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AP STUDIO ART

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on 14 June 2016

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Transcript of AP STUDIO ART

What is Breadth?
Drawing 2D 3D
AP STUDIO ART

An Overview
Summer Assignment!
Due First Week of School
3 breadth pieces
1 (or more) concentration
planning pages

Get ahead on breadth because
the year will go by so fast
and you have a lot of work
to make!
How is my work Graded?
Based on AP Standards

What is Concentration?
2D and Drawing = 12 pieces
3D= 12 images- some second views or details
What is Quality
(3D work is submitted digitally)
Challenges Visual Artists to create a portfolio of 24 pieces: In Drawing, 2D Design, or 2D Design

12-Breadth-
Should have 3-6 from previous year

12-Concentration
select
5 quality
pieces from either/or both to send
College level work ethic and focus (lots of outside class time necessary to complete work!)
Complete both class and independent assignments throughout the year

A variety of works demonstrating your understanding of drawing issues:
Use of various
spacial systems
Perspective etc.
Variety of subject: Figurative,
Still Life, Landscape, Abstraction
Various kinds of content,
derived from obs, and expressive
viewpoint, imaginary or psychological imagery,
social commentary, political statements or personal view points
Use of different tools, materials
and processes to represent form and space
Investigation of expressive Mark Making
A variety of works demonstrating
your understanding of the principles of
2D design
Work that employs line, shape, or color to create unity or variety in a composition
Work that demonstrates symmetry/asymmetry, balance or anomaly
Work that explores figure ground relationships
Development of modular or repeat pattern to create rhythm
Color organization using primary, secondary, tertiary, analogous or other color relationships for emphasis or contrast
Work that investigates or exaggerates proportion or scale
Photography and digital work
A Variety of works demonstrating
your understanding of the principles
of 3D Design:
16 images: 8 works 2 of each
12 images pieces
12 pieces
Work that employs line, plane, mass, volume or motion to activate form in space
Work that uses light or shadow to determine form, with particular attention to surface and interior space
Assemblage or constructed
work that transforms materials
or object identity through manipulationproportion/scale
Work in which color or texture is integral to the overall form of the piece
Work that explores the transition from organic to mechanical form
Work in which color and
texture unify or balance
the overall form of the piece
Works that describe an in-depth
exploration of a particular (drawing, 2D or 3D Design Concern
A concentration is a body of related
works that:
Grow out of a coherent plan of action or investigation
are unified by an underlying idea that has visual and/or conceptual coherence
are based on your individual interest in a particular visual idea
are focused on a process of sustained investigation, growth an discovery
Show the development of a visual language appropriate for your subject
5 actual works (selected from your 24 pieces) that best demonstrate your understanding of and engagement with Drawing, 2D, or 3D Design
Drawing and 2D work must be mounted, and
No larger than 18 x 24 inches including matt
Must be on flat surface- NO stretched canvas- must use Paper or thin board
Self Assessment

Following Due Date and Critique
Date schedule:

Crits on Thursdays every 3 weeks - 2 pieces.

Work due in canvas the following Monday



Work needs to be photographed and
reflected on using Breadth or Concentration Rubrics and submitted to canvas.
Structure/flow of Course:
Summer Assignment and Concentration planning/brainstorming Crit Due first week in September!
Quarter 1:
Quarter 2:
Quarter 3:
Quarter 4:
Complete 5 more breadth pieces
Complete 2 concentration pieces
Focus on Breadth: Complete total of 5 pieces
complete Focus class assignments and complete independent assignments at home
Focus on completing bulk of Breadth
and planning and beginning Concentration
Focus on Concentration- turn in statement draft
Complete 6 concentration pieces
Complete 1 or 2 more breadth- Finish breadth
Complete remaining concentration by End of April (4 if you've followed plan)
Upload work to AP Central- Refine Statement
Visual Journal brainstorming/sketching/
visual research and note taking examples:
Be ready to critique work and share
concentration visual journal work the first day of School!
Respond -draw, paint, collage in response to a range of visual inspiration- draw from observation as well as photo's and your imagination

Collect images:
Art movements and artists
From Magazines and ads
From Google image

Respond/Reflect:
Respond to your sketches
and collections:
Record pertinent info,
Question, Argue, wonder
What is the relevance of
this image to you
Dissect Composition


