The College Board

July 19 - 23, 2010

AP Studio Art Program

Resources for AP Studio Art TeachersVivian Moreira Komando, PhD, NBCT

The School of the Art Institute of Chicago AP Studio Art Summer Institute

AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

2D Design HandoutsAP 2D Art (Photo) Syllabus Audit Copy 3AP 2D Design Art Syllabus 10Art 200 / Intro Design Class Syllabus 14Photo I Syllabus 21

3D HandoutsAP 3D Design Syllabus Audit Copy 34Elements &Principles of 3D Design 423D Vocabulary 43Sculpture I Syllabus 46Wire Sculpture 49Ceramics II 50Ceramics I 53Ceramics Final - Peace Project 54Identity Power Project 56Ceramics Class Critique 59Decorating Tips #9 60

Drawing HandoutsAP Drawing Syllabus Audit Copy 61Concentration Checklist 67Scoring Guidelines 2009 68Painting I & Drawing I Syllabus 78Painting I & Drawing I Assignment - Basic Shapes 79Painting I & Drawing I Assignment – Still Life 82Painting I & Drawing I Assignment – Abstract Expressionism 84Painting II & Drawing II Syllabus Winter 89Painting II & Drawing II Syllabus Spring 91Senior Portfolio – Puzzling Viewpoints 94More About the AP Drawing Portfolio 95

AP Central ResourcesHow the AP Studio Art Portfolio Is Graded 97FAQs: The New Digital Submission 98AP Central Course Audit Info 102AP Central Course Home Pages 104AP 2D Course Home Page 104AP 3D Course Home Page 106AP Drawing Course Home Page 107

OtherPre AP 108Why Teach Art 110Artists to Inspire Concentrations 112Contact Info 116

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

AP Studio Art 2D Design Syllabus

Submitted and Accepted for the AP 2D Design Portfolio Audit43816v2

Vivian Moreira Komando, Ph.D

2D Design Syllabus Accepted for the Art 205 / PHOTOGRAPHYSubmitting a Portfolio:For students wishing to submit an AP 2D Design Studio Art Portfolio using Photographyand Digital Media: You may order / pay for the portfolio through the College CounselingOffice and submit the portfolio if you have taken Photography 205, an advancedPhotography class, or instructor permission. This AP syllabus provides direction for thehighly motivated Photography student to take the AP exam and earn college credit.The projects below will fulfill the BREADTH Section of the 2D AP Portfolio through Digitaland Photographic projects. You may have other Photographic projects that would also fitin this section from previous Photography classes. TWELVE pieces are required forBREADTH demonstrating your knowledge and mastery of the Principles and Elements ofDesign. Refer to your AP poster as we work on projects that reflect BREADTH. Work indigital format may be submitted to an Onlineprinting source to be made into slides.Otherwise each piece is to be photographed using slide film. The QUALITY Sectionconsists of 5 actual works from the BREADTH or CONCENTRATION Section, which meetthe portfolio size requirements for submission. NO 3D WORK IS TO BE INCLUDED UNDERTHE 2D PORTFOLIO / QUALITY SECTION. 2D Design using your photography may becreated on a 3D surface with the EMPHASIS on the 2D Design and NOT the 3D aspects of

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

your project.Photography / Digital Media AP Class consists of further investigating various forms ofexpression and techniques using the Principles and Elements of Design. You will beintroduced to new photographers, digital artists, artists, and more sophisticatedtechniques as points of departure to create work that reflects your spirit and your vision.By exploring photographic and digital media with the camera and the computer, you willbe able to develop a body of work that reflects a range of problem solving and ideation.You may even decide to focus on one of the studies presented for your CONCENTRATIONSection of your portfolio. We will research, keep art journals / sketchbooks, have classcritiques (at the onset of a project and at the completion of a project), individual critiques(as you are working), and artistic dialogue that hopefully will inspire you as you create.There are project requirements, but the projects are open ended enough for you todevelop your own style and mode of expression. Work is expected to be of high quality inthought, process, and product. The development of the portfolio is an ongoing processthat uses informed and critical decision making to assemble a body of work. You areexpected to use artistic integrity. Work based on another artist’s work or photos mustmove beyond mere duplication and become an expression of your own personal voice andvision.AP 2D Design Portfolio using Photography / DigitalAP Requirements:Section I: QUALITY – Excellence demonstrated in original artwork from either your BREADTHor CONCENTRATION Sections – 5 Actual works

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

Section II: CONCENTRATION – An in depth personal commitment to a particular artistic concern– 12 slides / some details / 10 – 12 worksSection III: BREADTH – A variety of experiences utilizing the Principles and Elements of Designin the formal, technical, and expressive means available to an artist – 12 slides / 12 works / Eachwork reflecting the solution to a visual problem based on the Elements and Principles of Design.Breadth may be achieved in these design studies with the use of one medium of a variety ofmedia.Resources for Inspiration, Research, and Art JournalsONLINE RESOURCES:http://www.google.com http://www.vivisimo.com http://www.about.comhttp://www.astro.wisc.edu/~mukluk/phgrm.htmlKODAK SITE Takinggreat Pictures: http://www.kodak.com/eknec/PageQuerier.jhtml?pqpath=2/3/38&pqlocale=en_US&_requestid=11397http://www.kodak.com/eknec/PageQuerier.jhtml?pqpath=317&pqlocale=en_UShttp://www.kodak.com/global/en/professional/hub/galleryAward/currentWinners.jhtml?id=0.2.26.3.6.5&lc=en , Visit: Elite Winners ShowcasePicture of the Day http://www.kodak.com/eknec/PageQuerier.jhtml?pqpath=2549&pqlocale=en_US&CID=go&idhbx=potdPolaroid Creative Site http://polaroid.com/creative/index.jsp?bmUID=1156196342419&bmLocale=en_UShttp://www.rit.edu/~andpph/pictures.html http://www.colormatters.com/colortheory.htmlhttp://atlex.com/ Jeremy Wolff: http://very.com/about.htmhttp://jeremywolff.com/collages/ http://very.com/travel.htm

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

http://images.google.com/images?svnum=10&hl=en&lr=&q=David+Hockney++photo+collagehttp://www.hockneypictures.com/works_photos.htmhttp://flagrantdisregard.com/flickr/hockney.phpClass Resources : Theresa Airey CreativePhoto PrintmakingSteve Anchell TheDarkroom Cookbook, Second Edition Steve AnchellKathleen Thormod Carr PolaroidManipulationsKathleen Thormod Carr PolaroidTransfers: A Complete Visual Guide to Creating Imageand Emulsion TransfersJack Davis The Photoshop 7 Wow! Book Laurie Ulrich Fuller and Deke McClelland Photoshop CS2 BibleChristopher James The Book of Alternative Photographic ProcessesScott Kelby Photoshop 7 Down & Dirty TricksO'Brien, M & Sibley, N., The Photographic Eye: Learning to See With A Camera, (1995),Davis Pub. (New edition 2006) Digital software: Photoshop 7.0Class Agenda:Class 1 – Intro to Project / Photographers’ Work / Assignment and expectationsClass 2 – Photoshop / Techniques demoUsual Weekly Agenda (runs in a week and a half segment):Class 3 – Raw Photo Files uploaded (your weekly assignment) / Review / Critique withme / Select 3 images for digital darkroom editing Class 4 – Complete editing / Print yourimagesClass 5 – Complete printing final images / Mount workClass 6 – Class CritiquesREPEAT CYCLEPROJECTS:

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

September 11 Project 1 – Rule of Thirds and Composing Your Photographs – DUE SEPTEMBER 19 TH

The Kodak web site is a valuable resource for you to use as you develop your eye and yourcompositions.Homework:Visit the following Kodak website:http://www.kodak.com/eknec/PageQuerier.jhtml;jsessionid=FAK1FYN3WM1WDQHIO3JXWIY?pqpath=332&pqlocale=en_US&_requestid=72199Just as a composer uses all the instruments in a symphony to create a stirring piece ofmusic, you should compose each picture so that its parts work together to create a work ofbeauty. Each item in a picture has an effect on the whole, so don't just point and shoot. Take alittle time to compose each picture into the masterpiece it could be.

Visit the following sites and make notes in your journal about each topic. Have an image toillustrate what you are talking about. If one of your summer assignment photos fits – then use thatas your image. Cut and paste links to your browser or right click to open:Shooting vertical or horizontalhttp://www.kodak.com/eknec/PageQuerier.jhtml?pqpath=332/391&pqlocale=en_USChoosing a main point of interesthttp://www.kodak.com/eknec/PageQuerier.jhtml?pqpath=332/392&pqlocale=en_USAdjusting your angle of viewhttp://www.kodak.com/eknec/PageQuerier.jhtml?pqpath=332/393&pqlocale=en_USPlacing the subject off centerhttp://www.kodak.com/eknec/PageQuerier.jhtml?pqpath=332/394&pqlocale=en_USUsing leading lineshttp://www.kodak.com/eknec/PageQuerier.jhtml?pqpath=332/395&pqlocale=en_USAvoiding distracting backgroundshttp://www.kodak.com/eknec/PageQuerier.jhtml?pqpath=332/396&pqlocale=en_USIncluding foreground objectshttp://www.kodak.com/eknec/PageQuerier.jhtml?pqpath=332/397&pqlocale=en_US

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

Have in your journal examples of people, places, things (3 images) with the Rule of Thirds griddrawn over them.http://www.ruleofthirds.com/index.htmlPeople / Rule of Thirds: http://www.ruleofthirds.com/people/index.htmlPROJECT:After reviewing the Rule of Thirds and visiting the above assigned Kodak sites you are to photograph digitally the following:PLAN YOUR PHOTO COMPOSITION (36 works):Use may enjoy looking at images on http://www.flickr.com/ for inspiration for thisassignment Start your own photographic portfolio here as well. You will be selectingyour strongest work from these images for the BREADTH section of the 2D DesignPortfolio. Keep Design Elements and Principles as discussed in class in mind as youcompose your images.Choose 3 images that will be displayed and discussed in our class critique.1. Hands (such as braiding hair, holding something, working on something) (4works) Breadth possibilities: Magnification to Abstraction, Emphasis2. Feet / Shoes (4 works) Breadth possibilities: Unity, Perspective3. Geometric Shadows / forms (4 works) Breadth possibilities: Geometric forms,repetition, overlapping, depth44. Organic Forms and /or Texture (4 works) Breadth possibilities: Organic forms,abstraction, texture, repetition5. Water Drops / Rain (4 works) Breadth possibilities: Shape, volume, form6. Lines (4 works) Breadth possibilities: Line, movement, variety7. Store window reflections (4 works) Breadth possibilities: Asymmetry, symmetry,informal balance, formal balance8. Remainder of photos are your to choiceSeptember 20Project 2 – Formal and Informal Portraits / Opposition, Unity, Harmony– DUE SEPTEMBER29

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

Homework:You will be assigned a faculty member to interview about their interests. You will plan a photoshoot that incorporates their interest. The portraits may be formal or informal in nature. Pleaseschedule a date for the photo shoot with the next week and be prepared to travel outside yourteacher’s classroom to photograph them.PROJECT:After interviewing your assigned subject, plan a photo shoot to capture your subject and theirarea of interest. Photos may be serious, whimsical, with or without props, include others, etc.Plan accordingly. Shoot 36 stills of your subject. Determine which compositions work best inregards to the Rule of Thirds and which captured your subject in the best way that reflects theirinterests. Print one 8” x 10” each of YOUR BEST 3 PHOTOS.Choose 3 images that will be displayed and discussed in our class critique.October 2Project 3 – Pop Art Style / Hue , Intensity , Saturation – DUE OCTOBER 13Homework:POP ART – Research Andy Warhol and Steve Kaufman. Have images in your journal of Pop Icons.PROJECT:Take new portraits to use for this project. You may photograph yourself for this project. You are toapply color to the photograph with a high degree of saturation / intensity in Photoshop.Manipulate your first image (as demonstrated in class using hue and saturation). Save the image.Repeat this process changing the hue until you have a series of 3 or 4 of the same image withvaried color additions. Add color based on color theory as discussed in class. Print and arrangeeach colored digital. Arrange and mat your series, which will be displayed and discussed inour class critique.*Archive work this week*

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

October 9Project 4 – Retro LP / Album Cover Design / Style, Period, Theme– DUE OCTOBER 27Homework:Research retro LP (Long Playing) album covers. If you have any LP albums, bring them to class for“Show and Tell”. (Ask your parents if they have any.) After watching the Liz Phair video, Why Can’t I(http://launch.yahoo.com/ar260264videosLizPhair), in class and looking at LP’s, plan a design in yourjournal to create an LP (Long Playing) featuring you. The LP may be any genre of music, but your covermust include props 2 designs required.PROJECT:Create 2 LP versions (one US LP and one European version) of an album cover where you arethe star! You may have a group, but you must each design different covers. We will review textdesign in Photoshop. Have your digital files to use in Photoshop and layer together for your coverdesigns. Mat your project, which will be displayed and discussed in our class critique. Thiscritique will occur during Parents’ Weekend. Make sure to invite your parents to thecritique.October 23Project 5 – Photo Montage / Cubism / Perspective, Space, Planes – DUE NOVEMBER 7Homework:Research David Hockney’s photography and Jeremy Wolff’s work. Have 3 examples of Hockney’s and 3examples of Wolff’s work in your journal. (Links under Online Resources)Research Picasso / Cubism, Braque / Cubism, and the Cubist grid. Be prepared to discuss Cubist theoryin class. You will see a teacher created Power Point on Cubism and the above artists.PROJECT:You are to photograph and assemble your own Cubist composition in the style of Hockney and

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

Wolff by selecting a subject to photograph. Take multiple photographs of you subject. Once yourimages are printed, reassemble in the Cubist style. Remember: do not copy other artists’ work.This is plagiarism. Use http://flagrantdisregard.com/flickr/hockney.php for a fun preview Mat your project, which will be displayed and discussed in our class critique.November 9*Archive work at the end of this week*Project 6 – Power Point – PRESENTATIONS DUE November 15 & 17Homework:From the list of photographers given in class, select one to create a Power Point Presentation.You will receive a handout for the format of the Power Point. This is in preparation for your finalexam project, where you will select a photographer of your choice to inspire the work you createfor your final. Your final is the CONCENTRATION section of your portfolio.Select a photographer that inspires you from the class Power Point Presentations. Create workinspired by the work you have seen. You may present an alternate plan to me based on any ofthe previous class assignments to create your CONCENTRATION. You will need 12 images forthis section. You are also to review your portfolio images with me during this time to select your 5QUALITY pieces for the QUALITY section of the portfolio.November 28Project 7 – Final: CONCENTRATION + 5 QUALITY pieces printed and mounted – DUEDecember 12Mat your CONCENTRATION project, which will be displayed and discussed in our FINALclass critique. We will meet during winter term to do a final review and to upload yourportfolio to have the images made into slides.

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

AP 2D DESIGN Art SyllabusVivian Moreira Komando, PhD, NBCT

AP Color and Design and AP Photography / Digital

Breadth – Based on the Elements and Principles of Design, this section of your portfolio demonstrates your understanding and application of design elements and

principles in various ways.

12 Required pieces

Visit Dr. Marvin Bartel’s site:http://www.goshen.edu/art/ed/Compose.htm#elements Six Visual Elements (art elements)

                                   We think of the elements as the basic visual material with which to make art. It is hard to imagine anything visual without the use of one or more of these elements.  We think of the principles as ways to work with and arrange the elements.

Visit: http://www.goshen.edu/art/ed/Compose.htm#principles

Design Principles or design rules Emphasis- some say "Center of Interest." It is about dominance and influence. Most artists put it a bit off

center and balance it with some minor themes to maintain our interest. Some artists avoid emphasis on purpose. They want all parts of the work to be equally interesting.  Think RULE of THIRDS! Harmony- complex but pleasing visual combinations are harmonious.  Unity- when nothing distracts from the whole you have unity. Unity without variation can be uninteresting - like driving through western Kansas on the interstate. Unity with diversity generally has more to offer in both art and in life. Opposition- based on contrasting visual concepts.  Examples to observe, study, and practice, are: curved and straight, high and low, dark and light (low key - high key), open and closed, positive and negative, soft and hard, smooth and rough, parallel and branching, spiral and concentric, and so on.

Balance - the consideration of visual weight and importance. It is a way to compare the right and left side of a composition. Symmetry and asymmetry – think teeter-totter!         

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

Variety - You create variety when elements are changed. Repeating a similar shape but changing the size can give variety and unity at the same time. Keeping the same size, but changing the color can also give variety and unity at the same time. In visual composition, there are many ways you can change something while simultaneously keeping it the same.

Depth - effects of depth, space, projection toward the viewer add interest. Linear perspective in the real world makes things look smaller in the distance. Some artists try to avoid depth by making large things duller and small things brighter, and so on, to make the objects contradict realism. Many artists don't believe in realism even though they could do it if they wanted to. It seems too boring to them. Realism wouldn't be art for some artists.

Repetition - Some ways to use Repetition of the Visual Elements are:

Size Variation can apply to shape, form, etc. Notice how size can affect how close or far something can appear to be from the viewer.        

Repetition can be used on all of the Visual Elements. If things are repeated without any change they can quickly get boring. However, repetition with variation can be both interesting and comfortably familiar. Repetition gives motion.

Variation can be used with all of the visual elements. See "Variety" above. You can do this with all the elements. Artists do this all the time.

You should have completed in 2D AP Portfolio:1. An expressive color portrait (Emotional / Expressive Color Theory), 2. A collage (Principle of Unity / Harmony) 3. A geometric abstract tempera painting (Shape and Color Study)4. A graphic print (Positive and Negative Space) You should have completed in AP Photography:1. Pinhole photograph (Space)2. Photogram (Positive / Negative Space)3. Kruger / e.e. cummings text design (Balance / Emphasis)4. One quality photographic print (Rule of Thirds, Emphasis, Balance)You may have:1. A Calder blind contour line embossing (Expressive Line)2. A Matisse Paper Cut-out (Organic shapes, Repetition of motifs)3. A digital self-portrait (Emphasis)4. A Maori Line drawing (Variety / Line)5. A graphite self-portrait (Value)6. Betty LaDuke Spirit piece (Harmony)7. Growth piece (Unity)

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

*REMEMBER THAT YOU NEED 12 QUALITY PIECES BEFORE MOVING ON TO YOUR CONCENTRATION. YOU SHOULD HAVE THESE 12 PIECES DONE AND PHOTOGRAPHED BEFORE THANKSGIVING. *

Below are pieces we will work on to complete the Breadth section:

Week 1, October 21st – DUE ON MONDAY/ Tuesday, October 27th

1. Select 2 Projects: Symmetry / Color Scheme or Line Emphasis / Repetition:

A. 2D: Create a kaleidoscope design using a triadic color scheme. (Tempera Paint). Research: Mandalas.OR create a mono-print based on the work of Barnett Newman.

