert, 1994.

Essential History of American Art, Suzanne Bailey, 2001.

The Complete Book of Drawing, Essential skills for every artist, Barrington Barber, 2004.

Puzzles About Art, An Aesthetics Casebook, Margaret P. Battin, John Fisher, Ronald Moore, Anita Silvers, 1989.

500 Self-Portraits, Julian Bell, Phaidon.

Masterpieces of The Metropolitan Museum of Art, Philippe de Montebello, Barbara Burn, 1997.

Self Portraits of The Worlds Greatest Painters, Elizabeth Drury, 1999.

Drawing and Painting, Hands and Feet, Robert E. Fairley, 2000.

Anatomy for the Artist, The Dynamics of the Human Form, Tom Flint, 2002.

Dynamic Anatomy, Revised and Expanded, Burne Hogarth, 2003.

Visual Expressions, A visual reference for artists, Mark Simon, 2005

The Art Book, Phaidon.

MoMA Highlights, The Museum of Modern Art, 1999.

From Ordinary to Extraordinary, Ken Vieth.