Work will drop a letter grade if it is
turned in late.
If you do not have 2 pieces ready for critique on crit day, you will get a 0 for critique participation that week- no make ups
SUMMER ASSIGNMENT:
1) keep a regular sketchbook:
No, you don't have to draw everday- but
try to draw weekly, even if it is for 15-20 minutes- Try to do a balance of observational studies from life and work from imagination. Check out this inspirational video for advice from a Cal Arts student:
You may actually choose
to use a couple of your sketch
book pages as your breadth
portfolio work.
No one creates work in a bubble
2. Visit at least 1 Museum or Gallery- check out
Mrs. Zeller's VA blog for posts/announcements about shows and opportunities this summer!

http://vsaavisualartblog.blogspot.com/
Create a 2 page spread mixed media sketchbook entry inspired by work you saw-
Consider thematic work
as you will be creating a body of your own work
around a central idea-
3. Review work from your sketchbook- Review
the breadth prompts from the summer assignment:

Create (edit/ develop sketchbook work- or create new
work) 3 breadth pieces to go in your portfolio- Minimum size
of 11 x 14- Maximum size 18 x24 (no stretched canvas can
be sent in for quality)

– The assignments are about quality, not quantity. You may use any media or mixed media of your choice. You are encouraged to explore media, techniques and approaches you have not used before. These pieces are work for the “Breadth” section of your AP portfolio. You will need 12 strong Breadth pieces in your portfolio. The emphasis in this section of the portfolio is variety of media, style, approach and subject matter. The Breadth section of the Drawing portfolio MUST include observational drawing. If you are working in photography for AP 2D, you will do the same projects but take a series of 10 photos for each assignment.


















2D Breadth prompts/Ideas:

Drawing Breadth prompts/ideas:
• A self portrait expressing a mood. How can you use color to convey that mood? What style will work best for you in this work? Do some research online or at an area museum to see how different artists create self portraits and what techniques and media they use. Use an odd/extreme angle and consider strong light/dark contrast.
• Still life arrangement of 3 or more reflective objects. Your goal is to convey convincing representation. Sketch and shade for contrast and drama. Consider doing this as a self portrait – draw yourself distorted in a shiny object.
• A drawing of an unusual interior – for example, look inside a closet or cabinet, in the refrigerator, under the car’s hood or inside the medicine cabinet.
• A still life arrangement of objects representing members of your family – a favorite pair of shoes, a toy etc. You must have at least 3 objects and use an unusual viewpoint or angle. Put the objects on the floor and stand up looking down at them.
• A close up of a bicycle/tricycle from and unusual angle with strong light/shadow. Do NOT draw the bicycle from the side view.
• Expressive landscape – this can be near your home, a place you visit on vacation or one you find on a drive into DC or out into Loudon County’s countryside. Make every effort to work plein air – meaning drawing or painting outdoors. You will have better light and will be able to focus on the color you actually see
• Café Drawing – go to a coffee shop to sit and sketch. In your drawing capture the essence of the place by capturing the people you see.
• Action portrait/figure drawing – have a friend or family member pose for you doing some sort of movement (jumping rope, riding a bike, walking down stairs etc.) Capture the entire sequence of their action in one work or art or a series of photos. How will you portray movement in your work? Look at “Nude Descending a Staircase” by Dada artist Marcel Duchamp to see an example of an action painting. Also see the work of Futurist artists Giacomo Balla and F.T. Marinetti.

