AP Studio Art: 2-D Design: Syllabus

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Description The course promotes a sustained investigation of all three aspects of portfolio developmentquality, concentration, and breadthas outlined in the Course Description and Poster throughout the duration of the course. The course enables students to develop mastery (i.e., quality) in concept, composition, and execution of 2-D design. The course enables students to develop a cohesive body of work investigating a strong underlying visual idea in 2-D design that grows out of a coherent plan of action or investigation (i.e., a concentration). The course teaches students a variety of concepts and approaches in 2-D design so that the student is able to demonstrate a range of abilities and versatility with technique. Such conceptual variety can be demonstrated through either the use of one or the use of several media. The course teaches students a variety of concepts and approaches in 2-D design so that the student is able to demonstrate a range of abilities and versatility with problem-solving. Such conceptual variety can be demonstrated through either the use of one or the use of several media. The course teaches students a variety of concepts and approaches so that the student is able to demonstrate a range of abilities and versatility with ideation (i.e. breadth). Such conceptual variety can be demonstrated through either the use of one or the use of several media. The course emphasizes making art as an ongoing process that involves the student in informed and critical decision making. The course includes group critiques, with the teacher, enabling students to learn to analyze and discuss their own artworks as well as artworks of their peers. The course includes individual student critiques and or instructional conversations with the teacher, enabling students to learn to analyze and discuss their own artworks and better critique artworks of their peers. 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.

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Course Description AP Studio Art: 2D Design is for students who have proved themselves in other high school art classes and want to take their creative skills to a new level. This course encourages and expects creative and systematic investigation of formal and conceptual issues in 2-D design. All students will develop a portfolio that contains three sections: quality, concentration, and breadth. [SC1] This course does not culminate in a written exam, like many other AP courses, but by the evaluation of a portfolio broken up into the 3 previously mentioned categories consisting of 21-24 works of art. Most are submitted in digital photo format and a five are mailed to be evaluated for quality. More commitment is expected from the students invited to join this class than any other. Along with this commitment comes a high level of artistic freedom. Students must be self-motivated and show they can be trusted to work independently without supervision. Students who do not live up to these expectations may be asked to leave the class. This course is equivalent to a first-year college art class and all students are expected to challenge themselves to develop mastery in their ideas, skills, and abilities in 2-D design. [SC2] As you approach the requirements for this course, you will be expected to use a variety of concepts and approaches to demonstrate your ideas and abilities. You will be expected to solve creative problems showing an understanding of the elements and principles of design. Versatility of techniques is also emphasized as you develop ideation and solutions to your problems. Throughout this course students will work toward developing mastery in concept, composition and execution of 2D design principles. [SC2] Students will use a range of conceptual approaches as well as show technical skill in a variety of mediums and familiarity of traditional and contemporary approaches to art. Class assignments will challenge students to set and achieve creative goals. The expectation is that the student will be involved in a sustained investigation of all three aspects of portfolio development: quality, concentration, and breadth. [SC1] Your goal as a student is to move deeper into exploring an idea or concept visually in your work. It can be challenging to move beyond the technical skills you have been developing and think about you work as a means to explore and communicate. Though some projects will have a focus on exploring new media many will challenge you to create with a greater purpose in mind. [SC6] Artistic integrity is extremely important in the visual arts. Though there is an important place in the study of art for copying (Reference: Everything is a Remix series) and mimicking the style of others the work produced for the portfolio should be done within legal bounds and not border on plagiarism. Ongoing attention will be paid to going beyond duplication so that work is more meaningful and original acts of the individuals creativity and expression. [SC10] Course schedule Because of our limited time and the amount of work that must be made to complete the portfolio the course will take 2 years to complete. The first year will be dedicated to the Breadth section of the portfolio and the second year will be dedicated to the Concentration section. Submission of the portfolio will take place toward the end of the second year. Over the course of the year you will be expected to spend at least 1 hour working outside of class for each hour of in class time. You will select your best 12 pieces at the end of each year to satisfy the requirements of the portfolio.

