AP Studio Concentration Deadlines
Friday, November 12 Concentration #1
Friday, December 3 Concentration #2
Friday, December 17 Concentration #3
Friday, January 7 Concentration #4
Friday, January 21 Concentration #5
Friday, February 4 Concentration #6
Friday, February 25 Concentration #7
Friday, March 4 Concentration #8
Friday, March 18 Concentration #9
Friday, April 1 Concentration #10
Friday, April 22 Concentration #11
Friday, April 29 Concentration #12
Monday, November 15, 2010
Tuesday, October 19, 2010
30 Drawings in 30 Days
Sketchbook Diary
One of the most important attributes of any visual artist is visual acumen, or the ability to discern and recognize the interesting and intriguing visual cues around us. Through strong powers of observation, both of the external and internal world, artists build a repertoire of imagery, themes and approaches toward art production that provide them with the ingredients to build powerful compositions and visual ideas.
Beginning October 21 and continuing on to November 21, each student will be required to record in his or her sketchbook, one specific observation that the student has become aware of that day. This may take several forms:
1. a sketch of an interesting place, person or thing
2. a sketch from imagination regarding a new idea, form or technique
3. a written note, paragraph, poem, etc. that records an interesting encounter
4. a mixed media montage of events heard or seen on the news
5. or anything you find worth recording
The goal is to make you aware of how aware you are within your own environment and the abundance of new and powerful imagery and ideas available to the artist who remains viusally and intellectually vigilant of his or her surroundings.
Be sure to check out more of the sketchbook links listed in the earlier entry on sketchbooks for more ideas.
One of the most important attributes of any visual artist is visual acumen, or the ability to discern and recognize the interesting and intriguing visual cues around us. Through strong powers of observation, both of the external and internal world, artists build a repertoire of imagery, themes and approaches toward art production that provide them with the ingredients to build powerful compositions and visual ideas.
Beginning October 21 and continuing on to November 21, each student will be required to record in his or her sketchbook, one specific observation that the student has become aware of that day. This may take several forms:
1. a sketch of an interesting place, person or thing
2. a sketch from imagination regarding a new idea, form or technique
3. a written note, paragraph, poem, etc. that records an interesting encounter
4. a mixed media montage of events heard or seen on the news
5. or anything you find worth recording
The goal is to make you aware of how aware you are within your own environment and the abundance of new and powerful imagery and ideas available to the artist who remains viusally and intellectually vigilant of his or her surroundings.
Be sure to check out more of the sketchbook links listed in the earlier entry on sketchbooks for more ideas.
Tuesday, October 5, 2010
Draw What You Hear
Sketchbook Homework Assignment
Draw What You Hear
Using your sketchbooks, complete a series of 6 drawings based on what you hear, rather than on what you see. Take note of the suggestions above:
DON”T draw the object making the sound!!
Use lines, shapes and forms.
Use color!
The idea is to visualize sound and interpret what you hear as a resource for visual imagery.
Sketchbook checks will be made:
• Tuesday, October 12 (2 sketches)
• Friday, October 15 (4 total sketches)
• Tuesday, October 19 (6 total sketches)
Thursday, September 16, 2010
Landscape Homework Assignment
In working toward developing our Conceptual Landscape, each student should gather as much research information as possible on subject matter. In addition to our in-class studies, each student will be required to complete a series of observational sketches of their own backyard. These sketches should focus on elements of texture, shape, color, value and form and should also look toward the principles of correct proportion and unity of elements when studying the relationships between various objects in the landscape. These sketches should amount to approximately 2.5 hours of outside class time and the resulting drawings should be commensurate with that time allotment. Sketches may vary from detailed observations of a specific object to compositional studies of broader vistas.
Deadline: Friday 9/24
Friday, September 10, 2010
Homework Assignment #1: The Glass Still Life
Your first at home drawing for the Breadth Portfolio section is due on Friday, Sept. 17. The drawing must conform to the following criteria:
1. No smaller than 14" x 17"
2. The drawing should extend to all 4 sides of the paper or canvas.
3. The drawing is in black & White, but media is left to student choice (pencil, charcoal, conte, etc.)
Subject for the drawing is a glass still life. This can entail any collection of 3 or more glass objects in a compositional arrangement. This may include common items such as water glasses (full or empty or half-full, etc.), vases, crystal figurines, etc., but thespecific glass object will be left to the student's own resources.