2D or Photo / Digital:Create a kaleidoscope design using your name and a BW color scheme on Adobe Photoshop. Expand upon the design by creating a 3-panel piece.

Week 2, October 27th

2D HOMEWORK: Watercolor / color theory, repetition – Select an object – scissors, pliers, pencils, keys – and create a balanced composition using an odd number (minimum of 5) of the same object. You may keep the scale the same or you may vary the scale. You may also have a very structured composition or you may have an informal composition. Use watercolor washes and paint each object in an analogous color scheme.2D Color Theory / Variety:Draw one and the same letter design in 12 separate boxes. You may rotate the letter within the box as long as it still touches 4 sides. The letter must touch the box on all 4 sides. Color 1 box in black, white, and gray, color 3 boxes in analogous colors, color 1 box in triadic colors, color 3 boxes in monochromatic colors, color 1 box in primary colors, color 1 box in secondary colors, color 2 boxes in a complementary or split complimentary color scheme. (Colored pencils) 2D or Photo / Digital:Scan in one of your BW photographs. You are to apply color to the photograph in the following manner: 1. Select only 2-3 parts to add color. Add color based

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

on the color theory listed above. Arrange each colored digital, which are all the same image – only in different colors – onto a new canvas. Colors may be bold or muted, but not both.Option 2 – Hand-color two of your BW photos using oil paints. Use the same image, printed 3 times, and keep one as a BW print. Dry mount onto a mat board.Week 3, November 3 rd – Video: Picasso Braque / Cubism 2D HOMEWORK:Create a template, i.e. leaves, scissors, keys. Using the principles of repetition compose a composition using a minimum of 10 repetitions. Within these shapes use variety of patterns to create a different design in each template outline. Use different widths and types of pen strokes. (Roller Ball Pen or scratchboard) If you are using pen, you may vary the colors you use as well. Visit: http://www.wetcanvas.com/Articles2/20593/308/page3.php http://www.wetcanvas.com/Articles2/20593/308/page4.php2D:Pop Cubism or German Expressionism: Looking at the work of Romero Britto and Gustav Klimt, create your own still life piece using the elements of variety and repetition. Use geometric shapes and forms. (Colored Pencils) Select a color scheme for the piece as well.2D or Photo / Digital:Cubism and Inverted Linear CompositionOn a new canvas, design a cubist grid. Take two of your images and make a cubist composition – use masking in Photoshop.Take a digital picture of your self and manipulate the image in Photoshop into a negative image. Combine positive and negative sections into one portrait. (Look at Forrest’s for inspiration!)Week 4, November 10th2D:This is to be a mixed media piece of a transfer of your expressive self-portrait. Details to follow in class!2D or Photo / Digital: Power Point – New RealitiesSurrealism / Pattern and DesignFind a cultural pattern and apply it to a new image (your face, leaves, your car, etc.)OR create a new creature / doll/toy by combining animal with mechanical.Week 5, November 17thYour first 12 Breadth pieces should be complete.

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

There are many alternatives to the above projects. See me to discuss these!Photo class may have BW portraits that will also work within this section. It is time to organize your portfolios and label all slides. All 12 pieces should be completed and photographed. Slides are to be labeled with a dot to denote the top of the slide at the top right. Label each with design elements explored.Week 6 – November 24th

AP Concentration Section

12 Required SlidesYour work is to show development and growth!

Choose a theme or concentration you wish to study in art. Refer to your class handout on Concentrations. It may be an idea, (NOT a technique) based on a particular subject matter, or the development of a particular theme. You are to study and explore your subject. You are to incorporate the elements and principles of design that we have already discussed and studied in class. You are to research your theme, techniques, relevant issues, and art history. Find varied ways of expressing your theme. This should be done progressively. Do not jump from project to project in an unrelated manner. The completed piece should be the point of departure for your next piece. Some preliminary work may be considered for your portfolio, but do not depend on these to be the bulk of your work. You are to complete 2 Concentration pieces by the end of 1st semester in order for your portfolio to be completed in time. One may be your exam piece. At the beginning of each week, you are to discuss your projects and progress with me. Have your sketchbook with you (which has documented your ideas and research with mini sketches.) You will be graded accordingly. If there are different materials you wish to use, see me so that I can get you your supplies. You must have 3 projects completed in January, 2 projects completed in February, 3 projects in March, and 2 in April. ALL should be, for the most part, MAJOR, QUALITY projects.

Any questions – ASK!

ART 200 / INTRO TO ART Vivian Moreira Komando, PhD, NBCT

SUPPLIES REQUIRED: Pencil Set, Prisma Color Pencil Set (24), and Sketchbook

SUGGESTED:Ruler. Compass or protractor, small Ailene’s quick drying glue or small Elmer’s Glue all

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

AP Studio Art OptionsWork created in Art 200 or any of your other art classes may be used to submit an AP Studio

Art Portfolio to the College Board. Work from Art 200 may be used in an AP 2D Studio Art portfolio. Below is an explanation of the 2D AP Portfolio. Portfolios may also be created for an AP Drawing or AP 3D Portfolio to submit to the College Board. If you wish to pursue this with

any of your work, please speak with me and I will give you further information.2D Design AP Portfolio Course Overview

Students may opt to fulfill requirements for the AP Studio under any of the three offered portfolios. This individual program allows the student to explore individual interests as a

portfolio is developed along with meeting the standards set by the College Board. The 2D AP study is a demanding undertaking that is for the advanced art student seeking to develop a 2D

portfolio and earn college credit. Students may work with traditional and non-traditional art media to explore design problems. Cultural and Social Perspectives may be incorporated into

projects as art historical references also. Students may also work with photography in the traditional darkroom, the digital darkroom, or a combination. Creative manipulation of

traditional artwork may be explored with traditional media or through experimentation and / or using Adobe Photoshop. Digital techniques. Students will develop their portfolio by creating

twelve pieces that explore the elements and principles of design for the Breadth section of the portfolio and twelve works that are explored from a personal perspective using design

elements the Concentration section of the portfolio for a total of twenty-four required quality works. Five works are selected from the created works that demonstrate the quality of the

portfolio and these are submitted under the Quality Section. Students work at a college level and are expected to work on their artwork in class and outside of class time to complete the

required pieces for the portfolio

2D AP Design Portfolio Syllabus Requirements

Breadth Section - 12 Required piecesBased on the Elements and Principles of Design, this section of your portfolio demonstrates

your understanding and application of design elements and principles in various ways or how you resolve visual problems.

Concentration Section - 12 Required SlidesChoose a theme or concentration you wish to study in art. It may be a conceptual idea, a

particular subject matter, or the development of a theme. You are to study and explore your subject. You are to incorporate the elements and principles of design that we have already

discussed and studied in class. You are to research your theme, techniques, relevant issues, and art history. Find varied ways of expressing your theme. This should be done

progressively. Do not jump from project to project in an unrelated manner. The completed piece should be the point of departure for your next piece. Some preliminary work may be considered for your portfolio, but do not depend on these to be the bulk of your work. ALL

projects should demonstrate QUALITY. Personal vision, pride in craftsmanship and execution. Work should not be derivative or from copyrighted images. Cite all references used.

Any questions – ASK!Art 200 Class Review

Projects should clearly reflect your use of the Elements and Principles of Design as discussed for each lesson. The Elements and Principles are added sequentially during the term. Do not think that you cannot use an elements or principles we have already studied as you develop

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

your work. Smaller studies will be done in your sketchbook as homework assignments. Research is due for Monday classes unless otherwise noted in class.Thank you to Dr. Marvin Bartel for the use of his Visual Elements and Design Principles illustrations. Visit Dr. Marvin Bartel’s site for further clarification if needed after the class discussion:http://www.goshen.edu/art/ed/Compose.htm#elements

Visual Elements The elements are the basic visual material with which to make art. These elements are: Color, Line, Shape, Value or Tone, Texture, Volume or Form. More than one element may be present is an

artwork.

Thank you to Dr. Marvin Bartel for the use of his Visual Elements and Design Principles illustrations. Visit Dr. Marvin Bartel’s site for further clarification if needed after the class discussion:http://www.goshen.edu/art/ed/Compose.htm#principles Design PrinciplesThe principles are ways to work with and arrange the elements. The principles are as follows:

Emphasis / Focus - This is considered the "Center of Interest." It is the dominant area of the work. More complicated works place the dominance somewhat off center and counter balance it with minor elements. There are works that avoid emphasis purposely. The goal when this is done purposely may be to have parts of the work equally interesting. Look at the RULE of THIRDS as you compose your work.

Harmony – Brings together complex, but visual combinations that are pleasing making the elements harmonious. 

Unity - When art elements work together and do not distract from the whole, unity is created.

Opposition - Occurs with the use of contrasting visual concepts. Examples to work with could be elements that are: curved / straight, small / large scale, dark / light, warm / cool, positive / negative, rough / smooth, etc.

Balance – This is the visual weight within the composition. It may be based on color balance, element balance, or visual arrangement of space. Balance may be symmetrical (mirror-image) or asymmetrical.         

Variety – Is created when elements are changed in scale, color, or form. Variation can be used with all of the visual elements.

Space / Depth – May be created by overlapping, change in scale, perspective placement, color theory, or projection toward the viewer.

Repetition – Involves multiples of the same element. Repeated elements can vary in size, color, or axis placement. Repeated elements can create a pattern. The use of repetition may be applied to all Visual Elements. Repetition can be used on all of the Visual Elements. If things are repeated without any change they can quickly get boring. However, repetition with variation can be both interesting and comfortably familiar. Repetition gives motion.

Motion - Can be created by repetition.

________________________________________________________________________________

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

2D Design

Week 1 & 2 Color / Hue / Intensity / Value / Shade / Tint / MonochromaticSketchbook Assignments

Research Link (Use the side bar for additional info):http://www.colormatters.com/colortheory.html

KNOW these terms: Primary Secondary Analogous Complementary Monochromatic Tints Shades Neutrals

Sketchbook Assignment Value ScaleChart using your pencilsA. Solid: Dark to light and light to dark B. Linear: Dark to light and light to darkSketchbook Assignment Intensity and HueColor Wheel: Create color wheels using your colored pencilsA. Circular B. SpectrumC. ComplementaryD. Triadic (2) Primary and SecondaryARTISTS RESEARCH TO CREATE!Use WIKIPEDIA to start initial research - cite sources ALWAYS – then research with the links provided, Google, or Ask.com for ALL projects. http://en.wikipedia.org/wiki/Main_Page Review these artists for your first project. Have an image you like from each artist in your sketchbook. CITE YOUR SOURCE ALWAYS! Design 3 sketches in your sketchbook from the inspiration you get from these artists for your first project:Nola Zirin http://www.artnet.com/Artists/ArtistHomePage.aspx? artist_id=79946&page_tab=Artworks_for_sale http://images.google.com/images?hl=en&q=Nola%20Zirin&ie=UTF-8&oe=UTF-8&um=1&sa=N&tab=wi Kandinsky / Bauhaus http://images.google.com/images? svnum=10&um=1&hl=en&sa=X&oi=spell&resnum=0&ct=result&cd=1&q=Kandinsky+bauhaus&spell=1Josef Albers http://www.albersfoundation.org/Albers.php?inc=Galleries&i=J_2 Frank Stella http://www.guggenheimcollection.org/site/artist_work_md_148_1.html

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

Bridget Riley http://images.google.com/images?svnum=10&um=1&hl=en&q=bridget+riley %2C+art Victor Vasarely http://images.google.com/images? q=vasarely&hl=en&um=1&sa=X&oi=images&ct=titleMark Rothko http://images.google.com/images?hl=en&q=Mark %20Rothko&btnG=Google+Search&ie=UTF-8&oe=UTF-8&um=1&sa=N&tab=wi Barnett Newman http://www.allposters.com/gallery.asp? CID=5F05DFE72009465FA9AD9E0C5239A599&txtSearch=barnett+Newman&image1.x=22&image1.y=7Joan Miro http://www.globalgallery.com/ggresult.php? ref=googad&artistfull=joan+miro&ovchn=GGL&ovcpn=joan+miro&ovcrn=miro&ovtac=PPC Clifford Singer http://images.google.com/images? svnum=10&um=1&hl=en&sa=X&oi=spell&resnum=0&ct=result&cd=1&q=clifford+singer&spell=1 http://images.google.com/images?q=clifford%20singer&hl=en&ie=UTF-8&oe=UTF-8&um=1&sa=N&tab=wiClass work: Demonstration Shape to FormSquare to Box Rectangle to Rectangular formRectangle to Cylinder Circle to SphereTriangle to Cone Triangle to PyramidPractice thumbnail drawn forms with the effects of LIGHT using pencil / value and using color / intensity in your sketchbook. Art ProjectProject in SketchbookYou will create a colored pencil drawing from one of your three sketches done in your sketchbook. The Project:You will compose an acrylic painting using triadic colors, emphasis, overlapping shapes, and movement using geometric or organic forms after researching work by various artists. You may use colored pencils if you wish.Project Research:

MINI - Geometric Movement Painting

Element / Principle Study: Space, Geometric Shapes, Balance, Contrast, Emphasis, MovementClass:

Investigate geometric images / paintings from the Internet / artists web pages. Discuss shapes and colors used. Discuss movement in compositions.

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

Additional Student Research:RESEARCH:Al Held http://images.google.com/images?hl=en&q=Al %20Held&btnG=Google+Search&ie=UTF-8&oe=UTF-8&um=1&sa=N&tab=wi Ellsworth Kelly http://images.google.com/images?hl=en&q=ellsworth%20Kelly&ie=UTF-8&oe=UTF-8&um=1&sa=N&tab=wi Crockett Johnson Homepage: Paintings http://www.ksu.edu/english/nelp/purple/art.html, June Harwood and HARD-EDGE PAINTING http://early.juneharwood.com/http://www.princetonol.com/groups/iad/lessons/middle/HardEdgeMS.html Fractals, Optical art http://www.karinkuhlmann.de/DigitalWorlds/Fractals/fractals.html http://www.karinkuhlmann.de/DigitalWorlds/abstract6/abstract6.htmlhttp://www.karinkuhlmann.de/DigitalWorlds/abstract9/abstract9.html

OR Alternate Project: MINI - Organic, Optical, or Fractal Based Painting

Element / Principle Study: Space / overlapping, curvilinear shapes, organic forms, emphasis, movement, muted color

Class: Investigate organic images / paintings from the Internet / artists web pages. Investigate Op Art with images from the Internet / artists web pages. Discuss shapes and colors used. Discuss

movement in compositions.Week 3

Collage, Assemblage, and Mixed Media

Research – 3 Images from each site:Collage Art Research at least 3 collage / assemblage sites from this site:http://www.collageart.org/ Look at:Joseph Cornell http://images.google.com/images?hl=en&q=joseph %20Cornell&btnG=Google+Search&ie=UTF-8&oe=UTF-8&um=1&sa=N&tab=wiSally Jean http://www.sallyjean.com/sallyjeangallery.htm

Project Create a Collage or Assemblage that depicts a side of you that no one knows where you exist in a dream world.Additional research:Salvador Dali

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

http://images.google.com/images?svnum=10&um=1&hl=en&q=salvador+dali

Surrealismhttp://images.google.com/images?svnum=10&um=1&hl=en&q=surrealism Week 4 3D Design: Sculpture / Cubism Sketchbook AssignmentsRESEARCH Cubism and artists associated with Cubism http://en.wikipedia.org/wiki/Cubism,and Cubist Sculpture http://images.google.com/images?q=cubist+sculpture&hl=en&lr=&sa=X&oi=images&ct=title , http://images.google.com/images?svnum=10&hl=en&lr=&q=cubist%2C+sculpture And be ready to discuss what Cubism is and how sculptors can use cubism in their work.Marisol Escobar http://www.museum.oas.org/exhibitions/museum_exhibitions/marisol/sculptures_06.html http://www.museum.oas.org/exhibitions/museum_exhibitions/marisol/bio.htmlhttp://images.google.com/images?q=marisol+escobar+&hl=en&um=1&sa=X&oi=images&ct=title

And be ready to discuss Marisol’s work

Additional Inspiration:

http://images.google.com/images?svnum=10&hl=en&lr=&q=cubism%2C+sculpture , http://www.josephslusky.com/ , http://www.ibiblio.org/wm/paint/tl/20th/cubism.html , http://images.google.com/images?hl=en&q=Joseph%20Slusky&ie=UTF-8&oe=UTF-8&sa=N&tab=wi

KNOW these terms: 3D Sculpture Cubism Assemblage CollageProject Cubist Bottle or Musical Instrument : You will use foam core to create a bottle or musical instrument that depicts Cubist planes. ORProject Create a work as inspired by the work of Marisol Escobar. You may collage, draw, paint, assemble, etc.EXTRA CREDIT SKETCHBOOK WORK:

Matisse Inspired Paper Cut-outElement / Principle Study: Organic shapes, Repetition (of motifs), Variety, Color, StyleRESEARCH

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

Matisse and Paper Cut Outs / Jazz SeriesDiscuss Elements and Principles found in the worksDiscuss abstract forms, motifsHenri Matisse, Fauves, Jazz Series / Paper Cut Outs, Stuart Davis Project: The student will make a sketch on newsprint as inspired by Matisse’s paper cutouts, incorporating abstract organic forms, and repeated motifs. Using the drawing as a pattern, the student will cut out construction paper to make a paper cutout.

A Maori Inspired Drawing Element / Principle Study: Positive / Negative Space, Line Variation, Patterns, Cultural StyleRESEARCHImages from the Internet on the Maori culture; additional images to investigate: Easter IslandDiscuss symbolic meanings incorporated into patterns and designs Create own patterns and meaningsMaori culture and art, Easter IslandProject:The student will design an image inspired by the Maori culture. The design is to incorporate patterns, cultural style, personal symbolic meaning.

Text Magnification / AbstractionElement / Principle Study: Scale, Primary / Secondary Colors, Cropping, Style, Abstraction

RESEARCHCropping and compositional spaceExamine various styles of fontsDiscuss Elements and Principles found in the worksDiscuss magnification and abstractionFont styles / axisProject:The student will select a font of choice. The font will be enlarged (by hand or by using a photocopier) and cropped to form an abstract design. The design will be transferred to paper suitable for painting (or colored pencil) with acrylic using either a primary or a secondary color scheme. (This assignment may also be done graphically using Adobe Photoshop or another graphics program if available.)

Expressive Color PortraitElement / Principle Study: Harmony, Unity, Emotional / Expressive Color Theory

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

RESEARCH - Pop Art, Photo Realism, Andy Warhol, Peter Max, Chuck Close, and Steve KaufmanExamine Pop Art Portraits and Photo Realistic PortraitsDiscuss Elements and Principles found in the worksDiscuss emotional effects of color within the portraitsProject:The student will create a self-portrait either from observational methods and / or using a grid over a photograph. The student will break down planes within the portrait and work with expressive color as the image is painted. Patterns or blocks of color should work in unity and harmony as the portrait is developed.