BREADTH (YEAR 1, 12 works) Assignment overview (Summer) 5 pieces of your choice from list (S1 & S2) 15 pieces choose 12 best pieces for BREADTH portion of portfolio Sketchbook Assignments Critiques o group [SC8] o individual [SC9] Responses (1 due at the end of each quarter) Summary This section of the portfolio is teacher driven meaning you will be given visual problems to solve in your own way. The course will provide experiences in a variety of media and approaches to problem solving to express concepts and ideas. Students will use previously learned information in new and concrete situations to solve problems that do not have a single answer. They will break down observations and works into their component parts, examining and trying to understand the organizational structure and develop divergent conclusions. They will creatively or divergently apply prior knowledge and skills to produce new and original wholes. These discoveries and syntheses will be communicated and expressed through the use of a variety of concepts and approaches in 2-D design, art mediums and techniques, as explored in their art works, structures, models and designs. [SC5] Some projects will focus more on creativity media exploration and problem solving in the use of new media. Other projects will focus more on solving conceptual problems. Students will use idea-generation and focused attention as they consciously form and relate ideas. They will capture, develop and record ideas from their minds eye and construct and graphically translate these into graphic forms of communication. Forming and relating these ideas students will personally develop creative, innovative works. Students will use a variety of concepts and approaches with techniques and mediums as they demonstrate work with an idea, concept or abstraction formed and existing in their mind. [SC6] Summer Assignments (Year 1) You are to complete at least 5 of the following assignments over the summer for the AP 2-D Design class; it is also recommended that you be working in a personal sketchbook / visual journal / altered book. [SC7] These pieces will be due at the beginning of the third week of school. Each of the pieces needs to be done on a surface no larger than 18 x 24. You may choose the type of surface to work onpaper, cardboard, canvas board, plywood, mat board, etc. Please keep in mind that although drawing does involve design, the emphasis in this studio is on designthe formal elements and principles (elements: line, color, texture, space, value, shape, and form; principles: unity, balance, contrast, repetition, variety, dominance, etc.). Concept/idea, craftsmanship, and the creation of a visually successful design will all be components of every grade. Do a self-portrait, or several different ones, that expresses a specific mood/emotionfor example, anger/rage, melancholy/loneliness, happiness/joy, etc. Manipulate light and color to enhance the psychological atmosphere. Also, consider the development of the environment/setting. Do some exploration with mixed media. Do a piece (portrait, self-portrait, landscape, or still life) in which you use at least three different mediaConsider wet media, dry media, monoprinting and collage elements, (coffee, dirt, pastel, watercolor, charcoal, pen etc). Do a portrait, self-portrait, still life, or landscape using either a complementary, analogous, or splitcomplementary color scheme (you may use black and white as well as shades and tints of the chosen hues). 3

Do a visual journal style piece that includes writing that you illustrate. Look up some Visual Journal prompts online to get you started. You should use at three or more kinds of mediaConsider wet media, dry media, monoprinting and collage elements, (coffee, dirt, pastel, watercolor, charcoal, pen etc). Do a drawing of a futuristic cityscapefor example, Dallas in the year 2050 (keep in mind rules of one-, two-, and three-point perspective). Divide a page, canvas, boardi.e., the working surfaceinto three equal inset spaces. Do three views of one landscape. Limit yourself to a specific color scheme. Do a graphite drawing of a still-life arrangement that consists of reflective objectsyour goal is to convey a convincing representation with a full range of values. To add interest to the composition, you might also want to render yourself being reflected in the objects. Do a drawing of an unusual interiorfor instance, looking inside a closet, cabinet, refrigerator, your car. Use your imagination! Do a drawing of your worldly treasures as they come to lifeanimate them. Do a drawing of your hands arranged in a variety of poses. You must carefully plan your composition in order for the separate units to work together visually.

