Concentration Critique Schedule for Second Marking Period

AP Studio Art: Marking Period 2 Critique Schedule The second marking period will mark our move to a strong emphasis on your individual Concentrations. In order to ensure the highest quality work being completed, we will be following a schedule of critiques that should help you in reaching your AP portfolio goal. We will also continue to work on the Breadth section of our portfolio with a series of in-class assignments revolving around a variety of issues in the visual arts. Your Concentration work is expected to be completed at home and will comprise the majority of your out-of-class studio time. You should commit a minimum of 4 – 5 hours per week on your Concentration artworks. There are no shortcuts to building the AP portfolio. Concentration Critiques: • Friday, November 16 - Concentration Proposals • Friday, December 7th – One finished artwork • Thursday, December 20th – Artwork #2 • Monday, Jan 7th – Artwork #3 • Friday, Jan. 18th – Artwork #4 • January 22 – Artwork #5

AP Studio Homework

Sketchbook Assignment #3
Tell the story of an object's life.

In this sketchbook assignment, you will be using your sketchbook to make a series of studies of one specific object. You will choose the object, and in addition the setting, tone, mood, and point-of-view will all be determined by you as the artist.
The goal of this assignment is to have you create a narrative of the many facets of the object’s life based on your own imaginative and creative powers.

A total of 12 different scenarios must be completed by Monday, November 26.

For example: a mug in brown wrapping tied with string; Steaming on a cosy table with a beloved's teacup alongside; sitting alone on a draining board; sitting on a desk full of pencils, with a torn photograph; broken in pieces in the wastebasket. You might tell the story of a beloved teddy, a bunch of flowers, a bottle of wine, or a dollar bill. Need a challenge? Look for the most mundane object you can think of! Contemporary objects - such as a mobile phone - can be difficult, because we have no artistic tradition to refer to when representing them.

First Sketchbook Check: Monday, November 19(4 scenarios minimum)

Breadth Portfolio Preparation

As we near the end of October, each student should now be thinking about possible Concentration ideas for their AP Portfolio. Beginning next week, we'll be photographing and preparing our Breadth section as we begin this transaction.
On November 1 we will review and photograph each student's portfolio in its current stage.In order to ensure a proper Breadth portfolio, each student should gather all work they feel is pertinent to be reviewed for inclusion in this section of the test.
This would include all work assigned in class including the summer work:

• Self portrait
• Still Life
• Photo Still Life
• 30 Drawings in 30 Days
• Landscape Sketches
• Final Landscape Drawing

This should also include sketchbooks, work from previous classes that may be appropriate and work done on your own.

Your Breadth Portfolio will be assessed under the following criteria: Works demonstrating understanding of a variety of drawing issues. Look for engagement with a range of the following:

• Form
• Depth
• Content
• Pattern
• Tonal Values
• Means of Representation and Abstraction
• Line Quality Materials
• Perspective and Other Spatial Systems
• Composition
• Drawing Surface Techniques Styles

Key Scoring Descriptors
A. Investigation of a Broad Range of Visual Concepts and Composition
B. Decision Making in Terms of Experimentation, Risk Taking or Both
C. Originality, Imagination, and Invention in Using the Elements and Principles of Design in Drawing Composition
D. Intention, Purpose, and Direction
E. Confident, Evocative Work That Engages the Viewer
F. Technical Competence and Skill with Drawing Materials and Media
G. Understanding the Use of Digital or Photographic Sources
H. Appropriation and the Student “Voice”
I. Image Quality (for Weak and Poor Breadth Sections Only)
J. Overall Accomplishment and Quality In applying these descriptors, consider the content, style, mark making, and use of media in the work.

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 September 11 and continuing on to October 11, 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.

Still Life Drawing Deadlines

In class critiques will be held for your first two class assignments on the following dates:

9/20 In class Observation drawing in Conte
9/27 Still Life from photo

Still Life Homework Assignment

 

 

The still-life as a resource and subject matter for artists has been an essential tool in art for at least two thousand years. It offers a stable subject from which artists can explore the relationships of FORM & SPACE while also providing enormous opportunities to study light, value and texture. Our ultimate goal in this unit is to utilize these elements of Art in building a strong, cohesive COMPOSITION.

You will be building your still-life model at home and photographing your model for use in class next week. When building your model keep the following factors in mind:

1.       Point-of-View:

You want an interesting and intriguing point-of-view to your subject that engages the viewer and provides a dynamic sense to your composition.

2.       Spatial Relationships:

Insure that you are aware of how the objects in your composition relate to each other on both the 2-dimensional plane, and in their illusion of 3-dimensions. Keep the principles of Variety and Unity in mind when you create your composition.

3.       Lighting:

Light can play a major role in your composition so take advantage f windows or other strong light sources when setting up your composition.

4.       Objects:

Choose objects that one might not normally consider in a traditional still-life. For example kitchen utensils, power tools, bathroom supplies. Etc.

 

 

 

Labor Day Homework Assignment

One of the most important facets of drawing is the MARK itself - the "mark" of the pencil, charcoal, etc. on the paper. Over the weekend find one drawing by an established master (i.e. Rembrandt, van Gogh, Picasso, etc.) and study the marks that artist used in your chosen artwork. Devote at least one page of your sketchbook to replicating and improvising on the marks you find within the work in order to present your own interpretation and execution of those marks. DO NOT copy the drawing you choose - instead utilize the marks you find and create your own composition. This can be representationol or abstract. The main goal here is to study and utilize a wide variety of marks in your own artwork. Be sure to bring along a copy of your chosen work along with your sketchbook on Tuesday, 9/4. Note the variety of marks used by Cy Twombly in the two works shown below.