Simplified Abstraction StudyElement / Principle Study: Shape, Imaginary Color, EmphasisRESEARCHColor Theory, Split Complementary, Flat Color, Imaginary Color, Form / Shape SimplificationHard Edge, Emphasis, Color TheoryProject: The student will find an image to simplify. The student will redraw the image using simplified lines and sketching only the essential shapes within the composition. The composition will be transferred to paper suitable for painting. The image will be painted in unrealistic / imaginary colors. Outlining will be used to emphasize hard edges.

MandalaElement / Principle Study: Balance, Radial SymmetryRESEARCHMandalas: Cultural, Mathematical, and Artistic Student Research: MandalasProject: The student will draw a 12” circle and divide it into 8 sections. The student will draw a design in 1/8 section. This will be traced and flipped over so it can be drawn into alternating sections until the entire

Mandala is designed. The image will be painted with tempera / acrylic paints.

Linoleum PrintElement / Principle Study: Positive / Negative Space, RhythmRESEARCHPositive / Negative Space Linoleum Print examplesLine quality RhythmLinoleum Prints Wood Block Printing

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

Project: The student will compose an image to simplify into positive and negative space. The image will transferred onto linoleum or EZ cut to be cut into for a block print. The student will focus on line quality while carving and to create areas that depict rhythm.

Online Resources

Adbusters http://adbusters.org/spoofads/index.php

Alice Neel http://www.aliceneel.com/main.html

Allposters.com

http://www.allposters.com/

America in the 1930’s http://xroads.virginia.edu/~1930s/front.html

AP Studio Art 2-D Design Portfolio

http://apcentral.collegeboard.com/members/article/1,3046,152-171-0-2134,00.html

Art.com

http://www.art.com/

Art and the Golden Ratio http://www.geocities.com/CapeCanaveral/Station/8228/artm.htm

Artcylopedia: http://www.artcyclopedia.com/

Barbara Krakow

http://www.barbarakrakowgallery.com/artists/artists.php

Barnett Newman http://www.artcyclopedia.com/artists/newman_barnett.html

Beyond Geometry Art Exhibit http://www.lacma.org/beyondgeometry/index2.html

Chuck Close http://www.moma.org/exhibitions/1998/close/

Composition and Design http://www.goshen.edu/art/ed/Compose.htm#elements

EGG The Arts Show http://www.pbs.org/wnet/egg/index.html

Google & Google Images

http://google.com

Harper Shanks Art Gallery http://www.harpershanks.com/index.html

Incredible Art Room: http://www.princetonol.com/groups/iad/

http://www.princetonol.com/groups/iad/lessons/high/highlessons.html http://www.princetonol.com/groups/iad/artroom/artroom.html

International Museum of collage, assemblage, and construction http://collagemuseum.com/list.htm

Jerry Uelsmann http://www.uelsmann.net/

Masters Of Photography http://www.masters-of-photography.com/U/uelsmann/uelsmann_1965.html

Millennial images http://gcc.bradley.edu/exhibit/2000/prospice.htm

Museum of Modern Art http://www.moma.org/

National Gallery of Art Teaching Resource http://www.nga.gov/education/american/aasplash.htm

Pop Art - David Hockney http://www.sackville.ednet.ns.ca/art/gallery/exhibit/pop/hockney.html

RESOURCES FOR THE STUDY OF ART HISTORY http://witcombe.sbc.edu/ARTHLinks.html

Rule of Thirds, Visual Center, Grids http://desktoppub.about.com/od/designprinciples/l/aa_balance4.htm

School Arts http://www.davis-art.com/schoolarts/index.asp

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

STEVE KAUFMAN ART http://www.stevekaufmanart.com/sak_famousfolks__main_page.asp

Surrealogic http://www.surrealogic.com/gallery2.html

SYMMETRY ART, MATHEMATICS, SCIENCE AND TECHNOLOGY INTERACTIONS http://tejakrasek.tripod.com/intro/id8.html

Tejas Art Gallery http://tejakrasek.tripod.com/id1.html

Vivian’s Art Room http://www.princetonol.com/groups/iad/artroom/Vivian/Vivian.htm http://www.princetonol.com/groups/iad/artroom/Vivian/Vivian2.htm

Vivian Moreira Komando, PhD, NBCT

PHOTOGRAPHY I Syllabus

ONLINE RESOURCES:

http://www.google.com http://www.vivisimo.com http://www.about.com

http://www.astro.wisc.edu/~mukluk/phgrm.html

KODAK SITE - Taking great Pictures: http://www.kodak.com/eknec/PageQuerier.jhtml?pq-path=2/3/38&pq-locale=en_US&_requestid=11397

http://www.kodak.com/eknec/PageQuerier.jhtml?pq-path=317&pq-locale=en_US

http://www.kodak.com/global/en/professional/hub/galleryAward/currentWinners.jhtml?id=0.2.26.3.6.5&lc=en , Visit: Elite Winners Showcase

Picture of the Day - http://www.kodak.com/eknec/PageQuerier.jhtml?pq-path=2549&pq-locale=en_US&CID=go&idhbx=potd

Polaroid Creative Site - http://polaroid.com/creative/index.jsp?bmUID=1156196342419&bmLocale=en_US

http://www.rit.edu/~andpph/pictures.html http://www.colormatters.com/colortheory.html

http://atlex.com/ Jeremy Wolff: http://very.com/about.htm

http://jeremywolff.com/collages/ http://very.com/travel.htm

http://images.google.com/images?svnum=10&hl=en&lr=&q=David+Hockney++photo+collage

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

http://www.hockneypictures.com/works_photos.htm

http://flagrantdisregard.com/flickr/hockney.php

Usual Weekly Agenda (runs in a week and a half segment):Class 1 – Intro to Project / Photographers’ Work / Assignment and expectations

Class 2 – Photoshop / Techniques demo

Class 3 – Raw Photo Files uploaded (your weekly assignment) / Review with me / Select 3 images for digital darkroom editing

Class 4 – Complete editing / Print your images

Class 5 – Complete printing final images / Mount work

Class 6 – Class Critiques

REPEAT CYCLE

September 11th

Project 1 – Rule of Thirds and Composing Your Photographs – DUE SEPTEMBER 19 TH

The Kodak web site is a valuable resource for you to use as you develop your eye and your compositions.

Homework:

Part 1 -Visit the following Kodak website:

http://www.kodak.com/eknec/PageQuerier.jhtml;jsessionid=FAK1FYN3WM1WDQHIO3JXWIY?pq-path=332&pq-locale=en_US&_requestid=72199

Just as a composer uses all the instruments in a symphony to create a stirring piece of music, you should compose each picture so that its parts work together to create a work of beauty. Each item in a picture has an effect on the whole, so don't just point and shoot. Take a little time to compose each picture into the masterpiece it could be. Visit the following sites and make notes in your journal about each topic. Have an image to illustrate what you are talking about. If one of your summer assignment photos fits – then use that as your image. Cut and paste links to your browser or right click to open:

Shooting vertical or horizontal

http://www.kodak.com/eknec/PageQuerier.jhtml?pq-path=332/391&pq-locale=en_US

Choosing a main point of interest

http://www.kodak.com/eknec/PageQuerier.jhtml?pq-path=332/392&pq-locale=en_US

Adjusting your angle of view

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

http://www.kodak.com/eknec/PageQuerier.jhtml?pq-path=332/393&pq-locale=en_US

Placing the subject off-center

http://www.kodak.com/eknec/PageQuerier.jhtml?pq-path=332/394&pq-locale=en_US

Using leading lines http://www.kodak.com/eknec/PageQuerier.jhtml?pq-path=332/395&pq-locale=en_US

Avoiding distracting backgrounds http://www.kodak.com/eknec/PageQuerier.jhtml?pq-path=332/396&pq-locale=en_US Including foreground objects http://www.kodak.com/eknec/PageQuerier.jhtml?pq-path=332/397&pq-locale=en_US

Part 2 - Have in your journal examples of people, places, things (3 images) with the Rule of Thirds grid drawn over them.

http://www.ruleofthirds.com/index.html

People / Rule of Thirds: http://www.ruleofthirds.com/people/index.html

PROJECT:

After reviewing the Rule of Thirds and visiting the above assigned Kodak sites you are to photograph digitally the following:

PLAN YOUR PHOTO COMPOSITION (36 works):Use http://www.flickr.com/ for inspiration for this assignment

1. Hands (such as braiding hair, holding something, working on something) (4 works)

2. Feet / Shoes (4 works) 3. Geometric Shadows / forms (4

works) 4. Organic Forms and /or Texture (4

works) 5. Water Drops / Rain (4 works) 6. Lines (4 works) 7. Store window reflections (4 works) 8. Remainder of photos are your to choice

September 20th

Project 2 – Formal and Informal Portraits – DUE SEPTEMBER 29th

Homework:

You will be assigned a faculty member to interview about their interests. You will plan a photo shoot that incorporates their interest. The portraits may be formal or informal in nature. Please schedule a date for the photo shoot for the next week and be prepared to travel outside your teacher’s classroom to photograph them.

PROJECT:

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

After interviewing your assigned subject, plan a photo shoot to capture your subject and their area of interest. Photos may be serious, whimsical, with or without props, include others, etc. Plan accordingly. Shoot 36 stills of your subject. Determine which compositions work best in regards to the Rule of Thirds and which captured your subject in the best way that reflects their interests. Print one 8” x 10” each of YOUR BEST 3 PHOTOS.

October 2nd

Project 3 – Pop Art Style / Hue / Intensity / Saturation – DUE OCTOBER 13th

Homework:POP ART – Research Andy Warhol and Steve Kaufman. Have images in your journal of Pop Icons. PROJECT:Take new portraits to use for this project. You may photograph yourself for this project. You are to apply color to the photograph with a high degree of

saturation / intensity in Photoshop. Manipulate your first image (as demonstrated in class using hue and saturation). Save the image. Repeat this process changing the hue until you have a series of 3 or 4 of the same image with varied color additions. Add color based on color theory as discussed in class. Print and arrange each colored digital.

October 16th

Project 4 – Retro LP / Album Cover Design – DUE OCTOBER 27th

Homework:

Research retro LP (Long Playing) album covers. If you have any LP albums, bring them to class for “Show and Tell”. (Ask your parents if they have any.) After watching the Liz Phair video, Why Can’t I (http://launch.yahoo.com/ar-260264-videos--Liz-Phair), in class and looking at LP’s, plan a design in your journal to create an LP (Long Playing) featuring you. The LP may be any genre of music, but your cover must include props - 2 designs required.

PROJECT:

Create 2 LP versions (one US LP and one European version) of an album cover where you are the star! You may have a group, but you must each design different covers. We will review text design in Photoshop. Have your digital files to use in Photoshop and layer together for your cover designs.

October 30

Project 5 – Space / Cubism / Perspective – DUE NOVEMBER 7th

Homework:

Research David Hockney’s photography and Jeremy Wolff’s work. Have 3 examples of Hockney’s and 3 examples of Wolff’s work in your journal. (Links under Online Resources)

Research Picasso / Cubism, Braque / Cubism, and the Cubist grid. Be prepared to discuss Cubist theory in class.

PROJECT:

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

You are to photograph and assemble your own Cubist composition in the style of Hockney and Wolff by selecting a subject to photograph. Take multiple photographs of you subject. Once your images are printed, reassemble in the Cubist style. Use http://flagrantdisregard.com/flickr/hockney.php for a preview

November 9th

Project 6 – Power Point – DUE November 15th & 17th

Homework:

From the list of photographers given in class, select one to create a Power Point Presentation. You will receive a handout for the format of the Power Point. This is in preparation for your final exam project, where you will select a photographer of your choice to inspire the work you create for your final.

November 28th

Project 7 – Final – DUE December 8thSelect a photographer that inspires you from the class Power Point Presentations. Create work inspired by the work you have seen. You may present an alternate plan to me based on any of the previous class assignments.

Photography Collage Prep You should have completed 3 pages of your altered book pages. Remember that you are required to have 5 pages, which may include the cover.Page 4 is due Wednesday, *****.Completed book to be turned in is due on Thursday, ******.

New Project – Cubism and Photographic Collagehttp://www.oberteil.de/ http://www.artlex.com/ArtLex/c/collage.htmlIt is very possible that Picasso’s cubist paintings

inspired the photo collages that Hockney began creating in the 1980’s. His first collages were mosaics created by laying out Polaroids in a grid. The artwork on the left is called Kasmin, and was made in 1982. Hockney preferred photo collages to single photographic images because it forces the viewer to see all of the parts. Hockney believed that the photo collages were like visual perception. Visual perception is when a person looks at all of the details or aspects of an object in order to see it as a whole. In addition to the grid collages, Hockney created collages by overlapping photographs.Research Jeremy Wolff and David Hockney.

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

http://www.ibiblio.org/wm/paint/auth/hockney/hockney.furstenberg-paris.jpghttp://www.davidhockney.com/ http://www.npg.si.edu/cexh/artnews/hockney.htmhttp://jeremywolff.com/collages/ http://www.art.net/Studios/Visual/Simran/EnfoldingPerspectives/enfolding-perspectives.html

Project GuidelinesFor this project you will be creating your own photo collage, and you may imitate the style of Hockney or Wolff. Here are the guidelines and hints for a successful photo collage:

Take your photos of the same person, place or thing. Vary the distance you are from your subject by taking a step forward

or backward or moving the camera slightly each time you shoot a frame.

Create your composition carefully before gluing it down! Think about the edges of your composition and how much each photo will overlap.

Carefully glue down your photo collage and give it a title.Exam Project info to come:Joseph Cornell and assemblage

Photo I / Final

Instructor: Vivian Moreira Komando, PhD, NBCT

Name_________________________________________________ Format______

"We Do Not See Things as They Are, We See Them as We Are." Anais Nin

Your final is composed of a final project and a 1 page (type-written, no larger than 12 pt. font) essay on What I Learned in Photography.

EMAIL YOUR ESSAY TO ME BY 5PM, May 28th.

Photo I Final

Your 3 choices for your final project:

1. Altered Book - Develop a body of work, which is theme based that is housed in a container (of sorts) and is a contemporary book. Think of the examples you saw on display at the beginning of the term.Required Research – Document with images and a proposal of what you plan to do. Go to Galleries – ARTISTS INSPIRATION:

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

Jerry Uselsmann - http://www.uelsmann.net/Maggie Taylor - Go to: Work – Unbelievably SURREAL!http://maggietaylor.com/flash.htmlJoseph Cornell Boxes / Click on the thumbnailshttp://www.ibiblio.org/wm/paint/auth/cornell/ http://www.josephcornellbox.com/menu.htm http://www.josephcornellbox.com/materials2.htm http://www.josephcornellbox.com/gallery_menu01.htm http://images.google.com/images?source=ig&hl=en&rlz=1G1GGLQ_ENUS274&q=Joseph+Cornell&oe=UTF-8&um=1&ie=UTF-8&sa=N&tab=wi&oi=property_suggestions&resnum=0&ct=property-revision&cd=1

Other Inspiration Sites:

Joan Flasch Artist Book Collection:

http://digital-libraries.saic.edu/cdm4/index_jfabc.php?CISOROOT=/jfabc ,

http://digital-libraries.saic.edu/cdm4/item_viewer.php?CISOROOT=/jfabc&CISOPTR=1329&CISOBOX=1&REC=14

http://digital-libraries.saic.edu/cdm4/item_viewer.php?CISOROOT=/jfabc&CISOPTR=1253&CISOBOX=1&REC=12

http://digital-libraries.saic.edu/cdm4/item_viewer.php?CISOROOT=/jfabc&CISOPTR=1227&CISOBOX=1&REC=19 ,

http://digital-libraries.saic.edu/cdm4/item_viewer.php?CISOROOT=/jfabc&CISOPTR=1411&CISOBOX=1&REC=8,

http://digital-libraries.saic.edu/cdm4/item_viewer.php?CISOROOT=%2Fjfabc&CISOPTR=1258&DMSCALE=100&DMWIDTH=600&DMHEIGHT=1600&DMMODE=viewer&DMFULL=0&DMX=208&DMY=0&DMTEXT=&DMTHUMB=1&REC=4&DMROTATE=0&x=350&y=72 ,

Harmony: http://www.visionaireworld.com/issues.php?id=51

Artists Toys: http://www.visionaireworld.com/issues.php?id=50

Roses: http://www.visionaireworld.com/issues.php?id=40

Movement: http://www.visionaireworld.com/issues.php?id=27

The Game: http://www.visionaireworld.com/issues.php?id=30

The Future: http://www.visionaireworld.com/issues.php?id=5

41 The World – Click on the Bag to view: http://www.visionaireworld.com/issues.php?id=41

Power: http://www.visionaireworld.com/issues.php?id=36

2. Graphic Image / Retro / Pop Art

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

Create a series of 8 – 12 different Pop Art Images of you and / or your friends. Look at the TEXT PORTRAIT under COURSE DOCUMENTS. Required Research – Document with images and a proposal of what you plan to do. POP ART – Research Andy Warhol, Peter Max, and Steve Kaufman. Have images in your journal of Pop Icons. Take new portraits to use for this project. You may photograph yourself for this project. You are to apply color to the photograph with a high degree of saturation / intensity in Photoshop. Manipulate your first image (as demonstrated in class using threshold / hue and saturation). Save the image. Repeat this process changing the hue until you have a series of 3 or 4 of the same image with varied color additions. Consider your background. Research fractals, psychedelic designs, 70’s designs, etc. Add color based on color theory as discussed in class. Print and arrange each colored digital. You may compose sets (counted as 1 each for each set to different individual images.)

TECHNIQUES:Dramatic Color Effectshttp://www.planetphotoshop.com/dramatic-color-effects.htmlDramatic Color Effects:http://www.planetphotoshop.com/design-effects-2.html Text Shape Layers:http://www.planetphotoshop.com/text-shape-layers.html

3. Create a Flip Book Required Research – Document with images and a proposal of what you plan to do.

http://www.flippies.com/flipbooks-gallery/

History of Flip Books:

http://www.flippies.com/flipbook-history/

Flip Book Info - Welcome to FLIPBOOK.info, a website entirely devoted to an art form half way between book and movie. We have a collection of 4890 flip books (also called flick books or folioscopes) from 1882 to nowadays with a great diversity of topics. http://www.flipbook.info/index_en.php

Links: http://www.flipbook.info/links.php

FUN - http://www.truetex.com/telecine.htm

I also enjoyed the old trick, with new technology, of making a flip-book. Using Corel Photo-Paint, I printed strips of 10 frames at 1 inch height per frame on photo paper with a color printer, sliced up the paper frames with a print trimmer, and stapled them together into a book, 50 frames total. The kids love it and it gives them a good intuition of how movies and animation work, since VCRs, DVDs, and AVIs that they are familiar with don't give you a tactile product like the old film projectors did.