Prep/Resource Book Assignments (Year 1) Your Sketchbook is for brainstorming, planning and preparing yourself to execute your project successfully. Chuck Close says Inspiration is for amateurs; the rest of us just show up and get to work. Developing ideas visually and refining artistic skill is like developing any other skill. PRACTICE! Prepare yourself to create your final work and you will be more successful. If you are bad at hair and you are about to draw a portrait, PRACTICE it! Do something about it. If you are trying to figure out a dynamic composition as you solve various visual problems draw thumbnails with the elements and principles in mind. Think about compositional rules. Ask yourself if I were a photographer how would I frame this up? That is what this book is for. [SC6, SC7] Description In preparation for your project your sketchbook should have at least 5 entries. This should include preliminary work that you do to prepare yourself for the project you are working on. Things you may include Focus on entering Thumbnail drawings to brainstorm and develop your composition Studies to prepare for piece Practicing with new materials (value bands, sphere etc.) Reference Pictures, magazine clippings, Where to look Books Magazines Advertisements Pictures of artwork Internet Sample artwork/styles Drawing (make your own) When 5 or more entries are due along with each project.

BREADTH Projects (Year 1) The following is a list of possible projects. We may do some projects not summarized on the list and we will certainly not do all the projects on the list. We will strive to choose projects that show breadth in students ability (ideation, technical skill, compositional skill, an understanding of elements and principles if design). Some of following assignments are from the text Art Synectics, by Nicholas Roukes (Davis Publishing, 1984). [SC4, SC5 & SC6] Do a portrait, self-portrait, landscape, or still life in the style of another artist in which formal aspects of design are emphasizedsuch as Monet/Impressionism, Matisse/Fauvism, Picasso/Cubism, Warhol/Pop, Dali/Surrealism, Van Gogh/Postimpressionism, and so on. You may have to do a bit of research to understand the stylistic tendencies of these artists/movements. Redoing an Old Masterpiece: Select a painting, sculpture, or well-known image from art history for interpretation. Redo the work ... update it, or change colors, media, characters, etc. Developing a Composition That Shows Progressive Magnification of a Subject: Select either an organic or inorganic object to draw. Divide a large piece of drawing paper into nine equal sections. Starting in the top-left box, draw a representational, overall view of the object as accurately as you can. In the next box to the right, imagine that you have a camera with a zoom lens and draw a closeup portion of the object in accurate detail. In the remaining sections, continue zooming in on the object and enlarging finer details. The last frame should be an enlarged detail created with the aid of a magnifying glass or microscope. Enlarged Self Portrait First create 3 enlarged features in charcoal or B&W chalk pastel (Ear, eye, nose). Next create a self-portrait in a black and white chalk pastel expressing a certain feeling or emotion that tells something about the artist. The image should be zoomed in enough so there is no background space. How can the eyes and position of the eyebrows express a feeling? What kind of expressions can be portrayed in the mouth? How can the lighting affect the expression the artist is creating? [SC5] Create color drawing of an interesting portrait view using pastels. [SC5] Compose a series of life drawings using a variety of media and drawing techniques. They will then select several to complete as finished drawings. Is the figure in correct proportion? How is the background incorporated? Can linear perspective be included? [SC5] Create a small watercolor of an enlarged flower concentrating on composition and detail. (OKeefe) [SC5] 3 Skulls Draw 3 skulls (3 different pieces) using any medium you wish. One needs to be in color and 1 needs to be Black and white. Remember this is a 2D design class not a drawing class so make it interesting. Challenge yourself to create an interesting composition. RISD Bicycle Rhode Island School of Design requires all applicant portfolios to include a bicycle drawing. Get on the internet and look this up to see what other students have submitted. And make one of your own. This is about composition and creativity not just drawing skill. Portrait Timed Draw 5 portraits. 1 for each of the following time intervals: 10, 20, 30, 60, 90. Figure out how to draw fast or slow! You will need to approach the 10 minute drawing differently than the 90 minute drawing. Each drawing should appear complete. You can look in a mirror, work from a picture or it can be someone else. You must think about lighting and composition. Using the flash on a point and shoot camera or phone will give you a flat horribly lit picture with no shadow except for that weird one behind your head. Light the subject intentionally and your photo should have a wide range of values. Incorporate 3 or more views of a single object into a single work or art. They could be overlaid into a single image or the workspace could be divided up. Cubism and the work of Pablo Picasso also