Remember the following in planning and executing your drawing:
1. Focus on what the glass is reflecting—not the glass itself.
2. Focus on your light sources.
3. Tone and value are very, very important when drawing glass
4. ALL transparent objects are comprised of dark and light patterns in varying degrees of value.
5. You don’t always have to draw the exact reflection—sometimes you can just indicate the reflection as a diffused image (draw just the patterns and not the picture).
6. VERY important in drawing glass—Highlights, midtones, darks---work the darks first, then the highlights and then fill in the midtones.
Critique will take place in class on Friday, Sept. 17.
Thursday, June 17, 2010
AP Studio Summer Assignment 2010
The AP Studio Art at Amity is focused on one of two portfolios: the Drawing and 2-D Design portfolios. While there is an overlap in criteria for each, they also have separate concerns which will be addressed during the school year. The summer assignment is designed to work with both portfolios, so there is no need to distinguish at this point which will be your major focus.
The course is designed to provide students with an experience as enriching as a college level studio course. While it has a rigorous schedule and makes high demands on art students, it also provides the rich reward of artistic discovery and learning as evidenced in a final portfolio of 24 superior artworks.
I have placed a link, located on the left to the College Board's description and scoring guidelines for the AP Studio Art course. You should take some time this summer to familiarize yourself with the requirements and scoring guidleines found at the link in order to be fully prepared when the school year begins. Our first critique, which will begin with a review of your summer work will use the Quality criteria for its rubric. I have also included a number of web sites, both museum and artist websites featuring sketchbooks for you to review and be familiar with.
Also, over the summer, each student enrolled in the AP Studio Art course must complete the following 2 assignments:
1. Sketchbook Guidelines
Begin a sketchbook, or continue with one in progress, and record a minimum of 10 observations throughout the summer. The sketchbook is a critical tool in advancing your skills, both drawing and design, and its importance cannot be overstated at this point. The sketches should be visual notetaking, but may also combine words, collage and various media. They ARE NOT required to be finished drawings, but should record ideas that you may work with as your concentration develops.
Sketchbooks are like visual diaries for artists.
Your sketchbbook should be a comprehensive document that illustrates your artistic development and research. The purpose of your sketchbook is to encourage and record personally driven research and discovery that function interactively with independent and assigned artwork. you should also include a combination of writing, drawing, clippings, and collage.
Your sketchbook should include:
Drawings from observation analytical research
Thumbnail sketches for future projects
Drawings of artwork or sculpture from a museum
Studio idea development for major projects
Written critiques of your work and art historical work
Documentation of discoveries, media experiments
Personal reflections, musings, future directions
Museums and Galleries
http://www.gis.net/~scatt/sketchbook/links.html
http://www.gis.net/~scatt/sketchbook/links.html
http://www.artmuseums.harvard.edu/sketchbooks/
http://www.aaa.si.edu/guides/site-visual/index.cfm
Individual Artists
http://www.waynejiang.com/sketchbooks/
http://www.jamesjean.com/travelbookmenu.html
http://www.tomwood-painter.com/Sketchbooks/sketchbooks.html
http://www.eyecandy.co.uk/Rebecca%20Bradley/index.htm
http://www.johncopeland.com/index.html
http://www.sabrinawardharrison.com/
http://www.sketchbooks.org/mikelkrumins/
http://www.jennifernew.com/ http://www.johnclapp.com/artw_pages/sketch_pages/sketch_main.html
http://www.andersonkenny.com/
http://www.daneldon.org/
http://www.dannygregory.com/
2. Self-Portrait
One finished self-portrait in any drawing, printmaking, or painting media (no computer graphics) that is a minimum of 14" x 17" in size and 18" x 24" maximum. This drawing will be used in our first week critique and will be graded using the scoring guidlines located at the College Board link.
There are several factors you should keep in mind when starting this portrait:
a. Choose an interesting point-of-view.
b. Be aware of "where" you are in the portrait. What is your location? What sounds are around you?
c. Think carefully about what objects you choose to include in the portrait.
d. Be prepared to discuss color choices, perspective, texture, form and composition.