3D Design Breadth ideas:
• Select a subject for your composition that is normally quite small, such as a paper clip, nail clipper, wrist watch, corkscrew, electrical or mechanical parts, bugs or other small creatures, etc. recreate the subject on a giant scale: Make a soft sculpture by cutting fabrics and flexible materials, which are then sewn, stuffed, stitched, and decorated; or create a large rigid structure by using cardboard and tape.
• Find an interesting object from the garage, attic, flea market, auction, or secondhand store. Transform the object by covering its entire surface with textural materials: mosaic, pebbles, glass, mirrors, feathers, flocking, yarn, paper, sand, photos, rope, coins, marble or granite chips, smaller objects, etc. Do this by using white glue: Spread glue on the surface, then sprinkle fine-particled materials such as sand, marbledust, or sawdust on it. (Use tile cement to attach heavier materials.)
• Select a sculpture or well known image from art history for interpretation. Redo the work three dimensionally: update it, change colors, media, characters; or, recreate a two-dimensional Old Master, three-dimensionally.
• Select a theme based on a mythological character or legendary beast: Big Foot, the Lochness Monster, Cyclops, Cyborg, The Troll, Bionic Beast, etc. Using pottery clay, fashion a skull, skeleton, or anatomical fragment of the legendary beast. Place the “evidence” in a display box.
• Using a minimum of 15 found objects (trash, recyclables, old toys, etc…) create an abstract sculpture that focuses on positive/negative space. Focus on craftsmanship and a well-thought out design. Size may vary, but your final sculpture must be a minimum of 12” inches in at least one direction.
• Using paper materials only (this can include colored paper, cardboard, etc.), build a 3D sculpture (in the round) demonstrating strength and motion. This work should be well crafted and complete from all angles viewed.
• Create a vessel out of sticks and twigs
• Make a temporary environmental installation addressing any of the following points: times, pathways, celestial events, social issues. Document the event with photographs and drawings
Pop-inspired pieces working with personal symbols or words (Robert Indiana,Ed Ruscha)
Piece that combines Xeroxed body parts (face, hands, feet) with anatomical drawings
Acrylic painting using analogous or complementary color scheme;
Piece inspired by the "fortune" from a fortune cookie;
Metaphorical or symbolic self-portrait superimposed on top of an incised surface that is mounted to a backing board, resulting in a "textured" back ground. (I generally have the student cut away eight contour self-portraits. They decide how they will arrange the eight incised areas and whether to bring the images out in the final piece or let them remain as phantom images/areas of underlying texture.)
Funky portrait of classmate in environment using thick bold outlines/con tours, and areas of flat color (David Bates)
Social commentary piece -- experimentation with acetone transfers and gloss medium transfers to be further developed with text and imagery -- literal, metaphorical, or symbolic
Two-panel piece in which student is asked to physically write across the surfaces an excerpt from an account of a most memorable moment -- good, bad, horrific, terrifying. The direction and spacing of the text are up to the student. On one panel, the student is instructed to erase through the text; the direction and amount of erasing are left to the student. On the second panel, the student is instructed to cover over the text with watered-down gesso, allowing for some of the text to show through; degree of transparency/opacity is up to the student. On top of these prepared surfaces, the student is to superim pose imagery invoked by the story -- literal, symbolic, or metaphorical
Compositions that involve the use of inset imagery (image within image/detail)
Compositions on shaped surfaces
Compositions arranged radially
Color studies with torn pieces of paper (mosaic)
Compositions that combine illusionary space with flat space
Drawing composition that alternates from a simple contour drawing into a fully rendered drawing at student-designated focal points
Three-part piece inspired by work of Jim Dine: in the first piece the student is asked to render an ordinary object or tool, bigger than actual size, making it the dominant aspect of the composition. The student is also directed to blur the distinction between positive shape and negative space. In the second piece, on a larger surface, the student is to create three distinct images of the object, while making the whole piece work. In the third piece, the student has to include an actual object, though it
does not have to be the object they have been working with. It can be a different object that is related to it -- literally, metaphorically, or symbolically
. A composition that denies the boundaries of surface edges – compositions that could extend indefinitely beyond edges (Jackson Pollock, Vija Celmins)
Compositions that rely on a grid as an organizing principle
Composition in which the student uses various neutral tones of torn papers (with a variety of textures) collaged on a surface to define areas of a still life. The piece is further refined as the student superimposes a linear drawing upon the collage with black, sanguine, or white conté.
Convince a friend to pose in the style of an action hero, in the manner of Marvel Comics. Have your model wear tight clothing that emphasizes musculature. Draw the person in pencil. Create a “carbon,” by covering another sheet heavily with pencil marks. Trace the original drawing onto a new sheet by placing the “carbon” in between. Go over the faint pencil marks with ink. You should now have an image that somewhat resembles those in action comics. You should also have attained a respect for comic book artists’ knowledge of anatomy. . Design your dream dwelling (not: dwelling, not house). Employ any traditional or nontraditional drawing medium/media. Note that you are limited only by your imagination. A dwelling refers to any location, in any configuration, from the depths of our universe to the depths of your imagination.
Study basic scientific perspective (both one-point and two-point) and produce an imaginative drawing by each method. Students are encourages to avoid the typical cityscape or room interior.

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