uses this concept. Think creatively about point of view level of magnification and your object choice. Visual Journal Look at 100 prompts to figure out what you would like to write about. Then illustrate your page. You should use at least 4 different kinds of media. Layering is important. Look at Moby Dick in Pictures by: Matt Kish for ideas Social commentary pieces involving experimentation with acetone transfers and gloss medium transfers to be further developed with text and imageryliteral, metaphorical, or symbolic. Compositions that deny the boundaries of surface edgescompositions that could extend indefinitely beyond edges (Jackson Pollock) Compositions that rely on a grid as an organizing principle. Text and image pieces in which students are asked to physically write across a surface an excerpt from an account of a most memorable momentgood, bad, horrific, terrifying. The direction and spacing of the text are up to each student. Surrealism - A digital series that juxtaposed incongruent imagerybased on surrealism and the work of photographer Jerry Ulseman and Thomas Barbey. Visual Pun Illustrate a compound word (ex. Pigpen, butterfly, copycat) in a medium of your choice Distorted interior consider using a distorted grid or working purely from your imagination Illustration of an imaginary place Cut paper portrait, landscape, still life - use painted paper to get the values or color you are looking for or you can cut/tear color from magazine pages. Gridded and distorted self-portrait Use a grid to give an ordinary picture a funny mirror effect Tree series (3) Each piece should be the same size. Use graphite or pen & ink to create a series based on trees. Be creative, you can include close-ups, roots, seasons etc. Social satire/statement Create a stencil using an craft knife in the style of the street artist: Banksy Illustrate a song - Using the 20 Step technique & contact paper create a layered surface with character and illustrate a song capturing the mood and content as best as you can. Same image 3 Create the same piece of artwork using different media 3 different times. Use childrens books to get ideas about ways to combine different media and look at the work and methods of designer Brent Copp Photo Project (20) composition is paramount. In order to help you think about composition take 15 pictures of the same object from different angles. Also take 5 different pictures that show the use of well-known compositional rules (rule of thirds, leading lines etc.) In this project you cannot rely on drawing skill so you must focus on composition. Stamp Project Create a piece stamping a shape of your choice in the style of Phil Hansen Postage stamp series (3) Choose a theme for your series and create 3 drawings for stamps complete with the USA and forever text as well as the perforated edges. They should be roughly 5 x 6 Reflection Create a piece that uses Actual Reflection to create interest. Consider creating a reflection that does not directly mirror its source. It may also provoke thought and encourage introspection. Light Create a piece that includes an actual light source in the image involving strong cast shadows. Develop your own ideas about what the light represents in your image. Anamorphic art Create a drawing that appears to stand up of the page. Surf the internet and especially YouTube to see samples and look at the sidewalk chalk art of Julian Beaver. Image within an image - Pen & India Ink using crosshatching or stippling create a piece that has an image within an image.

Architectural/perspective (2) Pen & Wash Create 2 pieces one should be tight and accurate perspective and the other should be loose. You will know what I mean when you start looking at samples. Making a loose one work well is a real challenge. It will probably take a number of attempts Letters nothing but Write a story about the best, worst, and create an image out of it using nothing but letters and words. Emphasis - Line & Tone - Drawing compositions that alternate from a simple contour drawing into a fully rendered drawing at student-designated focal points. This can also be done with color and monochrome areas Block Print book illustration/cover - Using a linoleum block carve and print a new cover for a book or an illustration for a story. Suggested reading is from In the Face of Presumption by: Barry Moser chapter called Forty-Seven Days to Oz 5 step abstraction take a realistic subject and gradually over 5 pieces move toward complete abstraction. Each piece should grow increasingly more abstract see Roy Lichtensteins Bull Alternative Surface student choice Pattern Design Proj panel Steampunk Machine - + ref. create an interesting machine image, maybe it is a utility vest, Helmet or Paver. See steampunk style artwork. Metamorphosis 9 steps Metamorphosis 5 steps changing itself Landscape - + thumbs & ref 3 Still Lifes 1 prisma, 1 graphite, 1 char Timed Drawings (7) & Finished Final Figure (1) fabric study (1) - + ref. Image combo + ref.