In addition, students should begin to formulate ideas for their Concentration series. The College Board site has links to Concentration examples from past years for you to review, and you may find these helpful in developing your own theme. While we will be working on developing our Breadth portfolios as the new school year begins, the sooner you can begin work on your Concentration series, the better.
Have a great summer!!
The course is designed to provide students with an experience as enriching as a college level studio course. While it has a rigorous schedule and makes high demands on art students, it also provides the rich reward of artistic discovery and learning as evidenced in a final portfolio of 24 superior artworks.
I have placed a link, located on the left to the College Board's description and scoring guidelines for the AP Studio Art course. You should take some time this summer to familiarize yourself with the requirements and scoring guidleines found at the link in order to be fully prepared when the school year begins. Our first critique, which will begin with a review of your summer work will use the Quality criteria for its rubric. I have also included a number of web sites, both museum and artist websites featuring sketchbooks for you to review and be familiar with.
Also, over the summer, each student enrolled in the AP Studio Art course must complete the following 2 assignments:
1. Sketchbook Guidelines
Begin a sketchbook, or continue with one in progress, and record a minimum of 10 observations throughout the summer. The sketchbook is a critical tool in advancing your skills, both drawing and design, and its importance cannot be overstated at this point. The sketches should be visual notetaking, but may also combine words, collage and various media. They ARE NOT required to be finished drawings, but should record ideas that you may work with as your concentration develops.
Sketchbooks are like visual diaries for artists.
Your sketchbbook should be a comprehensive document that illustrates your artistic development and research. The purpose of your sketchbook is to encourage and record personally driven research and discovery that function interactively with independent and assigned artwork. you should also include a combination of writing, drawing, clippings, and collage.
Your sketchbook should include:
Drawings from observation analytical research
Thumbnail sketches for future projects
Drawings of artwork or sculpture from a museum
Studio idea development for major projects
Written critiques of your work and art historical work
Documentation of discoveries, media experiments
Personal reflections, musings, future directions
Museums and Galleries
http://www.gis.net/~scatt/sketchbook/links.html
http://www.gis.net/~scatt/sketchbook/links.html
http://www.artmuseums.harvard.edu/sketchbooks/
http://www.aaa.si.edu/guides/site-visual/index.cfm
Individual Artists
http://www.waynejiang.com/sketchbooks/
http://www.jamesjean.com/travelbookmenu.html
http://www.tomwood-painter.com/Sketchbooks/sketchbooks.html
http://www.eyecandy.co.uk/Rebecca%20Bradley/index.htm
http://www.johncopeland.com/index.html
http://www.sabrinawardharrison.com/
http://www.sketchbooks.org/mikelkrumins/
http://www.jennifernew.com/ http://www.johnclapp.com/artw_pages/sketch_pages/sketch_main.html
http://www.andersonkenny.com/
http://www.daneldon.org/
http://www.dannygregory.com/
2. Self-Portrait
One finished self-portrait in any drawing, printmaking, or painting media (no computer graphics) that is a minimum of 14" x 17" in size and 18" x 24" maximum. This drawing will be used in our first week critique and will be graded using the scoring guidlines located at the College Board link.
There are several factors you should keep in mind when starting this portrait:
a. Choose an interesting point-of-view.
b. Be aware of "where" you are in the portrait. What is your location? What sounds are around you?
c. Think carefully about what objects you choose to include in the portrait.
d. Be prepared to discuss color choices, perspective, texture, form and composition.
In addition, students should begin to formulate ideas for their Concentration series. The College Board site has links to Concentration examples from past years for you to review, and you may find these helpful in developing your own theme. While we will be working on developing our Breadth portfolios as the new school year begins, the sooner you can begin work on your Concentration series, the better.
Have a great summer!!
Thursday, February 25, 2010
AP Review During CAPT
On Monday March 8, we will be holding an AP Review in room 374. Students should bring their 5 Quality choices for in-class viewing, and have digital images prepared for their Breadth and Concentrations sections which we will be reviewing during this time period. These digital images should be in .jpeg format under the guidelines set by the Collge Board. Images may be uploaded to the AP Studio drop folder on the student drive, or placed on a USB drive. The images should be separated into two folders: one for Breadth and the other for Concentration. At this point all students should have 7 Concentration pieces finished.
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