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

A 50-frame flip book cut and bound from photo paper prints on a color inkjet printer. This is a fascinating, retro novelty. Everyone who sees it can't stop playing with it.

WATCH: http://images.google.com/imgres?imgurl=http://boinx.com/istopmotion/features/images/flip_book_printing-full.jpg&imgrefurl=http://boinx.com/istopmotion/features/&h=387&w=618&sz=34&hl=en&start=13&sig2=YFyDu1Kui2r3K8PAbHxbnA&um=1&usg=__Iv8pVz5mfuIkZrLIAAwpNC0eiQ4=&tbnid=NhS6PGYNYpuJvM:&tbnh=85&tbnw=136&ei=XzfxSJSkNoKGuAXTr_jYCA&prev=/images%3Fq%3Dphoto%2Bflip%2Bbooks%26um%3D1%26hl%3Den%26rlz%3D1G1GGLQ_ENUS274

HUMAN FLIP BOOK - http://humanflipbook.com/ , http://laughingsquid.com/a-human-flipbook-made-using-150-t-shirts-stop-motion/

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

Materials

Photograph images Print Series

Assemble and bind

PHOTOGRAPH the first action, action in between, and the last action. Each picture will be a little different from the previous one. The pictures should be PRINTED in sequence onto the bound to hold all of the sheets together. Flip the sheets with your thumb to watch the action.

Peekaboo-k is a small publishing company specialized in flip books, those small books where a series of pictures, or drawings, vary gradually from one page to the next so that when flipping pages rapidly it gives the perception of an animation.

OTHER Photo Inspiration Sites:

Masters of Photography – Use side bar linkshttp://www.masters-of-photography.com/A/abbott/abbott.htmlAustin Mann – a “few” photos - http://www.austinmann.com/blog/index.php?x=browse Polaroid Creative – Look at all the links on the side bar - http://polaroid.com/studio/artists/fellman/index.html

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

A r ti s t P o r tf o l i o s - http://polaroid.com/prophoto/portfolio.jspP Magazine - http://www.polaroid.com/pmagazine/p28/index.htmlAshes and Snow - http://www.ashesandsnow.org/Andrew Davidhazy - http://people.rit.edu/andpph/pictures.html http://people.rit.edu/andpph/exhibit-1.html Adobe Photoshop Galleries - http://www.adobe.com/uk/print/gallery/guip/Partial Face Transplants Pictures Galleryhttp://www.freakingnews.com/Partial-Face-Transplants-Pictures---1233.aspPhoto Manipulation - http://www.photoshopcafe.com/gallery/photomanip/index.htm

AP Studio Art 3D Design Syllabus

Submitted and Accepted for the AP 2D Design Portfolio Audit43817v1

Vivian Moreira Komando, Ph.D

3D AP Studio Art with CeramicsClasses: Ceramics 202 (1 Term) Ceramics 302 (2 terms possible)Materials:Clay – Stoneware and Porcelain;Glazes, under glazes, stainsMixed media may be incorporatedSubmitting a PortfolioFor students wishing to submit an AP 3D Design Studio Art Portfolio using Ceramics:You may order / pay for the portfolio through the College Counseling Office and submit theportfolio if you have taken Art 202 / Ceramics I, Art 302 / Ceramics II, or the advanced class Art444, or by instructor permission. This AP syllabus provides direction for the highly motivatedCeramics’ student to take the AP exam and earn college credit.The projects below will fulfill the BREADTH Section of the 3D AP Portfolio through Ceramic projects. You may have other 3D projects that would also fit in this section from Sculpture or Architecture classes. EIGHT pieces are required for BREADTH (2 views of each piece / 16 slides) demonstrating your knowledge and mastery of the Principles and Elements of 3D Design. Refer to your AP poster as we work on projects that reflect BREADTH. Work photographed in digital format may be submitted to an Online-printing source to be made into slides. Otherwise each piece is to be photographed

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

using slide film. The QUALITY Section consists of images of 5 works from the BREADTH or CONCENTRATION (2 views each / 10 slides) Section. NO 2D WORK IS TO BE INCLUDED UNDER THE 3D PORTFOLIO. Work that addresses 2D Design issues on a 3D surface are considered 2D work and are not viewed as 3D work.The AP 3D Class consists of investigating various forms of expression and techniques using the Principles and Elements of 3D Design. You will be introduced to new potters and artists, and more advanced techniques as points of departure to create work that reflects your spirit and your vision. Copying another’s work is not artistic ethics. By exploring 3D forms through clay and ceramic forms, you will be able to develop a body of work that reflects a range of problem solving and ideation. You may even decide to focus on one of the studies presented and investigated for the CONCENTRATION Section of your portfolio. We will research, keep art journals / sketchbooks, have class critiques (at the onset of a project and at the completion of a project), individual critiques (as you are working), and artistic dialogue that hopefully will inspire you as you create. There are project requirements, but the projects are open ended enough for you to develop your own style and mode of expression. Work is expected to be of high quality in thought, process, and product.AP 3D Design Portfolio using Clay and the Ceramic FormAP Requirements:Section I: QUALITY – Excellence demonstrated in original artwork from either your BREADTH or CONCENTRATION Sections – 5 works / 2 views / photographed (10 slides) – ACTUAL WORK IS NOT SUBMITTED IN THE 3D PORTFOLIO FOR THE QUALITY SECTION.Section II: CONCENTRATION – An in depth personal commitment to a particular artistic concern – 12 slides / some details / 10 – 12 worksSection III: BREADTH – A variety of experiences utilizing the Principles and Elements of 3D Design in the formal, technical, and expressive means available to an artist – 8 works / 2 views / 16 slides, with each work reflecting the solution to a 3D problem based on the Elements and Principles of 3D Design.BREADTH may be achieved in these design projects with the use of media, technique, or with a combination of varied clay bodies and techniques.

This syllabus for the 3D AP Studio Art Portfolio is divided into terms. You may and can fulfill the requirements (explained below and on the College Board site) for the 3D AP Studio Art Portfolio in Art 202 / Ceramics I and Art 302 / Ceramics II. You may also take Art 444 to complete your portfolio. You begin the Breadth section in Art 202. Your second term (Art 302) completes the projects for the Breadth section of the AP portfolio. You are also able to complete the Concentration during your term in Art 302. If needed, you may take a third term in Art 302 in order to complete the Concentration section of your portfolio or take advanced art in Art 444. If you have taken Art 207 / Sculpture, or Architectural Art, you may have pieces that also fit within the Breadth section of the 3D Studio Art portfolio.

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

AP 3D Portfolio – 18-20 Required Ceramics Pieces to Complete Your PortfolioCeramics I / 202 Fall Term 2007Class Text: Ceramics Class; Hand-building Techniques – Joaquim Chavarria ISBN0-8230-0591-7(AKA in your syllabus - HBT)Decorating Techniques (Ceramics Class) - Joaquim Chavarria ISBN 0-8230-0594-1 (AKA in yoursyllabus - DT)For students wishing to submit an AP 3D Studio Art Portfolio: You may order / pay for theportfolio and submit the portfolio if you have taken Ceramics 202 and an the advanced Ceramics.302 (2 Terms possible) class. This syllabus provides direction for the highly motivated Ceramic student to take the AP exam and earn college credit.ONLINE RESOURCES FOR OTHER PROJECTS OR YOUR CONCENTRATION:http://acero.home.mindspring.com/ - Raul Acerohttp://www.google.comhttp://www.vivisimo.comhttp://www.vickihardin.com/links/clayartists.htmlhttp://www.electroniccottage.com/claynames1.htmlhttp://www.electroniccottage.com/clay.htmlhttp://www.ceramicstoday.com/links/techniques.htmlhttp://netra.glendale.cc.ca.us/ceramics/contemporarygallery2.htmlhttp://www.artandprinda.com/prinda/index.htm - Student Galleryhttp://www.artandprinda.com/prinda/index.htm - Main Galleryhttp://www.bethpiver.com/ (Look at Design Elements)http://www.princetonol.com/groups/iad/lessons/middle/crafts.htm#Dollhttp://whalefishstudios.com/The projects below will fulfill the BREADTH Section of the 3D AP Portfolio. You may have other ceramic projects that would also fit in this section. Eight pieces are required. Each piece is to be photographed to show two views. (You also are to take two additional slides of the best pieces to include in the QUALITY [5 works from the BREADTH or CONCENTRATION Section / 2 views / 10 slides] Section of the portfolio if needed.)Always CITE your sources for research!!!!Usual Weekly Agenda (runs approximately in a week and a half segment):

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

Class 1 – Intro to Project / Work, Artists, and Potters to research/ Assignment and expectations / Techniques demonstratedClass 2 – Research discussed, sketches done for possible projectClass 3 – Sketches shared for possible project in round table / brainstorming / Begin prelim work for projectClass 4 –Work on project, discuss process and progress with me as you workClass 5 – Complete project (Outside class time may be neededto complete your project on time), set project to dry.Projects are fired as soon as they are dry. Once fired, you are to glaze your piece. A date will be set for a class critique of each project. Critiques overlap during subsequent projects.Class 6 – Class Critiques are when pieces are glazed and usually occur in between other projects due to the firing times of the kiln.REPEAT CYCLEPROJECTS1. 09/11 – Basic Bowl Thrown on the Potter’s Wheel / Project 1/ Breadth – Wheel work,bowlsHomework:Visit the Empty Bowl site and have info printed and IN your journal:http://www.emptybowls.net /, find 3 decorating techniques (DT) you might like to use whenyou make your bowl and have page references in your journal.http://www.eastbayri.com/story/280125237842725.phpProject:You will make and decorate a bowl to donate to the Empty Bowl project to fight hunger. You will have a demonstration on how to throw on the potter’s wheel, remove the bowl, and how to foot the bowl. Glazing techniques will also be discussed and demonstrated.Look at a College Bowl Assignment: http://www.goshen.edu/art/DeptPgs/assign1.htmLearning to Throw: http://www.goshen.edu/~marvinpb/throw/contents.htmlExtra Credit – Make 4 Texture Stamps Resources: http://www.danperezstudios.com/workshoppages/detail.htmhttp://www.beloit.edu/~museum/logan/mississippian/introduction/techniques.htm

09/20 – Basic Pinch Pot Construction / Project 2 / Breadth – Handbuilding, Pinch PotHomework:

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

Have 3 examples of the elegant Pinch Pots created by Joyce Michaudhttp://jmichaudgallery.hypermart.net/htdocs/Gallery.shtml and 3 examples of the pinch pots by Kristen Donner http://pottery.netfirms.com/ppts/kris_don_files/frame.htm#slide0009.htm Read: HBT Text p14Project:Following a class demonstration and discussion of the work / artists you researched, you will make a two-section pinch pot that consists of the body and an attached neck or attached feet constructed by pinching your pot into form from wedged clay.

09/25 - Slab Tile Container / Project 3 / Breadth – Handbuilding, slab, texture, relief, intaglioHomework:Research Matisse, Picasso, and Indiana. Have 2 image examples of work by each artist in your journal.Read: DT Text pp22-28, relief decoration DT Text p30-3, pp32 – 35Project:You will design a tile that is inspired by your chosen artist. This tile design will become one side of a handbuilt container you will construct from clay slabs. Sketches and teacher / student discussion required.Explore surface by modeling, intaglio / carving decoration (DT Text pp22-28, relief decoration DT Text p30-3, pp32 – 35); Text (writing) may be applied.http://www.georgetownframeshoppe.com/henri_matisse_jazz.htmlhttp://www.galerieart.cz/picasso_vystava_tvare.htmhttp://picasso.artgazebo.com/perl/frSearch?artist=Pablo+Picassohttp://www.kassmeridian.com/indiana/index.html10/09 – Slab Building Organic / Geometric Vessel / Project 4 / Breadth – Slab Building, Organic form, Geometric form Homework:Research Kandinsky - Have 3 image examples of Kandinsky’s work in your journal.Draw 10 mini Kandinsky musicals in your journal. These will become the inspiration for your project using Organic / Geometric forms and exploring texture.

Read: Read HBT Text pp36-39 / pp44-45; DT Text p10, p22.

Class Power point on Kandinsky forms and relationships to 3D Design.

Project:

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

You will construct a ceramic vessel inspired by Kandinsky that incorporates relief decoration and texture. Make sure to incorporate negative space into your design. Sketches and teacher / student discussion required.

Mid-Term work due for grades!!!! Critiques that have not been completedwill be during Mid-Term Week10/24 – First 2 projects should be fired and ready to under glaze / glaze. Kandinsky Vessel should be completed this week and ready to be fired.

10/24 - Plates / Bowls / Project 5 / Breadth – Drape moldingHomework:Read DT Text p10, p22This is a one class period project as we use drape molds to form a plate or bowl with texture, relief, and even feet. There will be a class demonstration and student exemplars shown. Brainstorming on plate designs will be followed by the creation of your own plate.10/30 – Pocket Vessel with Wheel thrown spouts OR Bottle with Wheel Thrown Spout(s) orCHOICE PROJECT THAT INCORPORATES A SPOUT / Project 6 / Breadth – Combining building methods, slab and wheel - Incised Decoration, Texture, Surface DecorationHomework:Read DT Text pp11-12Project:After class demonstrations create a vessel with a spout. You will slab build a textured pocket that incorporates two spouts and hangs. You will use Incised Decoration or Textured Impressions to form an interesting surface. You will use the potter’s wheel to make your spouts.OR a Choice Project that also incorporates a spout inspired by one of your class texts or class resource books (500 Series) that addresses a new design issue in your Ceramic construction. Sketches and teacher / student discussion required.11/13 - Proposal for Final Project / Project 7 / Breadth – Investigate a new aspect to incorporate into the Breadth section of your portfolioChoose a project inspired by your Texts or personal research, (use class resources.) Include sketches and research. T eacher / student discussion required.This project must be completed by December 5 t h

for class critique during the final 2 class periods before exams.Any Questions???

AP Syllabus 2006 – 2007 – Part II / Term 23D AP Studio Art with Ceramics

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

Classes: Ceramics 202 (1 Term) Ceramics 302 (2 terms possible)Ceramics II / 302 Winter Term 2007 OR Spring Term 2007Class Text by Kathy Triplett: Hand-Built Ceramics ISBN 1-5799-0184-0RESOURCES are at the end of the syllabus. Always CITE your sources for research!!!!01/0 3/07 – Choice Project Inspired by work in your class Text / Project 8 / Breadth – Investigate a newaspect to incorporate into the Breadth section of your portfolioHomework: Select a project of choice after reviewing your class text. You may also use the potter's wheel and we do have an extruder in class that you can use. Be ready to discuss why you chose the project that you did and have 3 sketches that depict possible executions of your choice based on what you were inspired by in your text. Individual student / teacher discussion required before you begin your project.Project: Review your class text and select a project of your choice to make. Sketch 3 variations that express your interpretation of the project to be made.Additional Inspiration: Also look at the Ceramic Monthly issues in class and links at the end of the syllabus.You should now have your 8 Breadth pieces completed. These pieces will be photographed (2 views for each piece) and if you plan on using any of these works in the QUALITY section of your portfolio, you will need an additional set of slides for that particular piece.If you feel certain pieces are not strong enough or feel you need to strengthen your portfolio (after the critique of the Breadth section - student / teacher required), you may redo the piece or make a new piece from the list below:Optional BREADTH Projects:1. Coil PotHomework: RESEARCH Coil Pots - The Origins of the Potter's Wheel by Victor Bryant -HAVE A COPY IN YOUR SKETCHBOOK:http://www.ceramicstoday.com/articles/potters_wheel.htmIf you have the Ceramics 202 text – Look at the coil pot construction in Hand Building Techniques / Chavarria pp 22-25 (Some copies in class). Be ready to discuss what coil building is, have 3 sketches of possible coil pots, and be ready to discuss how you would approach your project – organic / geometric / coils exposed / coils smoothed / combination.Assignment 2 – Coil Work / Coil Pot - Read Text pp33-34, 99-104. Create a coil pot basedon your preferences after you research. Your coil pot is to be 12” tall – no more – no less!Inspiration: http://www.princetonol.com/groups/iad/artroom/Vivian/Vivian4.htm

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

Scroll down to see coil pots!2. Face Vessel or Symbolic Face Vesse l:You will create a container that incorporates a face. Be expressive and think of the entire project and how the face will be part of the design and also be symbolic.Homework: RESEARCH FACE VESSELS. Your text is filled with various face constructions (pp10, 32, 42, 52, 76, 77, 78, 107, 111), then go to page 139, 140, 141, and 144 for some whimsical and alternate approaches to what your project is to be about. Think of a container that would hold secrets and incorporate a face into the vessel design. This may be a symbolic piece.You may consider face casting for this project. RESEARCH GEORGE SEGAL:http://www.segalfoundation.org/bio.shtml, http://www.segalfoundation.org/pwgallery1.htm,http://www.segalfoundation.org/pwgallery2.htm. Be ready to discuss symbolism and the artists you investigate (use Google or ask.com for more info.) Discussion will also involve how you plan to make your piece symbolic.

3 . Pop Art:Research Pop Artists Andy Warhol, Steve Kaufman, and Claes Oldenburg. Select a pop culture icon / object and make a ceramic sculpture inspired by Pop Art.Inspiration: http://www.amaco.com/pdfs/Lesson15.pdf, http://www.segalfoundation.org/bio.shtml,http://www.segalfoundation.org/pwgallery1.htm,http://www.segalfoundation.org/pwgallery2.htm, http://stevekaufmanart.com/sak_Sculptures__Main.asphttp://www.nashersculpturecenter.org/Index.cfm?FuseAction=Artist&ConstituentID=1346http://www.warhol.org/

http://www.centrepompidou.fr/education/ressources/ENSPopartEN/ENSPopartEN.htm4. Figure in ClayWhether realistic or abstracted, whimsical or symbolic, interpret a figurative form. Use your text (pp 14, 21, 47, 49, 53, 55, 63, 67, 145) and the class resource book – 500 Figures to inspire your creation. Also research the work of Mark Kostabi, George Segal, and Duane Hanson.Inspiration : http://images.google.com/images?hl=en&lr=&q=Mark%20kostabi&sa=N&tab=w ihttp://www.fineartsite.com/gallery/Kostabi_1.php3http://www.artcyclopedia.com/artists/segal_george.html

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

http://www.feldmangallery.com/pages/exhsolo/exhkos88.htmlYou may also have some of the following projects, which may be included in the BREADTH SECTION:Pieces you may have for the Breadth section can include:1. Slip Texture bottle with spout.2. Pop Art Project3. Robert Indiana Word Project4. Story Teller Project5. Oaxacan Symbolic Animal Project6. Duane Hanson Project7. Wheel Projects (teapots, bowls, cups, etc.)8. Extruded ProjectsCONCENTRATION SectionAfter you have completed your eight BREADTH pieces, you will select an area to focus on and create 10-12 works that show mastery and growth. Your work may be in the form of containers, figures, hand-built, slab, wheel thrown, draped, modeled, geometric, organic, coils, extruded, or mixed techniques, in order to express your ideas based on a central theme. Remember this is a 3D portfolio, so be sure your work focus on sculptural form as defined in the Elements and Principles of 3D design.You should allow a week to create each project, if you will also be taking Ceramics in the Spring term. If not, the studio is open every night until 10PM for you to work. Work outside of class time is required regardless, to complete your portfolio. Teacher / student dialogue and critiques are on a weekly basis; daily if you need me to discuss problems or issues that come up. An evolution of your theme should be documented through your research, ideation, sketches, project execution, and the inspiration for the subsequent project. Your journal should reflect your research (cited) and development of ideas with sketches, process, and mini self-critiques.Work can be inspired by another artist or style of work – that is how many artist work through their personal inspiration – but work must be original and not copied work. Artistic integrity is a must for this course. Teacher / student and student / student artistic dialogue is an important facet of this process.Keep focused on your theme. My suggestion is to find something you are passionate about – then you can develop and explore as you create. You are working at a college level and your work should reflect this in quality of thought and quality of work. As you complete one piece, the next piece should follow your exploration as part of the series – not a new theme. Think of the bodies of works of the artists we have studied in the BREADTH Section for Ceramics. Think of how the pieces correlated. This would be the same as your CONCENTRATION. An artistic body of work that personifies your theme is well executed (mastery of skills / techniques), and addresses issues beyond a classroom assignment, should be evident in your study. Congratulations on accepting the challenge of crating a body of work for the 3D AP Studio Art Portfolio!