Responses (quarterly) These assignments will aim at deepening your understanding and personal views about creativity, aesthetics, faiths role in the arts and the artistic process. One response (300 words) is due at the end of each quarter of both year 1 and year 2. Video Web Stream: Everything is a Remix parts 1-4 Film: My Kid Could Paint That Film: Exit Through the Gift Shop Film: Art of the Steal Ted Talk: Phil Hansen: Embrace the shake Ted Talk: Kirby Ferguson: Embrace the remix Ted Talk: Steve Johnson: Where good ideas come from Ted Talk: Matt Ridley: When ideas have sex Ted Talk: Elizabeth Gilbert: Your elusive creative genius Ted Talk: The creative spark (10 talks) Ted Talk: Where do ideas come from? (5 talks) Reading Chapter: Symbolism Chapter It Was Good Making Art to the Glory of God by Gaylen Stewart Chapter: 47 Days to OZ In the Face of Presumptions by Barry Moser Chapter: Thoughts on Being an Artist In the Face of Presumptions by Barry Moser 7

 Chapter: In the Face of Presumptions In the Face of Presumptions by Barry Moser Chapter: The Whole Book In the Face of Presumptions by Barry Moser Chapter: Thoughts on Collaboration In the Face of Presumptions by Barry Moser Audio Podcast: Radio Lab Desperately seeking Symmetry CONCENTRATION (YEAR 2, 9-12 works) Assignment overview (Summer) List of 15 concentrations (no repeats from below) (Summer) 4 pieces presented to peers and instructor for feedback Written outline/plan of action presented to peers and instructor for feedback (S1 & S2) 15 pieces choose 9-12 best pieces for CONCENTRATION section of portfolio choose 3 pieces to mail in for QUALITY section of port (pieces must not exceed 18 x 24) Critiques o group [SC8] o individual [SC9] Responses (1 due at the end of each quarter) Reflective paper about concentration Summary This section of the portfolio is student driven and will be guided by the instructor. Its intended purpose is to move the student deeper into ideation and should reveal growth over time. The student will choose a single concentration that they will explore visually through the careful use of the elements and principles of design. All 12 pieces should be clearly tied together with this single focus and should show evidence of thinking and clear visual intent. The pieces and all elements should be purposeful. Students will create and develop a cohesive concentration, exploring a single visual concern in depth. Each student will also provide and present an outline of their specific coherent plan of action or investigation, growth, and discovery involved with their compelling visual concept to the class. [SC3] Students will brainstorm with others and make lists of possible concentration topics. They will also view works created by artists from the history of art, to discover in-depth exploration topics studied by others. Students will write a reflective paper about their concentration, including what they started out to achieve and how it changed and evolved during their discovery journey. [SC3] Sample CONCENTRATIONS A mothers illness investigated in a variety of graphic forms, including the use of actual X-rays combined into other imagery as well as prints and pages of a visual journal. A series of interiors simplified to contour lines that served as the basis for a process of investigation of other elements, most predominately color and space (the assertion and negation of space). A series of works done in 2-D and low relief as a response to slide discussion on the work of Jim Dine. The student investigated a tool (hammer) in a body of work done in a variety of media, with a variety of techniques as well as processes. Investigation combined interest in imagery developed from direct observation as well as engaged in issues of formal design. An illustrated story, A Boy and a Frog. A photographic and illustrative investigation into the subject My Little Brother. The student produced a number of photographs that were strong in composition as well as technical (processing) ability. He furthered his investigation into the specific subject by producing a series of illustrations showing his brother engaged in various pursuits. 8

A series of works done in graphite, colored pencil, and Adobe Photoshop illustrating aspects of the subject Roller Coaster. The investigation increasingly moved away from illustrative renderings to bold, graphic symbols. A series of works based on the subject Skateboards. The student began painting random pictures of (cartoonish) characters on broken/discarded skateboardstwo were brought in as summer assignment work. I encouraged the student to pursue the idea but to paint images that were more relevant to the idea of skateboard or his experiences as a skateboarder. A series of works from a students visual journal. Sophisticated in terms of development, the book included text, personal photographs, collage itemsticket stubs, product labels, fortunes (fortune cookies), netting, bubble wrap. Student enhanced the compositions with intimate illustrations, many figurative and/or based on human anatomy. A series of black-and-white photos that showed strong evidence of investigation into a number of design elements and principles. Examples included works showing repeating shapes/patterns, geometric division of space, and balance. A series of photos related by subject, such as portraits, self-portraits, landscapes, architectural details, a family history. A series of mixed-media pieces based on childhood memories using collaged and layered imagery that incorporated text. A series of illustrations based on the seven deadly sins. A series of work based on the life of the graffiti artist. A digital series that juxtaposed incongruent imagerybased on surrealism and the work of photographer Jerry Ulseman and Thomas Barbey. A series of invitations, program covers, and poster designs created with Adobe Photoshop.

Summer Assignments (Year 2) Over the summer first you will need to create a list of 15 concentration ideas that are not listed above. Then you are to complete at least 4 projects. One for each of your 4 favorite concentration ideas. It is also recommended that you be working in a personal sketchbook to flesh out these ideas visually. [SC7] The list of 20 possible concentrations and the 4 pieces will be due at the beginning of the third week of school. We will have a group critique to assist each student in deciding on the best concentration for them. Each of the pieces needs to be done on a surface no larger than 18 x 24. You may choose the type of surface to work onpaper, cardboard, canvas board, plywood, mat board, etc. Please keep in mind that although drawing does involve design, the emphasis in this studio is on designthe formal elements and principles (elements: line, color, texture, space, value, shape, and form; principles: unity, balance, contrast, repetition, variety, dominance, etc.). Concept/idea, craftsmanship, and the creation of a visually successful design will all be components of every grade. QUALITY (Year 2) This section does not require the making of any additional artwork. The 5 pieces in this section of the portfolio may or may not be drawn from pieces in Breath and Concentration to be mailed. Pieces that exceed 18 x 24will not be scored. This is the only work that will be mailed in to be evaluated. The rest will be photographed and saved to be submitted electronically. The students best work will be included in the Quality section of the portfolio, which will be selected for excellence in concepts, composition and execution of two-dimensional design. Each work will show mastery of varied media, techniques, approaches, concepts, and subject matter. [SC2]

Grading /Feedback Grades are based on the range of accomplishments as summarized in the rubric below. Keep in mind that this is a 2D design course not a drawing or painting course. Though craftsmanship and mastery of the materials you are using is important, showing evidence of your understanding of the elements and principles of design, composition and clear intent and thinking in your work supersedes technical proficiency. This course rewards thought, purpose, vision, composition and content over being a human photocopier. The instructor provides continuous feedback to students during the process of art making and students will receive written feedback through an evaluation form. This evaluation will include feedback in areas where the work could be improved. The student will have an opportunity to discuss feedback with the instructor during and outside of class. [SC9] All work can be resubmitted up until the end of the grading period as many times as desired for feedback and an adjusted grade. Any resubmission should be accompanied by an explanation of changes made and reasons why in order to be considered for an adjusted grade. Poor 1 Moderate 2 Good 3 Strong 4 Excellent 5

Materials well used; technique is excellent

Inventive/imaginative 1 Evidence of thinking; 1 clear visual intent Purposeful composition Awareness of style and format Sensitive/evocative 1 1 1