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

ALL WORK MUST BE COMPLETED BY MAY 1 ST SO IT CAN BE PHOTOGRAPHED AND UPLOADED TO BE MADE INTO SLIDES.

Any Questions???ONLINE RESOURCES:http://www.google.comhttp://www.vivisimo.comhttp://www.vickihardin.com/links/clayartists.htmlhttp://www.electroniccottage.com/claynames1.htmlhttp://www.electroniccottage.com/clay.htmlCeramics Today http://www.ceramicstoday.com/links/techniques.htmlhttp://netra.glendale.cc.ca.us/ceramics/contemporarygallery2.htmlCeramic Links: http://www.princetonol.com/groups/iad/lessons/middle/ceramics.htmBig Ceramic Store Links http://www.bigceramicstore.com/Information/links.htmPottery making illustrated http://www.potterymaking.org/links.htmlGCC Ceramics http://seco.glendale.edu/ceramics/gallerydirectory.htmlAnnotated Ceramic Links by Marvin Bartelhttp://www.goshen.edu/art/DeptPgs/CerLinks.htm#more%20linksThe Origins of the Potter's Wheel by Victor Bryanthttp://www.ceramicstoday.com/articles/potters_wheel.htm

Review the elements of 3D Design below as you plan your concentration.http://gallery.sjsu.edu/tutorials/3Dterms.doc Elements of 3D DesignSpace: distance, area, volume; physical space independent of what occupies it; absolute space.Line: the edge or outline of a form, the meeting of planes; linear materials include: wire, wood, metal rod, string or any materials with a long thin shape.Plane: a flat or level surface –– planar materials include foam core, cardboard, sheet metal, plastic sheets, and plywood.Mass/ Volume: closed, independent, three dimensional form ––interpenetrable, completely surrounded by space –– volumetric materials include blocks of plaster, wood or stone. Sometimes mass refers to a positive solid and volume refers to a negative, open space surrounded by material, as in a bowl or other vessel.Shape: positive and negative: positive shape is the totality of the mass lying between its contours; in three-dimensional work, the visible shape or outer limit of a form changes as the viewer's position is changed. These outer limits are seen as

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

shapes moving back and forth between major contours. Negative space is empty space defined by positive shape. Sometimes referred to as occupied and unoccupied space.Value: light and shadows on the surface of forms; quantity of light actually reflected by an object's surface; value changes might be affected by the addition of color to the surface of a work.Texture: the surface quality of a form –– rough, smooth, weathered and so on.Color: in 3D design, the actual color of the material being used.Principles of 3D DesignHarmony: resolution of forces in opposition.Contrast/ Variety: different qualities or characteristics in a form; interest generated in a work by using a variety of shapes, forms, textures and so on.Rhythm/ Repetition: rhythm is the result of repetition; three rhythmic devices include:1) the duplication of the same form2) two forms used alternately; and3) the sequential change of a form (large to small, for example.)Emphasis: something in the work must dominate. A high point or climax occurring in the work, or the domination of a motif or design element.Continuity: organized movement or rhythm (repetition, alteration and progression).Balance: ordered relationship of parts. whether symmetrical or asymmetrical; equilibrium.Symmetrical Balance: equal visual units right and left/ top to bottom of an imaginary center point.Asymmetrical Balance: visual balance achieved by dissimilar visual units; for example, two or three small shapes on the right balancing one larger shape on the left.Proportion: elements compared, one to another, in terms of their properties of size, quantity, and degree of emphasis.Methods for Creating 3 Dimensional FormsThe four basic methods for creating three-dimensional forms are as follows:Subtraction: the old cliché of the sculptor seeing his "ideal form" within a rock (or other mass of material) and carving or chipping away at the excess until he finds it, or "frees" it (in critic Rosalind Krauss's words, "releas[ing] the sculptural object like surgeons assisting a birth.")Manipulation: modeling malleable materials such as clay.Addition: a sculptural method in which form is created by building up materials. This method encompasses many contemporary materials and techniques, such as the assemblage of objects from wood, metal, plastics, adhesives, fasteners, etc. Objects that use techniques derived from the world of furniture construction and carpentry

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

are included in this category, as are objects welded or riveted together, or made from found materials.Substitution: the creation of a duplicate of an object (either found or made) by making a mold of that object and casting another material into the mold to make the replica.Vocabulary Commonly Used When Describing 3D DesignAbstract: (adjective) referring to art that simplifies, emphasizes, or distorts qualities of a real life image rather than art that tries to represent its surface details accurately. In some cases, the intent is to present the essence of an object rather than its outer form.Abstract: (verb) to simplify, emphasize, or distort qualities of a real life image.Amorphous: having a shape without clarity of definition/ formless, indistinct, and of uncertain dimension.Anthropomorphic: Having qualities reminiscent of the human form; referring, however remotely, to the human form or human gestures.Articulated: attached with a flexible or movable joint, as in the digits of a finger.Assemblage: a work generated from a variety of objects and/or forms originally intended for other purposes.Attenuate: make thinner, more slender (e.g. Giacometti’s human figures are attenuated.)Axis: a line, real or imagined, around which the material that composes an object appears to be organized.Cantilever: a structural member, as in architecture, projecting from an upright, and unsupported at the opposite end.Casting: a sculptural technique in which liquid materials are shaped by being poured into a mold.Composition: an ordered relationship among parts or elements of a design.Concave: a negative area in a plane or surface, a scooped out or indented form or area.Content: the substance of a work of art, including its emotional, intellectual, symbolic, thematic, and narrative connotations.Contour: the outline of an objectConvex: a protrusion, or outwardly pushing form like a nipple or breast.Craftsmanship: aptitude, skill, or quality workmanship in use of tools and materials.Disparate: separate, distinct, dissimilar (often applied to objects or elements placed together in a composition).Dominant: refers to elements in a composition; the dominant volume is the largest element in a group, the most interesting and dramatic in character.Elegant: with respect to design (or mathematics): ingeniously simple and effective, free of extraneous detail.

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

Elevation: in orthographic projection, the front, back, and side views of an object or architectural structure.Fabrication: the action or process of manufacturing or constructing something.Form: The organization or arrangement of all the visual elements that develop a unity in the total work of art; the totality of a work of art.Found object: any object incorporated into a piece of art but not actually “made” by the artist (e.g. Duchamp’s urinal thing from the “real” world transformed into a piece of art by the artist’s declaring it as art and placing it in a museum.)Frontal/ frontality: composition of volumes entirely from the front view.Gesture: a sense of direction or movement suggested by the arrangement of elements in a work of artGeometric: mechanical, human made shapes (square, circle, triangle,) with regular edges.In the round: the allusion to tri-dimensionalityJoinery: the system that connects two or more parts of a thing; usually refers to connections between pieces of wood.Juxtaposition: placement side by side; relationship of two or more elements. in a composition.Kinetic: construction that contains moving elements set in motion by air, motors or gravity.Linear: involving or consisting of lines, looking likes a line, narrow and elongated.Malleable, malleability: the capability of being molded, taking shape or being made to receive desired form.Maquette: a small, scale model for a work intended to be enlarged.Medium, media (pl): The material(s) and tool(s) used by the artist to create the visual elements perceived by the viewer.Minimal: in art, characterized by the use of simple or primary forms, structures, etc., often geometric and massive.Modular: involving the systematic use of a single unit of design, repeated and varied in position, angle, or combinations creating larger forms or units.Object: anything that is visible or tangible and stable in form. A thing.Organic: free forms representing living things that have irregular edges. Also, biomorphic.Perforated: pierced with a hole or holes (like Swiss cheese, for example.)Planar: made of, or dealing with, planes (as opposed to lines or volumes.)Platonic solids: each of the five regular polyhedra (tetrahedron, cube, octahedron, dodecahedron, icosahedron).Polyhedron: a solid figure or object with many (usually more than six) plane faces.Radial: compositions that have the major images or design parts emanating from a central location.

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

Relief: sculpture in which forms project from a background, usually mounted on a wall. It is classified according to the degree to which it is raised from the surface: high relief, forms moving out from the surface; low relief, forms remaining close to the surface.Representational: presenting a subject (a person or object) in such a way that the viewer is reminded of “real” people or objects.Scale: the relationship between the size of an object and the size of its surroundings.Sculpture: the art of expressive shaping of three-dimensional materials.Serial: things in succession or installment, which vary from one another but belong together through form or content.Subdominant, subordinate: refers to the "lesser" elements that complement or support the role of the "dominant" element in a composition.Style: the specific artistic character and dominant trends of form noted during periods of history and art movements. Style may also refer to artists' expressive use of media to give their works individual character.Stylization: The simplification of a form to emphasize its design qualities. Also, referring to remembered“representations” of an object as opposed to what is actually present.Symbol: something used for or regarded as representing something else, as in signs, emblems or tokens.Tactile: perceptible to touch; that which is tangible.Three-dimensional: having height, width, and depth; a thing existing in spaceTranslucent: allowing light to pass through, but not defined objects.Transparent: a form or plane that can be seen through, such as glass.Void: a hollow, concavity, or unoccupied space within a solid object or mass.FROM: http://gallery.sjsu.edu/tutorials/3Dterms.doc

Sculpture IVivian Moreira Komando, PhD, NBCT

RESOURCES at the end of the syllabus. Always CITE your sources for research!!!!

Week of January 3rd - Homework: SEARCH the following site categories for sculptors:

Found Object, Nails, Acrylic, Cable, Ceramic, Junk, Mixed Media, Paper, Plaster, Twigs, and 2 of your choice

http://sculpture.org/portfolio/search.php

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

Have 10 thumbnail images of work that you like from your SEARCH (one for each category) in your notebook (or NO credit will be given.) Investigate

and write about what makes / is sculpture. Be ready to discuss what sculpture is and what you hope to accomplish in class.

Assignment 1 – Repetition in Space: Create 20 - 40 of the same shapes out of toothpicks. You may vary the

scale. (FYI – Soaking toothpicks overnight in H2O will soften the wood so you can bend or curve them.)

Inspiration: http://www.toothpickcity.com/ , http://www.landmarksofsf.com/photoindex.html

Week of January 8th - Homework: RESEARCH Found Art / Found Object - http://en.wikipedia.org/wiki/Found_sound Be ready to

discuss what Found art / Found Object is and how you would approach your project.

Assignment 2 – Found Art : Start Searching to create a sculpture from FOUND materials. Here’s a twist – it may be clothing.

Inspiration: http://www.understandingduchamp.com/ , http://www.madsci.org/~lynn/juju/surr/images/surr-imagery.html , http://en.wikipedia.org/wiki/Marcel_Duchamp , http://www.raulacero.net/ , http://whalefishstudios.com/ Week of January 22nd - Homework: RESEARCH

Installation Art, Sandy Skoglund, and Andy Goldsworthy, George Segal, Dane Hanson - http://en.wikipedia.org/wiki/Installation_art Be ready to discuss what Installation Art is and artists, Skoglund, Goldsworthy, Segal, Hanson, Christo and Jean Claude.

Assignment 3A – Sculptural Figure: You will work in a group and using packing tape, create a full size figure for each person in your

group. Be expressive and think of the entire project and how the figure will be part of the class installation. You may enhance figures

with additional materials.Assignment 3B – Sculptural Figures INSTALLATION: Your figures will be part of a class installation. Through class discussion, come

together to determine a theme for your installation.Inspiration: http://www.tapesculpture.org/gallery.html ,

http://www.segalfoundation.org/bio.shtml , http://www.segalfoundation.org/pwgallery1.htm ,http://www.segalfoundation.org/pwgallery2.htm,

http://museum.oglethorpe.edu/Hanson.htm, http://christojeanneclaude.net/,

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

http://www.sculpture.org.uk/artists/AndyGoldsworthy, http://www.sandyskoglund.com/pages/imagelist_fl/1996_03fl/index.htm

INSTALLATION to occur on Monday, January 29th - Critiques on January 30th

Mid-Term work due for grades!!!! Critiques

Week of January 31, 2007 - Homework: RESEARCH Cubism and artists associated with Cubism - http://en.wikipedia.org/wiki/Cubism,and Cubist

Sculpture - http://images.google.com/images?q=cubist+sculpture&hl=en&lr=&sa=X&oi=images&ct=title ,

http://images.google.com/images?svnum=10&hl=en&lr=&q=cubist%2C+sculpture and Be ready to discuss what Cubism is and how

sculptors can use cubism in their work. Assignment 4 – Cubist Bottle or Musical Instrument : You will use foam core to create a bottle or musical instrument that depicts Cubists planes. Inspiration: http://images.google.com/images?svnum=10&hl=en&lr=&q=cubism%2C+sculpture , http://www.josephslusky.com/ , http://www.ibiblio.org/wm/paint/tl/20th/cubism.html , http://images.google.com/images?hl=en&q=Joseph%20Slusky&ie=UTF-8&oe=UTF-8&sa=N&tab=wi

Week of February 6th - Homework: RESEARCH Chair design, - http://en.wikipedia.org/wiki/List_of_chairs . Be ready to discuss chairs as

functional and non-functional, as well as ideas for chair designs.Assignment 5 – Chair: You will design a chair of your choice out of luan and mixed media. Your chair is to be expressive, whimsical,

functional, or nonfunctional. HAVE FUN!Inspiration:

http://images.google.com/images?q=3-- D+Design+Chairs+from+corregated+&svnum=10&hl=en&lr= , http://images.google.com/images?svnum=10&hl=en&lr=&q=Art

%2C+3--D+Design+Chairs+ ,

http://www.linfield.edu/art/class_images/3_d_design/chairs_2000/2000chair_show.html, http://bethpiver.com/Sculpture/sculp-F8.html ,

Proposal for Final EXAM Project: Choose a project inspired by personal research. USE THE LINKS BELOW

TO HELP YOU. Include sketches and research. This project must be completed by Monday, March 5th for class critiques on Monday and

Tuesday, March 5 th and 6 th . Any Questions???

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

Resources:International Sculpture Center http://www.sculpture.org

http://sculpture.net/gallery/index.php Judy Onofrio http://www.judyonofrio.com/

Marisol Escobar http://www.museum.oas.org/exhibitions/museum_exhibitions/marisol/sculpt

ures_06.html http://www.museum.oas.org/exhibitions/museum_exhibitions/marisol/

bio.html Louise Nevelson http://en.wikipedia.org/wiki/Louise_Nevelson

http://www.artcyclopedia.com/artists/nevelson_louise.html George Segal http://www.segalfoundation.org/bio.shtml

http://www.segalfoundation.org/pwgallery1.htm http://www.segalfoundation.org/pwgallery2.htm

Duane Hanson http://museum.oglethorpe.edu/Hanson.htm The Art of Christo and Jeanne-Claude http://christojeanneclaude.net/

Andy Goldsworthy http://www.sculpture.org.uk/artists/AndyGoldsworthy Sandy Skoglund

http://www.sandyskoglund.com/pages/imagelist_fl/1996_03fl/index.htm Henry Moore

http://www.princetonol.com/groups/iad/lessons/middle/sculpt2.htm Jean Arp

http://www.princetonol.com/groups/iad/lessons/middle/sculpt2.htm#Arp Marcel DuChamp http://en.wikipedia.org/wiki/Marcel_Duchamp

Raul Acero http://www.raulacero.net/ Arthttp://www.sage.edu/academics/schoolofprofessionalstudies/visualarts/index.php?option=com_content&task=blogcategory&id=14&Itemid=67

Found - http://en.wikipedia.org/wiki/Found_soundBeth Piver http://images.google.com/images?

svnum=10&hl=en&lr=&q=beth+piver

Mullanium http://mudmetal.stores.yahoo.net/jebymu.html

Valerie Bunnell http://www.valeriebunnell.com/main.htmlWhale Fish Studios / Ben’s Dolls / Sculpture

http://whalefishstudios.com/

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

Rob Fisher http://www.robfisheramericandream.com/sculptures/index.htm Tape Sculpture Gallery http://www.tapesculpture.org/gallery.html

Nancy M Cohen http://nancymcohen.com/art/ SEARCH: Sculpture by Media

http://www.sculpture.org/portfolio/search.php Larissa Brown http://www.larissabrown.net/

Rob Millard Mendez http://www.robmillardmendez.com/ http://www.sculpture.org/portfolio/sculptorPage.php?sculptor_id=1000165

Martha Gunter http://www.philasculptors.org/TriStateConfWebSites/MBGunter/inde

x.htmBill D. Iaculla

http://www.pacificartleague.org/PALArtistDir/iaculla/iaculla.htmlAnne Mudge

http://artscenecal.com/ArticlesFile/Archive/Articles1998/Articles1198/AMudgeA.html

http://www.sculpture.org/portfolio/sculptorPage.php?sculptor_id=1001458 Joseph Slusky - http://www.josephslusky.com/

theArtproject – Artists Respond to Terrorism http://www.theartproject.net/pages/300wi_grid.htm

Wire Sculpture

Vivian Moreira Komando, PhD, NBCT

Research Alexander Calder’s Circus, wire sculpture, kinetic art, and Larry Kagan:

http://www.princetonol.com/groups/iad/lessons/middle/calder.htm

http://www.roland-collection.com/rolandcollection/section/20/621.htm

Larry Kagan's site.http://www.arts.rpi.edu/~kagan/gallery.html

In your sketchbook:

Have 3 Calder wire images / circus

Have 3 Kagan images of wire sculpture

Have definition / explanation for kinetic art

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

From observation, create a blind contour drawing. You may bring items into class to add to our reference collection. You will translate this drawing into a wire sculpture, emphasizing intersecting planes.

Ceramics II Vivian Moreira Komando, PhD, NBCT

Class Text by Kathy Triplett: Hand-Built Ceramics

RESOURCES at the end of the syllabus. Always CITE your sources for research!!!!

Those of you who are in 302 for the second time – will be speaking with me regarding the projects you wish to work on or if you wish to work on an AP 3D Portfolio

Week of March 25 – Homework: Select a project of choice after reviewing your class text. You may also use the potter's wheel and we do have an extruder in class that you can use. Be ready to discuss why you chose the project that you did

and have 3 sketches that depict possible executions of your choice based on what you were inspired by in your text.

You will be assigned your shelf work space the first day of class.Throw 2 bowls over the next week for the Empty Bowl Project. Sign with your

complete name.Assignment 1 – Choice: Review your class text and select a project of your choice to make. Sketch 3 variations that express your interpretation of the project to be

made. Inspiration: Also may also look at the 500 Series books, Ceramic monthly issues in

class, and links at the end of the syllabus.Look at a College Bowl Assignment:

http://www.goshen.edu/art/DeptPgs/assign1.htm Learning to Throw: http://www.goshen.edu/~marvinpb/throw/contents.html

Extra Credit – Make 4 Texture Stamps Resources: http://www.danperezstudios.com/workshoppages/detail.htm

http://www.beloit.edu/~museum/logan/mississippian/introduction/techniques.htm

***Due April 6 th ***

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

Week of April 7 - Homework: RESEARCH Coil Pots - The Origins of the Potter's Wheel by Victor Bryant - HAVE A COPY IN YOUR SKETCHBOOK: http://www.ceramicstoday.com/articles/potters_wheel.htm

If you have the Ceramics 202 text – Look at the coil pot construction in Hand Building Techniques / Chavarria pp 22-25 (Some copies in class). Be ready to discuss what coil building is, have 3 sketches of possible coil pots, and be

ready to discuss how you would approach your project – organic / geometric / coils exposed / coils smoothed / combination.

Assignment 2 – Coil Work / Coil Pot - Read Text pp33-34, 99-104. Create a coil pot based on your preferences after you research. Your coil pot is to be 12” tall – no more – no less!

Inspiration: http://www.princetonol.com/groups/iad/artroom/Vivian/Vivian4.htm Scroll down to see coil pots! ***Due April 14 th ***

Week of April 16, 2007 - Homework: RESEARCH A CHOICE PROJECT – BUT IT MUST INCLUDE SYMBOLISM!!!! Put your soul into this project – what is making art about??? If you wish to work with the face in clay: Your text is filled with various face constructions (pp10, 32, 42, 52, 76, 77, 78, 107, 111), then go to page 139, 140, 141, and 144 for some whimsical and alternate approaches to what your project is to be about. Think of a container that would hold secrets and incorporate a face into the vessel design. This is to be a symbolic piece. (Ask me about the tiny head molds)

You may consider face casting for this project. RESEARCH GEORGE SEGAL: http://www.segalfoundation.org/bio.shtml,

http://www.segalfoundation.org/pwgallery1.htm,http://www.segalfoundation.org/pwgallery2.htm. Be ready to discuss symbolism and the artists you investigate (use Google or vivisimo.com for more info.)

Discussion will also involve how you plan to make your piece symbolic.Assignment 3A – Symbolic CHOICE or Symbolic Face Vessel: You will create a

container that incorporates a face. Be expressive and think of the entire project and how the face will be part of the design and also be symbolic.

ORAssignment 3B – Pop Art: Research Pop Artists Andy Warhol, Steve Kaufman, and Claes Oldenburg. Select a pop culture icon / object and make a ceramic sculpture inspired by Pop Art.

Inspiration: http://www.amaco.com/pdfs/Lesson15.pdf, http://www.segalfoundation.org/bio.shtml,

http://www.segalfoundation.org/pwgallery1.htm,http://www.segalfoundation.org/pwgallery2.htm, http://stevekaufmanart.com/sak_Sculptures__Main.asp http://www.nashersculpturecenter.org/Index.cfm?FuseAction=Artist&ConstituentID=1346 http://www.warhol.org/

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

http://www.centrepompidou.fr/education/ressources/ENS-Popart-EN/ENS-Popart-EN.htm

Due: Monday, April 30th - Critiques on May 1st First 2 projects should be fired and ready to under glaze / glaze. Your "Symbolic" piece

should be completed this week and ready to be fired.

Week of May 2nd - Homework: RESEARCH in 500 Cups and 500 Bowls – make a set with a tray – on the wheel, extruded, or hand-built.

ORYou may make a set – Plates / Bowls / Cups : - Use the extruder or the plate molds to create a functional or non-functional piece. Texture, layer, paddle, etc. to add your personal voice to the piece. (Text pp 24, 59, 61, 64, 66, 71, 94-98) RESEARCH FIRST!!!! You have until May 8 th to make the pieces. OR - AND:

IF YOU RATHER MAKE A FIGURE - USE THE 500 FIGURES BOOK – Figure in Clay - Whether realistic or abstracted, whimsical or symbolic, interpret a figurative form. Use your text (pp 14, 21, 47, 49, 53, 55, 63, 67, 145) and the class resource book – 500 Figures to inspire your creation. Also research the work of Mark Kostabi,

George Segal, and Duane Hanson. Inspiration: http://images.google.com/images?hl=en&lr=&q=Mark

%20kostabi&sa=N&tab=wihttp://www.fineartsite.com/gallery/Kostabi_1.php3

http://www.artcyclopedia.com/artists/segal_george.htmlhttp://www.feldmangallery.com/pages/exhsolo/exhkos88.html

***Due May 8th***

May 8th FINAL EXAM – CHOICE: Animal, vegetable, shoes, houses, mineral, real, abstract, vessel, container, symbolic, war, peace, functional, or non –

YOUR CHOICE!!!! Inspiration : http://www.guild.com/artists/ceramics.html, AND use the Resources

listed below, your class texts, class RESOURCE books, or class sets of Ceramics Monthly to investigate for your FINAL EXAM PROJECT. YOUR RESEARCH IS

PART OF YOUR FINAL GRADE! Due no later than May 18th for your last firing or your pieces will not be

completely fired in time for class critiques during final classes!!! Critiques are May 22 nd and May 24 th . I leave to read AP exams on May 29 th and must have all

grades and comments done before I go. NO LATE WORK WILL BE ACCEPTED!!!!!!!!

Any Questions???

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

ONLINE RESOURCES:http://www.google.com

http://www.vivisimo.comhttp://www.vickihardin.com/links/clayartists.html

http://www.electroniccottage.com/claynames1.htmlhttp://www.electroniccottage.com/clay.html

Ceramics Today http://www.ceramicstoday.com/links/techniques.htmlhttp://netra.glendale.cc.ca.us/ceramics/contemporarygallery2.html

Ceramic Links: http://www.princetonol.com/groups/iad/lessons/middle/ceramics.htmBig Ceramic Store Links http://www.bigceramicstore.com/Information/links.htm

Pottery making illustrated http://www.potterymaking.org/links.htmlGCC Ceramics http://seco.glendale.edu/ceramics/gallerydirectory.html

Annotated Ceramic Links by Marvin Bartel http://www.goshen.edu/art/DeptPgs/CerLinks.htm#more%20linksThe Origins of the

Potter's Wheel by Victor Bryant http://www.ceramicstoday.com/articles/potters_wheel.htm

________________________________________________________________

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

Ceramics I / Art 202

Vivian Moreira Komando, PhD, NBCTClass Texts by Joaquim Chavarria: Hand-Building Techniques (HBT) and Decorating Techniques (DT)

Always CITE your sources for research!!!!Basic Bowl Thrown on the Potter’s Wheel / Project 1Homework:

Visit the Empty Bowl site and have info printed and IN your journal: http://www.emptybowls.net /, From your Decorating Text find 3 decorating techniques you might like to use when you make your bowls and have page references in your journal. http://www.eastbayri.com/story/280125237842725.php

Project:You will make three bowls and decorate one of the bowls. The bowls will be donated to the Empty Bowl project to fight hunger. You will have a demonstration on how to throw on the potter’s wheel, remove the bowl, and how to foot the bowl. Glaze your bowls once fired.

Sets/ Project 2 – Wheel Sets

Homework:Research using class resources and plan out a set to make on the wheel. Sketch ideas in your sketchbook.

Pocket Vessel with Wheel thrown spouts and Decorated Bottle with Wheel/ Thrown Spout(s) / Project 3 Homework:

Read DT Text pp11-12

Project: After class demonstrations create a hand built vessel with a spout. Include texture and work with slip decoration.

Slab Tile Container / Project 4Homework: Research and have in class on April 16th what you find on Matisse, Kandinsky, Picasso, and Indiana. Have 3 image examples of work by each artist in your journal (12 images and cite sources).

Read: DT Text pp22-28, relief decoration DT Text p30-3, pp32 – 35

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

Project:

You will design a tile that is inspired by your chosen artist. This tile design will become one side of a hand-built container you will construct from clay slabs. Explore surface by modeling, intaglio / carving decoration (DT Text pp22-28, relief decoration DT Text p30-3, pp32 – 35); Text (writing) may be applied. http://www.georgetownframeshoppe.com/henri_matisse_jazz.html http://www.galerieart.cz/picasso_vystava_tvare.htm http://picasso.artgazebo.com/perl/frSearch?artist=Pablo+Picasso

http://www.kassmeridian.com/indiana/index.html

FINAL / PEACE PROJECT - In Ceramics this term we have explored how to contribute to the community by making bowls for the Empty Bowls Project on the wheel. You also had the opportunity to make a set using the techniques and skills you mastered in wheel throwing as well as learning various hand building techniques.

 This brings us to our FINAL project – a Peace Piece. We will have a class discussion on “What is Peace to you?” and “How do you think you could represent Peace symbolically in a ceramics piece?”  

THIS DISCUSSION WILL TAKE PLACE ON TUESDAY. BE PREPARED BY READING THIS WORKSHEET AND DOING YOUR RESEARCH.

 These discussions have been different in each of my previous Ceramics’ classes. Your project may be constructed by any of the wheel or hand building methods you learned in class. YOU ARE REQUIRED TO HAVE 3 IDEAS SKETCHED OUT TO SHARE WITH THE CLASS – THIS WILL BE PART OF YOUR FINAL GRADE .

 "Peace starts within each one of us. When we have inner peace, we can be at peace with those around us. When our community is in a state of peace, it can share that peace with neighboring communities." - His Holiness the XIV Dalai Lama, 1989 Nobel Laureate for Peace

RESEARCH FOR YOUR PROJECT:

The Missing Peace: Artists Consider the Dalai Lama is a multi-media art exhibition that brings together 88 respected artists representing 30 countries. With the full life of the Dalai Lama as inspiration, the intention for this project is to shift the world's attention towards peace.

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

http://gallery.tmpp.org/gallery/en/index.jsp

http://gallery.tmpp.org/gallery/en/peaceart/index.jsp

The Missing Peace: Artists Consider the Dalai Lama:http://www.artknowledgenews.com/Loyola_University_Museum_of_Art_LUMA.html

http://www.luc.edu/luma/exhibition-missing4.shtmlhttp://www.luc.edu/luma/dalailama.shtml

READ:http://findarticles.com/p/articles/mi_qn4155/is_20061201/ai_n16909195

"World peace must develop from inner peace. Peace is not the absence of violence. Peace is the manifestation of human compassion." — His Holiness the Dalai Lama http://www.maitreyaproject.org/en/index.html

Peace resourceshttp://www.pottersforpeace.org/

http://www.planetpals.com/peacesymbols.html

http://www.peaceofart.org/

http://www.peaceofart.org/ artwork.html

http://www.artjunction.org/articles/komando1.htmlhttp://www.artjunction.org/archives/peace_gallery.html

http://www.pinwheelsforpeace.com/

http://www.princetonol.com/groups/iad/lessons/high/Vivian-puzzle.htm

YOUR PLAN:Ideas – Answer in your art journal before getting supplies:

1. What issues do you want to address? 2. What inspires you? 3. What do you want to see changed? 4. What part do you play? 5. How do you plan to explore your ideas visually? 6. 3 Sketches / proposals for your project 7. Artists that may influence the way you will work.

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

ANDLook at PEOPLE that can inspire you:

Sadako, Japan, peace (in your search) Robert Indiana - LOVE SculptureMartin Luther King Robert Kennedy Mother Teresa Gandhi Anne Frank Che Guevara Billy Graham

And that should be a start to trigger a PEACE PIECE...

Paz!Mrs. K

Any Questions???

Vivian Moreira Komando, PhD, NBCT Identity “Power” Project Ó Name:_________________________After making a plaster cast of your face, you are to create 2 clay sculptures that depict your identity from 2 opposing perspectives. You may carve into your clay, you may attach other sculptural clay pieces, you may underglaze, glaze, paint, use symbolism (of color and objects), use collage / assemblage techniques, or use mixed media to make your point about who you are.

  Author, Gary Zukav says that POWER IS THE ALIGNMENT OF YOUR PERSONALITY WITH YOUR SOUL. AUTHENTIC POWER CANNOT BE TAKEN AWAY ONCE YOU CREATE IT. This same person said that an empowered individual uses his or her energy the best in loving and giving.

  Finding your power means examining your emotions. A real sense of power is not from outside things like your job or money. These can be taken away or lost. Power comes from within you. It comes from those things you possess within your spirit that cannot be taken from you. We can use art to find those things that empower you. Art is the perfect place to examine this since creation comes from the feelings an artist

Ó

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School of the Art Institute of Chicago, July 19 – 23, 2010

possesses. Art is a reflection of who we are, what we believe, and the times we live in. Art tells us about ourselves and can guides us in the future. Humans experience feelings. Art makes you feel. Artist create based on feelings.

  Our emotions carry information. Emotions are not obstacles or enemies. Painful or negative emotions can have power over you and direct you in a certain way. These emotions can have power over you when you allow yourself to feel pain. An example would be anger and acting upon the anger. You reaction is controlled by the anger. How many times have you done something you would not normally do because you are angry? Would you have reacted differently if you were not angry? What is really beneath the anger – disappointment, hurt, distrust? It is sometimes easier to be angry than to face the pain or the underlying emotions.

  Stop and think of your fears and the emotions that exist beneath the anger or the feelings that come from being frightened. Examples of fears could be the fear of not belonging, of not having a place that is yours, or that you will not find true love, etc. Ask yourself “What are you afraid of?”

  Then STOP and ask yourself, “Would I want a decision to be made by a part of me that is frightened? Ask yourself, “What would I do if I were compassionate and wise?” THEN you can decide whether to follow that decision. YOU HAVE A CHOICE! THERE IS LEARNING POTENTIAL IN THAT DECISION. THE RESPONSIBILTY OF CHOICE IS ON YOU! -- THAT IS THE AUTHENTIC POWER THAT YOU EACH POSSESS.

  So this brings us to your projects: One cast that shows your fears / weaknesses and one cast that shows your strengths / dreams and who you are and who you want to be. Each cast is to be mounted on a slab or other surface and is to be designed so it works in harmony with your creation. You may combine both pieces into one larger piece.

NAME:____________________________To help you plan your design, use the worksheet below:

 Symbolic imagery – List some things you could use symbolically:

Example: Image: Nike Sneaker Meaning: I excel at sports

Image: Cat on a windowsill Meaning: I am watchful and cautious

 Now make your own list:

Image: Meaning :  

1.____________________________________________________________________

 

2.____________________________________________________________________

 

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School of the Art Institute of Chicago, July 19 – 23, 2010

3.____________________________________________________________________

 

4.____________________________________________________________________

 

5.____________________________________________________________________

 

6.____________________________________________________________________

 

7.____________________________________________________________________

 

Now use color symbolically. Colors such as blue can depict calmness. White is spiritual, etc. Go to Symbolism of Color: Using Color for Meaning: http://www.princetonol.com/groups/iad/lessons/middle/color2.htm,

Color Meanings and Colors That Go Together http://desktoppub.about.com/cs/color/a/symbolism.htm,

Color Symbolism Chart http://www.wired4success.com/colorsymbolism.htm , and to www.colormatters.com for more color symbolism.

Colors that are symbolic of who I am or what I am afraid of or weaknesses: ____________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________To create unity and harmony within the two pieces, use similar elements in your designs. These elements may come from similar or contrasting colors, or similar patterns used on both pieces. Look at you handout on Elements and Principles of Design and list some elements you wish to use on both pieces: ____________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________   As you work out your ideas, investigate the philosophy of Yin Yang. In your project, think of how one part completes the other. LOOK UP THE MEANING OF YIN YANG: ________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

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School of the Art Institute of Chicago, July 19 – 23, 2010

____________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________   Visit Chinese Color Theory—The Symbolism of Color in Traditional Chinese Culturehttp://home.earthlink.net/~jamesdferrell/colortheory.org/D_ColortheroryChineseColorTheory.htm - How is color defined in Asian terms: ____________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

_____________________________________________________Name: _____________________________ Ceramics 202 and 302

Final Exam Ceramics Class CritiquesVivian Moreira Komando, PhD, NBCT We will critique completed pieces in class on the assigned days. This is a way to analyze how your final piece came out and how you applied all you learned this term. THIS IS TO BE TYPED AND DUE AT THE CRITIQUE. IF YOU TURN THIS IN LATE, POINTS WILL BE DEDUCTED.Respond to the following prompts:

1. Technique – Explain how you made your piece – slabs, coil, wheel, combination, etc. Explain what worked as you constructed your piece and what did not.

2. Art Elements – Look at shapes / forms (organic, geometric, combination), space (negative / positive, layered, cutout), color (primary / secondary colors, neutrals, cool / warm, soft / intense / bright/ saturated / muted), and style (realistic, abstract, non objective, symbolic, geometric, free form, whimsical).

3. Craftsmanship – Examine the quality of your work. Where is there improvement needed and where are the strengths?

4. Overall Quality – How does the finished piece rate over all and if you could change something what would that be?

In class you will present your work to class and give a summarized version of your written critique. The class is to comment on what works and what

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School of the Art Institute of Chicago, July 19 – 23, 2010

does not work in the piece. The class is also to make suggestions about ways the piece could be changed to improve it (i.e., the piece is well made technically, but the colors used take away from the overall mood of the work. It may have been more effective to use different shades of just one color, blue, instead of mixing so many colors, etc.)

Tip #9, Miscellaneous Decorating Tips 

1. Save old phone books for practicing brush strokes. 

2. Put coffee grounds or sawdust in your decorating slip. The coffee grounds burn out leaving a brown color behind. The sawdust leaves a fine texture which can be stained for enhancement. 