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Critique Critique is a very important part of refining and improving your work. Critique with others is the beginning of discovering how you can more effectively accomplish your goals and more clearly communicate. Work should be done to improve your piece after getting feedback from others. This is not to say that changes should be made for all feedback received. You must decide what adjustments will improve the piece. The expectation is that vocabulary of art, elements of art and principles of design are discussed by the instructor and should be used by students on a regular basis in this process to practice verbal communication about the students own artworks as well as artworks of their peers. [SC7] Group The course includes group critiques with the teacher. Each student is expected to participate in weekly (sometimes daily) group critiques of their artwork. The instructor will reinforce through 10

modeling and students will demonstrate an understanding of vocabulary in classroom discussions and critiques. The following will be analyzed during a critique: composition, execution (technique), and concept. Successes and areas of improvement will be discussed with teacher and with their peers. It is important to establish and maintain a positive atmosphere that provides constructive criticism as a strong motivator. Group critiques are conducted throughout the art making process and provide feedback soon enough to make changes or modifications, as needed. The student whose work is being critiqued takes notes and offers explanations as appropriate. [SC8] Individual The Instructor will engage in ongoing dialogue or instructional conversations with each student in order to assess the strengths and weaknesses in their works and to provide feedback on how they can develop their works further. This occurs through scheduled meetings but also as the students are in the studio producing their own artworks. Students will discuss with their teacher and examine, analyze and integrate the elements of art: line, shape, color, texture, value, space and form through the principles of design: rhythm, balance, dominance, variety, unity, contrast, in each of their art works. Emphasis will be placed on discovering student strengths and challenging them to improve in areas of weakness. Pieces needing additional work to make them worthy of the portfolio will also be an ongoing discussion. [SC9] This is the forum where we identify strengths in student work as well as ideas for improvement. Students should consider reworking pieces to make them even more successful or to investigate new directions for your art making. The following points are useful things to think about when evaluating student work. Have you used the elements and principles of design in an effective or innovative way? What are the dominant shapes, expressive forms, color schemes, and textures that carry significance in this artwork? Is the work ordered/balanced? Or chaotic/disturbing? What makes for the order or chaos? Would you use words such as unity, variety, contrast, balance, movement, and rhythm to describe formal characteristics of this work? Describe the quality of execution and technique. What gives the work its uniqueness? Does the work evoke any feelings? To what do you ascribe the feelings it evokes in viewersthe use of colors, shapes, technique, theme? Is there symbolism used in the work to convey meaning other than what one sees? What is your general impression of the work? What did you want the viewer to think about? Did you successfully get your message across? Discuss whether the work is a significant success, why or why not, and support your judgment with evidence from the work itself, your experiences creating the work, responses others have shared when viewing the work, and AP Studio Art scoring guide- lines. If you dont believe your work was successful, document ideas for improvement. Think about changing the composition, media, technique, style, content, size, and other aspects of your work to better reflect achievement of your artistic goals. Artistic Integrity In an effort to communicate what constitutes plagiarism and foster an understanding of artistic integrity students will review both the AP poster and the Course Description during a class discussion on artistic integrity, plagiarism, original work, and moving beyond duplication. The following ideas and vocabulary are necessary for students to understand in order to succeed in this course. [SC10] 11

Artistic integrity: the overarching ethical compass in regard to the making of art that empowers students to create, develop and communicate their own personal ideas and emotions through their designs, compositions and expressive works without infringing on anothers rights or copying anothers work. Plagiarism: creating work in any medium derived from non-original images, including images found on the Internet. Referencing images for inspiration does not constitute plagiarism as long as students move beyond the duplication of such images and create works that demonstrate their own, unique personal imagery and point of view. Beyond duplication: demonstrating creativity and sophistication of approach that transcends mere copying. If you submit work that makes use of photographs, published images, and/or other artists works, you must show substantial and significant development beyond duplication to ensure personal artistic ownership in the work. Plagiarism, using an image (even in another medium) that was made by someone else, is unethical and it will not be allowed in this course. [SC10]

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