3. To enhance textured surfaces, brush glaze on so it gets in all the cracks, then wipe off the top surface. 

4. Cotton lace, burlap, cheesecloth or other cotton, absorbent materials can be soaked in slip and added to pieces for interesting textures. Soak fabric in slip, squeeze out lightly, brush on leatherhard clay surface, dry slowly, and bisque. The fabric will burn out leaving the slip texture behind. 

5. To remove oxide from bisque (mistakes or for designs) use a rubber pencil eraser. It won't smear like trying to wash the oxide off. 

6. When applying oxide over dry glaze, the glaze sucks the water out of your brush making it difficult to paint clean lines. Lightly mist the glaze first with water, and the oxide will flow smoothly. 

7. A few drops of glycerin (from the drugstore) added to engobes, stains, oxides and slips slows drying time and increases workability. 

8. To remove unwanted wax from a piece, rebisque it or microwave it on high for 5 minutes. 

9. When glazing a thin piece, glaze the inside then wait for it to dry thoroughly before glazing the outside. Otherwise the clay may be saturated and glaze won't absorb and stick to the outside. Some people wait overnight. 

10. Glaze pinholes often form in areas that have been trimmed, as trimming tends to open holes in the surface. To prevent, slightly burnish the trimmed area, or rub the slip from throwing over the area to fill the holes.

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

AP Studio Art Drawing Syllabus

Submitted and Accepted for the AP Studio Art Drawing Portfolio Audit

Vivian Moreira Komando, Ph.D

Text: Drawing: Space, Form, and Expression by Enstice & Peters; we will also read selections from Exploring Visual Design by Gatto, Porter, & Selleck

Materials – Student Kit: Pencils, charcoal, colored pencils, brushes, sketchbook

Available Studio Materials: Large drawing paper, watercolor paper, construction paper, mat board, variety of paints, pastels, cra-pas, conte crayon, pastel paper, charcoal paper, additional brushes.

Additional Resources at the end of this syllabus

AP Studio Art / Drawing Portfolio

The AP Studio Art portfolios are designed for students who are seriously interested in the practical experience of art. AP Studio Art is not based on a written exam; instead, students submit portfolios for evaluation at the end of the school year.

The instructional goals of the AP Studio Art program can be described as follows:• To encourage your creative and systematic investigation of formal and conceptual issues.• To emphasize your making art as an ongoing process that involves you in informed and critical decision making.• To help you develop technical skills and familiarize you with the functions of the visual elements.• To encourage you to become an independent thinker who will contribute inventively and critically to your culture through the making of art.

All students who are willing to accept the challenge of a rigorous academic curriculum should be considered for admission to AP courses. AP Studio Art is for highly motivated students who are seriously interested in the study of art; the program demands significant commitment. It is highly recommended that studio art students have previous training in art. At the same time the College Board encourages the elimination of barriers that restrict access to AP courses for students from ethnic, racial, and socioeconomic groups that have been traditionally underrepresented in the AP Program. Schools should make every effort to ensure that their AP classes reflect the diversity of their student population.

DRAWING PORTFOLIOThe Drawing Portfolio is designed to address a very broad interpretation of drawing issues and media. Light and shade, line quality, rendering of form, composition, surface manipulation, and illusion of depth are drawing issues that can be addressed through a variety of means, which could include painting, printmaking, mixed media, etc. Abstract and observational works may demonstrate drawing competence. The range of marks used to make drawings, the arrangement of those marks, and the materials used to make the marks are endless. Any work submitted in the Drawing Portfolio that incorporates digital or photographic processes must address issues such as those listed above, as well as mark-making. Using computer programs merely to manipulate photographs through filters, adjustments, or special effects is not appropriate for the Drawing Portfolio.

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School of the Art Institute of Chicago, July 19 – 23, 2010

Ethics, Artistic Integrity, and PlagiarismAny work that makes use of (appropriates) other artists’ works (including photographs) and/or published images must show substantial and significant development beyond duplication. This is demonstrated through manipulation of the formal qualities, design, and/or concept of the source. The student’s individual “voice” should be clearly evident. It is unethical, constitutes plagiarism, and often violates copyright law simply to copy an image (even in another medium) that was made by someone else and represent it as one’s own. Digital images of student work that are submitted in the portfolios may be edited; however, the goals of image editing should be to present the clearest, most accurate representation of the student’s artwork, and to ensure that images meet the requirements of the Digital Submission Web application. When submitting their portfolios, students must indicate their acceptance of the following statement: “I hereby affirm that all works in this portfolio were done by me and that these images accurately represent my actual work.”

As you create your Drawing Portfolio you will have the opportunity to create 24 different works. You will research artists, styles, periods, cultures; you will investigate techniques and materials; you will dialogue with me, your teacher and your peers, you will critique, analyze, and evaluate artists’ works and your own work as it develops. This is an artistic journey full of discovery for all involved. You will develop mastery of concept, composition, and execution of your personal ideas and themes. You will also understand that art making is an ongoing process that uses informed and critical decision making to determine your individual outcomes to problems. You will be expected to develop a comprehensive portfolio that addresses each of these issues in a personal way. Formulaic solutions to problems are discouraged. The first 12 of these works will be completed under the Breadth section, which is based on a variety of works and mark making. The second 12 works will be completed under the Concentration section, which is a body of work focused on a theme you develop. You will select 5 works from your Breadth and Concentration section to fulfill your Quality section, 5 actual works submitted to AP.

Overlap Among Sections of the PortfolioImages of the same work may NOT be submitted in both Section II, Concentration, and Section III, Breadth. Works submitted in Section I, Quality, may come from the student’s Concentration and/or Breadth section(s), but they do not have to. They may be a group of related works, unrelated works, or a combination of related and unrelated works.

Breadth - In creating works for this section, we will use various media such as pencil, charcoal, colored pencil, oil pastels, collage, printmaking techniques, watercolors, acrylic paint, oil paint, etc. to execute the projects / visual problems presented. You will be examining light and shade, line quality, rendering of form, composition, surface manipulation, and illusion of depth. You will use a variety of mediums, techniques, and approaches in drawing to develop concepts and ideation

Elements are the ingredients that artists use to create an artwork.Principles are the different ways in which artists combine the elements to achieve a desired effect or outcome.CONSIDER the (6) Elements of Design as you develop your drawings.Line – thin or thick, continuous or interrupted marks; the path of a moving point

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Shape & Form – Shape is a two-dimensional enclosed area. Form contains three dimensions: length, width, and depth. Value – the range of light to dark and all shades in betweenColor – the property of reflecting light of a particular wavelength Space – the area above, below, around, behind, into, and through Texture – the physical surface structure of a material(6) Principles of DesignBalance – the way that the different parts of a composition relate to one anotherUnity – the sense of oneness or wholeness in a work of artContrast – refers to differences in elements such as color, texture, value, and shape. Contrasts usually add excitement, drama, or interest Emphasis – the significance or importance given to something Pattern – the repetition of elements or the combination of elements that forms a recognizable organizationCompositional Movement1 & Visual Rhythm2 – 1: A path that the viewer’s gaze is directed to follow because of the arrangement of elements in an artwork; 2: The result of pattern combined with implied movement. Class CycleDay 1 – Presentation of Lesson – Artists, Styles, Visual Problem to be Investigated, Power Points, Internet Resources, Demonstrations, Other Resources Day 2 -Present your individual research done in your sketchbook for the project we are working on to the class. Cite ALL sources for your research / images. The vocabulary of art will be used to engage in written and verbal critiques / explorations of these works. Have prelim thumbnail sketches (3 - 5) for each project listed below. Brainstorm ideas with the class. Copy work is not valid for your Breadth / Concentration / Quality work. Students are not allowed to copy published photographs. Work based on photographs or the work of other artists must move beyond mere duplication and provide the basis for a personal approach to an idea. Plagiarism is not appropriate in any manner. I should see where you have instilled your own ideas and developed your work with your personal vision and voice. Looking at the work of other artists is to inspire you as a point of departure. After sharing in class, I will speak individually with each of you and we will discuss which sketch would work best for the assigned project.Days 3 – 5, 6, 7 (Depending on project). – Begin execution of project. One-on-one dialogue may also continue as you work and we see how you progress, are using / mastering media, changes that are occurring, and answering questions that may come up. You may photograph in progress work.Days 4, or 5, - Mini critiques in sketchbooks as work is in progress

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

Day 6, 7, or 8 – Class critiques Last Day of Cycle – Photograph work after any final touches are complete and begin research for next project. Upload work - The Web application for development and submission of the Concentration, and Breadth sections is available in late January.REPEAT CYCLE FOR NEXT PROJECT

GRADING / EvaluationYour work will be evaluated as each project is completed in regards to your research / sketchbook, project execution, timeliness, critique, craftsmanship, mastery of technique, clean-up and studio practice. This grade may differ from what you receive for your portfolio assessment as different variables are being considered for your class grade. AP Scoring Guidelines for your portfolio assessment are listed before Resources on p 7 of this syllabus.

Breadth Section 12 required slidesThese 12 pieces are to be completed and photographed before Winter Break. The Breadth Section must be completed before moving on to the Concentration section. Remember as you address Breadth that the Drawing Portfolio is designed to address a very broad interpretation of drawing issues and media. Light and shade, line quality, rendering of form, composition, surface manipulation, and illusion of depth are drawing issues that can be addressed through a variety of means

Use your text and research, as well as class resource texts and magazines to be inspired and to approach different visual

problems. (BREADTH)

Project 1 – Line Quality – One Blind Contour / Research Alexander Calder / Expressive Line Qualityhttp://www.sfmoma.org/espace/calder/calder_intro.htmlProject 2 - Form/Volume – Charles Bellhttp://www.artnet.com/artist/2253/Charles_S_Bell.htmlhttp://www.picassomio.com/CharlesBell/en/ http://www.rogallery.com/bell_charles/Bell-bio.htm Project 3 - Still Life – Draping/ Composition/Rendering of Form/ Subject/ Transparency, etc.

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http://www.art.com/asp/display-asp/_/ID--1854/posters.htm?ui=CA7F6653064E485F94F6BA47CE7A0B96ARTIST - Wayne ThiebaudProject 4 - Value Study – Charcoal drawing / DaVinci Drawing Studies Project 5 - Self-Portrait – Surface manipulation / Traditional or ExpressiveProject 6 – Perspective / Illusion of Depth – Letters or scenes or architectureProject 7 – Space – Interior Space drawing / overlapping / depth exploredProject 8 – Magnification – Still Life - Get close and draw detailsProject 9 – Landscape / Atmosphere – Pastel works - Monet styled or find a contemporary artist that paints landscapeshttp://www.billpuryear.com/paintings.htmlhttp://www.redstalliongallery.com/dynamic/artist.asp?ArtistID=1792http://www.art.com/asp/display-asp/_/ID--1833/isSearch--Y/searchString--landscapes/posters.htm?ui=CA7F6653064E485F94F6BA47CE7A0B96 Project 10 – Figure – Bernard Stanley Hoyes – Rag Series or Overlapping figureshttp://www.passionsgallery.com/bernardstanleyhoyes.htmlhttp://www.art.com/asp/display_artist-asp/_/CRID--4646/isSearch--Y/searchStringbernard+stanley+hoyes/posters.htm?ui=CA7F6653064E485F94F6BA47CE7A0B96Project 11 – Foreshortening / Pop Objects – Audrey Flackhttp://www.audreyflack.com/Look at the Painting SectionProject 12 – Painting Picasso Inspired / Watch Picasso Video / Research in your journal Picasso and Cubism

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http://www.mrpicassohead.com/ The first part of your portfolio (the Breadth Section) should be complete by Winter Break. Organization of Work:All work is to be digitally photographed, saved in your class digital folder, and labeled as you complete each project for the Breadth Section. You may upload these images once AP accounts are set up by our AP coordinator, then by me, and then your own account. Label each image online with the size and media.

Concentration SectionYour work is to show development of an idea visually and your growth!

Choose a theme or concentration you wish to study in art. It may be a conceptual idea you pursue, (NOT a technique), a particular subject matter / genre, or the development of a theme you feel passionate about. You are to study and explore your subject. You are to consider l ight and shade, line quality, rendering of form, composition, surface manipulation, and illusion of depth are drawing issues that can be addressed through a variety of means as you incorporate the elements and principles that we have already discussed and studied in class as you draw. THINK in MARK MAKING TERMS.

RationaleA concentration is a body of related works describing an in-depth exploration of a particular artistic concern. It should reflect a process of investigation of a specific visual idea. It is NOT a selection of a variety of works produced as solutions to class projects or a collection of works with differing intents. Students should be encouraged to explore a personal, central interest as intensively as possible and are free to work with any idea in any medium that addresses three-dimensional design issues. The concentration should grow out of the student’s idea and demonstrate growth and discovery through a number of conceptually related works. In this section, the evaluators are interested not only in the work presented but also in visual evidence of the student’s thinking, selected method of working, and development of the work over time.

RequirementsFor this section, 12 images must be submitted, some of which may be details or second views. All images should be labeled with dimensions (height _ width _ depth) and material. The Digital Submission Web application incorporates space to add this information. Regardless of the content of the concentration, the works should be unified by an underlying idea that has visual and/or conceptual coherence. The choices of technique, medium, style, form, subject, and content are made by the student, in consultation with the teacher.The Web application for development and submission of the Concentration, and Breadth sections is available in late January.

The Concentration section includes spaces for a written commentary, which must accompany the work in this section, describing what the concentration is and how it evolved. Students are asked to respond to the following questions:1. What is the central idea of your concentration?

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2. How does the work in your concentration demonstrate the exploration of your idea? You may refer to specific images as examples.Although the responses themselves are not graded as pieces of writing, they provide critical information for evaluating the artwork. Thus, they should be well written. Students should be encouraged to formulate their responses to the first question early in the year, as they define the direction their concentration will take. Responses should be concise; the space available for them in the Web application is generous, but the number of characters that can be typed is limited to 500 characters for Question 1 and 1,350 characters for Question 2.

You are to research your theme, techniques, relevant issues, and artists / art history in your sketchbook. Cite your sources. Find varied ways of expressing your theme. This should be done progressively. Do not jump from project to project in an unrelated manner. The completed piece should be the point of departure for your next piece. Some preliminary work may be considered for your portfolio, but do not depend on these to be the bulk of your work.

At the beginning of each week, you are to individually discuss your projects and progress with me. We will critique both concept and execution. Have your sketchbook with you (where you have documented your ideas and research with mini sketches.) You will be graded accordingly. You may include detail work as part of your 12 images if they are details that inform from a larger project. Copy work is not valid for your Concentration work. I should clearly see where you have instilled your own ideas and developed your work with your personal vision and voice. If there are different materials you wish to use, see me so that I can get you your supplies if they are available. You must have 3 projects completed in January, 3 projects completed in February, 3 projects in March, and 3 in April. ALL should be QUALITY projects.

Any ?’s, Just Ask!

Concentration Project Checklist:JanuaryConcentration Statement___ Project 1___ Project 2___ Project 3February ___ Project 4___ Project 5

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___ Project 6March Concentration Statement - Revised ___ Project 7___ Project 8___ Project 9April ___ Project 10___ Project 11___ Project 12Concentration Statement – FINAL

Section I: QualityRationaleQuality refers to the mastery of drawing that should be apparent in the composition, concept, and execution of the works, whether they are simple or complex. There is no preferred (or unacceptable) style or content.

Protecting Actual Work Submitted for Section I (Quality) DrawingCare is taken to protect each student’s actual work while it is at the site where the evaluation takes place. However, the process of shipping to and from the AP Reading requires that the work be protected. During the evaluation process, portfolios are at times stacked flat in relatively tall piles, and the original works are, of course, taken out and put back in the portfolios at least once. All original works should be backed with some kind of rigid board or mounted. Work should never be shipped under glass. Do not submit work that may still be wet or that contains glue or other materials that may cause it to stick to the piece on top of it. RequirementsFor this section, students are asked to submit five actual works in one or more media. Students should carefully select the works that demonstrate their highest level of accomplishment in drawing. The works should be on fl at surfaces, such as paper, cardboard, canvas board, or unstretched canvas. Students receive all the portfolio materials for submission of the Quality section in May. Because of limitations imposed by the shipping and handling of the portfolios, (work submitted for Section I, Quality, may not be larger than 18" _ 24", including matting or mounting. Works for Quality that are smaller than 8" - 10" should be mounted on sheets that are 8" - 10" or larger. To protect the work, all work on paper should be backed or mounted. Mats are optional. Do not use reflective materials such as acetate or shrink-wrap because they cause glare that makes the work difficult to see. A sturdy, opaque overleaf that is hinged to ONE edge of the backing so that it may be easily lifted provides excellent protection and is highly recommended. Materials that may be smudged should be protected with fixative. If the work is matted, a neutral color for the mat is advisable. Works should not be rolled, framed, or covered with glass or Plexiglas.

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The works submitted may come from the Concentration and/or Breadth section, but they do not have to. They may be a group of related works, unrelated works, or a combination of related and unrelated works.

Student Signature ___________________________________________________________Class period_____AP Scoring GuidelinesAP® STUDIO ART2009 SCORING GUIDELINES

© 2009 The College Board. All rights reserved.Visit the College Board on the Web: www.collegeboard.com

Drawing Quality—Section I

Five works that demonstrate mastery of drawing—apparent in the composition, concept, andexecution of the works.6 EXCELLENT QUALITY. Work at this level:• is generally of excellent quality, although not all pieces will necessarily be at precisely the same level ofexpertise;• demonstrates an excellent understanding of drawing through composition, concepts, and execution;• shows obvious evidence of thinking and/or informed decision making;• addresses fairly complex visual and/or conceptual ideas;• shows an imaginative, inventive, and confident use of the elements and principles of design todemonstrate drawing skills;• uses materials effectively; technique is generally excellent;• may show successful engagement with experimentation and/or risk taking;• may be notable for sensitivity and/or subtlety.• Any use of digital or photographic processes shows excellent understanding of drawing concepts andskills.• Any apparent use of published or photographic sources or the work of other artists clearly provides avisual reference in the service of a larger, personal vision.5 STRONG QUALITY. Work at this level:• is generally strong, although there may be inconsistencies in overall quality;• demonstrates a strong understanding of drawing through composition, visual concepts, and execution;• has a strong sense of purpose or direction;• shows evidence of thinking;• shows evidence of confidence;• may have evocative qualities;• successfully engages with most aspects of technique and materials;• shows a strong grasp of the elements and principles of design, using them to demonstrate drawing skills.• Any use of digital or photographic processes shows strong understanding of drawing concepts and skills.

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School of the Art Institute of Chicago, July 19 – 23, 2010

• Any apparent use of published or photographic sources or the work of other artists shows a strong senseof the student’s individual transformation of the images.4 GOOD QUALITY. Work at this level:• is generally of good quality, although there may be inconsistencies in overall quality;• demonstrates a good understanding of drawing through composition, concepts, and execution;• has a sense of purpose or direction, but it is not fully resolved;• has some technical aspects that are handled well or some ideas that are handled well, but the two do notalways mesh and work together;• uses the elements and principles of design to demonstrate drawing skills.• Any use of digital or photographic processes demonstrates good understanding of drawing concepts andskills.• If there is apparent use of published or photographic sources or the work of other artists, the student’sindividual “voice” can be discerned.3 MODERATE QUALITY. Work at this level:

• is generally of moderate quality, although there may be inconsistencies in overall quality;• demonstrates a moderate understanding of drawing through composition, concepts, and execution;• shows a sense of real effort but does not demonstrate purpose or direction;• shows good technical skills but is weak in terms of ideas;• addresses ideas, but the technical skills needed to resolve them are weak;• shows an emerging understanding of the elements and principles of design to demonstrate drawingskills;• has erratic technique, with little or no sense of challenge.• Any use of digital or photographic processes shows moderate understanding of drawing concepts andskills.• If published photographic sources or the work of other artists are used, the work appears to be a nearlydirect reproduction; the student’s “voice” is minimal.2 WEAK QUALITY. Work at this level:• is generally awkward;• solves problems simplistically;• has little sense of exploration;• lacks a clear sense of intention;• shows little understanding of elements and principles of design; composition is weak;• shows limited artistic decision making.• Any use of digital or photographic processes shows minimal understanding of drawing concepts andskills.• The works are copies of published or photographic sources or the work of other artists; there is littlediscernible student “voice.”1 POOR QUALITY. Work at this level:• is generally inept;• shows little evidence of thinking/artistic decision making;• reveals a lack of understanding of technique;

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• shows a lack of awareness of tools/media;• uses trite solutions to visual problems;• is poorly composed, with minimal consideration given to elements and principles of design.• Any use of digital or photographic processes shows a lack of understanding of drawing concepts andskills.• The works are obviously direct copies of photographic sources or the work of other artists; there is no discernible student “voice.”BREADTHDrawing Breadth — Section III

Works demonstrating understanding of a variety drawing issues. Look for engagement with a range of:FormContentTonal ValuesLine QualityPerspective and Other SpatialSystemsCompositionDrawing SurfaceDepthPatternMeans of Representation andAbstractionMaterialsTechniquesStyles and so on …

6 EXCELLENT BREADTH• The work demonstrates serious, successful engagement with a broad range of drawing issuesand/or techniques.• The work successfully demonstrates command of stylistic as well as technical concerns.• The work is executed with confidence.• The work shows flexibility of thinking, as evidenced in the variety of works presented.• Form and content are effectively synthesized to communicate visual ideas.• A variety of materials are used effectively.• Most work demonstrates successful experimentation, risk taking, and/or ambition.• Overall, the work is of excellent quality.5 STRONG BREADTH• The work demonstrates engagement with a broad range of drawing issues.• A range of stylistic as well as technical drawing concerns is evident in the work.• The quality of the work is strong.• The work shows clear decision making; there is evidence of thinking.• The link between form and content is strong.• A range of materials is used, in most cases successfully.• The work may include some excellent pieces but address less than a strong range of drawing issues.• Overall, the work is of strong quality.4 GOOD BREADTH• The work demonstrates engagement with a reasonable range of drawing issues.• Technical skill in drawing is generally competent.

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• The work is of generally good quality; its success may be somewhat variable.• There is evidence of thinking in at least some of the works.• There is some relationship between form and content.• The work may demonstrate strong-to-excellent breadth of drawing issues but be of less than good quality.• The work may be of strong or excellent quality, without demonstrating breadth of experience.• Overall, the work is of good quality.3 MODERATE BREADTH• In general, the work shows engagement with a superficial range of drawing issues.• Technical skill in drawing is uneven and/or variable.• There is modest evidence of thinking/decision making in the work.• The relationship between form and content is unclear.• There may be a sense of experimentation, without a completely competent resolution or exploration of what is being attempted.• The work may demonstrate attempts at good breadth but be of less than moderate quality.• The work may be of good quality but with a narrow range of experience demonstrated.• Overall, the work is of moderate quality.2 WEAK BREADTH• Range of drawing issues addressed is very limited.• Solutions to the range of problems attempted may be simplistic.• Understanding of drawing issues appears to be undeveloped.• Technical skill in drawing is limited. Drawing tends to be awkward.• Evidence of thinking may be slight or present in only a few works.• There is little apparent relationship between form and content.• Some works may be of moderate quality but do not address a range of drawing issues.• There may be a moderate demonstration of breadth but with work of poor quality.• Overall, the work is of weak quality.1 POOR BREADTH• The range of drawing issues addressed is extremely limited.• Engagement with drawing issues is questionable and/or lacking.• Technique is clumsy and/or inept.• There is little, if any, evidence of thinking/decision making.• Form, material, and content are unconsidered.• Not enough work is presented to demonstrate breadth.• The images are virtually impossible to see.• Very little work is presented.• Overall, the work is of poor quality.

Drawing Concentration—Section II

A concentration is defined as “a body of work unified by an underlying idea that has visualcoherence.” In scoring concentrations, there are four major areas of concern.• Coherence and/or development—is the work presented actually a concentration?• Quality of the concept/idea represented—is there evidence of thinking and of focus?• Degree of development and investigation that is evident in the work—including theamount of work or number of pieces represented.• Quality of the work in both concept and technique, regardless of medium.Note: These four areas will necessarily appear in shifting relationships of relative strength and weakness. When the four are not even in the level of achievement they represent, they will be considered as a whole to arrive at the score for the section.

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Because this section is concerned with a process of growth and discovery, the work presented may span a range of levels of achievement. If this is the case, the higher level that is reached should be acknowledged in the score that is given.The scoring guidelines that follow provide examples of overall characteristics of concentrations that would merit each of the six scores.

6 EXCELLENT CONCENTRATION• There is an unmistakable connection between the idea of the concentration and the work presented.• The concentration engages the viewer with the work and the idea.• The work shows effective integration of concept and drawing skills.• Mastery of drawing techniques is strong to excellent.• The work shows informed risk taking and development beyond technical concerns.• An evocative theme is carried out.• The work demonstrates an original vision.• Overall, the work is of excellent quality.5 STRONG CONCENTRATION• The work and the concentration topic have a close relationship.• The idea of the concentration is good to strong.• There is evidence of thought in the work.• The work is technically competent; skill is evident.• There is evidence of effective pursuit of the idea.• There may be some less successful pieces, but overall, there is strong evidence of drawing competency.• The work shows a sense of transformation over time, although it may not be totally successful.• An evocative theme is investigated.• Overall, the work is of strong quality.

4 GOOD CONCENTRATION• There is a sense of concentration, and the work is related to the idea.• The drawing technique and skills are generally good.• Manipulation of ideas is evident.• Some growth and discovery are evident.• The work may be a concentration with technically competent drawing skills but with an insufficient sense of investigation.• Although the work is of strong or excellent quality, it is not a concentration.• Overall, the work is of good quality.3 MODERATE CONCENTRATION• The work is a concentration, but the topic is inadequately considered.• It may include several loosely related ideas.• It may be so broad that the student could not really explore an idea in depth.• The work may be inconsistently related to the idea.• Some growth is evident, but only moderate drawing skill is demonstrated.• Although the work may be of good quality, it is not a concentration.• Overall, the work is of moderate quality.2 WEAK CONCENTRATION• There is little investigation of the idea.• The idea is appropriate for a concentration, but the knowledge and understanding needed to execute it are not evident.• A concentration is presented, but the work is consistently weak in drawing quality.• The work may appear to constitute a good start, but it does not show sufficient investigation.• Although the work shows moderate drawing competence, it is not a concentration.• Quantity of work may be lacking.

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• Overall, the work is of weak quality.1 POOR CONCENTRATION• There is no sense of investigation.• The work shows little or no evidence of drawing competence.• The work may be a concentration, but drawing is of poor quality.• The idea is incoherent or not focused.• There is a lack of an underlying rationale that would link the work.• There is not enough work to represent a concentration.• The images are virtually impossible to see.• Overall, the work is of poor quality.

Additional resources:Ethics, Artistic Integrity, and PlagiarismAny work that makes use of (appropriates) other artists’ works (including photographs) and/or published images must show substantial and significant development beyond duplication. This is demonstrated through manipulation of the formal qualities, design, and/or concept of the source. The student’s individual “voice” should be clearly evident. It is unethical, constitutes plagiarism, and often violates copyright law simply to copy an image (even in another medium) that was made by someone else and represent it as one’s own.

Artists to research:

Renaissance Portraits: http://www.google.com/search?hl=en&rlz=1G1GGLQ_ENUS314&um=1&q=Renaissance%20Portraits&ie=UTF-8&sa=N&tab=iw , http://images.google.com/images?hl=en&rlz=1G1GGLQ_ENUS314&um=1&q=Renaissance%20Portraits&ie=UTF-8&sa=N&tab=wi

DaVinci: http://images.google.com/images?hl=en&rlz=1G1GGLQ_ENUS314&um=1&q=Da+Vinci+%2C+drawing

Abstract Expressionist: http://images.google.com/images?hl=en&rlz=1G1GGLQ_ENUS314&um=1&q=Abstract+Expressionist+Portraits , http://www.google.com/search?hl=en&rlz=1G1GGLQ_ENUS314&um=1&q=Abstract%20Expressionist%20Portraits&ie=UTF-8&sa=N&tab=iw

Frida Kahlo: http://www.google.com/search?hl=en&rlz=1G1GGLQ_ENUS314&q=Frida+Kahlo http://images.google.com/images?hl=en&rlz=1G1GGLQ_ENUS314&q=Frida%20Kahlo&um=1&ie=UTF-8&sa=N&tab=wi

Pablo Picasso: http://www.miracerros.com/artwork/g_picasso_0.htm ,

http://images.google.com/images?hl=en&rlz=1G1GGLQ_ENUS314&um=1&q=Pablo+Picasso%2C+portraits , http://www.google.com/search?hl=en&rlz=1G1GGLQ_ENUS314&um=1&q=Pablo%20Picasso%2C%20portraits&ie=UTF-8&sa=N&tab=iw , http://images.google.com/images?hl=en&rlz=1G1GGLQ_ENUS314&um=1&q=Picasso%2C+drawing

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Willem De Kooning: http://www.google.com/search?hl=en&rlz=1G1GGLQ_ENUS314&q=willem+de+kooning&revid=2053991378&ei=GlvJSfzvNY7htgeKifWTAw&sa=X&oi=revisions_inline&resnum=0&ct=broad-revision&cd=1 , http://images.google.com/images?hl=en&rlz=1G1GGLQ_ENUS314&q=willem%20de%20kooning&revid=2053991378&ei=GlvJSfzvNY7htgeKifWTAw&resnum=0&um=1&ie=UTF-8&sa=N&tab=wi

Kathe Kollwitz: http://www.google.com/search?hl=en&rlz=1G1GGLQ_ENUS314&um=1&ei=HFnJSa6AK56MmQfghNn5Ag&resnum=0&q=kathe%20Kollwitz&ie=UTF-8&sa=N&tab=iw http://images.google.com/images?hl=en&rlz=1G1GGLQ_ENUS314&um=1&ei=HFnJSa6AK56MmQfghNn5Ag&sa=X&oi=spell&resnum=0&ct=result&cd=1&q=kathe+Kollwitz&spell=1

Paul Ruiz: http://www.paulwruiz.com/ , http://www.facebook.com/pages/Paul-W-Ruiz-Visual-Artist/8611967729

Gustav Klimt: http://images.google.com/images?hl=en&rlz=1G1GGLQ_ENUS314&um=1&q=gustav+klimt%2CPortraits , http://www.google.com/search?hl=en&rlz=1G1GGLQ_ENUS314&um=1&q=gustav%20klimt%2CPortraits&ie=UTF-8&sa=N&tab=iw

Betty LaDuke: http://images.google.com/images?hl=en&rlz=1G1GGLQ_ENUS314&um=1&q=Betty+Laduke+Portraits

Chuck Close: http://images.google.com/images?hl=en&rlz=1G1GGLQ_ENUS314&um=1&q=chuck+closePortraits , http://www.google.com/search?hl=en&rlz=1G1GGLQ_ENUS314&ei=JV_JSdb0Dsurtgeik4mxAw&sa=X&oi=spell&resnum=0&ct=result&cd=1&q=chuck+close+Portraits&spell=1 , http://chuckclose.com/ , http://chuckclose.com/art.php

Alfred Gockel: http://www.art.com/gallery/id--a2131/alfred-gockel-posters.htm?ui=68E9BF48F8C54BC4ADF6DEA488520FB8

American Idol: http://episac.deviantart.com/art/David-Archuleta-American-Idol-79912365

Matisse: http://images.google.com/images?hl=en&rlz=1G1GGLQ_ENUS314&um=1&q=Matisse+Portraits%2C+drawing

Student work:

http://www.princetonol.com/groups/iad/artroom/Vivian/Vivian6.htmThe Still Life

Robert C. Jackson: http://www.robertcjackson.com/ http://www.robertcjackson.com/pages/gallery/index.htm

http://www.gallery1261.com/html_artists/jackson/jackson.htm?gclid=CKLRzeyNhZkCFQhdswodz3_hmg

PAUL BÉLIVEAU: http://www.ardengallery.com/Beliveau/paul_beliveau.htm

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LYNDA LOWE: http://www.lyndalowe.com/default.php

http://www.ardengallery.com/Lowe/lynda_lowe2.htm

http://www.gailseverngallery.com/index.php/component/gailsevern/view/artist/id/797

Audrey Flack: http://images.google.com/images?source=ig&hl=en&rlz=1R2SKPB_enUS328&q=Audrey+Flack&um=1&ie=UTF-8&ei=2D6USu_vCI_UMoD8_fkH&sa=X&oi=image_result_group&ct=title&resnum=1

Charles Bell: http://images.google.com/images?hl=en&rlz=1R2SKPB_enUS328&um=1&sa=1&q=Charles+Bell%2C+art&aq=f&oq=&aqi=&start=0

Nall: http://www.nallart.com/index.php?option=com_virtuemart&page=shop.browse&category_id=12&Itemid=50

Retrospective: http://www.nall.org/pressrelease/violata-pax-english.pdf

New work: http://www.nall.org/pressrelease/violata-pax-english.pdf

Violata Pax: http://www.nall.org/pressrelease/violata-pax-english.pdf

Alchemy: http://www.nall.org/pressrelease/violata-pax-english.pdf

The Self-Portrait / Mixed Media: http://images.google.com/images?hl=en&rlz=1G1GGLQ_ENUS314&um=1&q=Charles+Dwyer

Paul Ruiz: http://www.paulwruiz.com/ http://images.google.com/images?um=1&hl=en&rlz=1G1GGLQ_ENUS314&q=Paul+Ruiz%2C+art&btnG=Search+Images

Michelle Flanagan: http://www.drawingself.com/1997/personal.html

Resources: http://www.ardengallery.com/galleryartists.htm

Carol Gillott http://parisbreakfasts.blogspot.com/2006_07_01_archive.html

Slide Show: http://www.flickr.com/photos/parisbreakfast/sets/72057594114774269/detail/

CUPCAKES: http://parisbreakfasts.blogspot.com/2007/08/jadore-les-cupcakes.html

Color Combinations:http://parisbreakfasts.blogspot.com/2007/09/rouge-et-verte.html

Fancy Writing:http://parisbreakfasts.blogspot.com/2007/09/pages-from-past.html

Cups:http://parisbreakfasts.blogspot.com/2007/08/coreys-cups.html

Sketchbook:http://parisbreakfasts.blogspot.com/2007/08/pages-from-my-sketchbooks.html

Tricks of Watercolor:http://parisbreakfasts.blogspot.com/2007/07/tricks-of-watercolor-trade.html

Spoons:http://parisbreakfasts.blogspot.com/2007/07/spoon-collector.html

Georgia O’Keeffe: http://www.artinthepicture.com/artists/Georgia_Okeeffe/ http://www.artinthepicture.com/paintings/view.php?nr=235

http://www.okeeffemuseum.org/background/index.html

http://en.wikipedia.org/wiki/Georgia_O'Keeffe

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http://images.google.com/images?q=Georgia+O%27Keeffe&svnum=10&um=1&hl=en&start=20&sa=N&ndsp=20

http://www.albany.edu/~kh8475/womenartists.html

Paul Jackson http://www.pauljackson.com/

http://www.pauljackson.com/bio.asp

http://www.pauljackson.com/portfolio/larger.asp?id=21

http://www.pauljackson.com/portfolio/larger.asp?id=163

http://www.pauljackson.com/portfolio/larger.asp?id=140

http://www.pauljackson.com/portfolio/larger.asp?id=160

http://www.pauljackson.com/portfolio/larger.asp?id=155

http://www.pauljackson.com/hide-seek.asp#

Charles Bell - http://www.allposters.com/-sp/Marble-Swirl-Posters_i1249567_.htm

http://www.allposters.com/-st/Charles-Bell-Posters_c22526_.htm

http://www.excellentvirtu.com/charles_bell_art_gallery.htm

http://www.askart.com/AskART/B/charles_s_bell/charles_s_bell.aspx?ID=30202

Look at Lot 179 and Lot 262:

http://www.thecityreview.com/f04scon2.html

http://www.artnet.com/artist/2253/charles-s-bell.html

http://en.wikipedia.org/wiki/Charles_Bell_(painter ) http://www.art.com/asp/display_artist.asp? CRID=1636&RFID=054402&GCID=s15529x001&MTID=2&MKID=5525&keyword=Charles+Bell+art&CTID=645150167

Art Magazines and JournalsAmerican ArtistArt in AmericaThe International Review of African American ArtArt NewsStudies in Art EducationDrawingBell, Julian. 500 Self Portraits. London: Phaidon, 2004.Berry, William A. Drawing the Human Form: Methods, Sources, Concepts. 2nd ed.Englewood Cliffs, N.J.: Prentice Hall, 1994.Betti, Claudia, and Teel Sale. Drawing: A Contemporary Approach. 6th ed. Belmont,Calif.: Thomson Wadsworth, 2008.Brommer, Gerald F. Understanding Transparent Watercolor. Worcester, Mass.: DavisPublications, 1993.Brown, Clint and Cheryl McLean. Drawing From Life. 3rd ed. Belmont, Calif.:Thomson Wadsworth, 2004.Chaet, Bernard. The Art of Drawing. 3rd ed. New York: Harcourt Brace, 1983.

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Cody, John. Atlas of Foreshortening: The Human Figure in Deep Perspective. 2nd ed.New York: John Wiley, 2002.Enstice, Wayne, and Melody Peters. Drawing: Space, Form, Expression. 3rd ed. UpperSaddle River, N.J.: Prentice Hall, 2003.Goldstein, Nathan. The Art of Responsive Drawing. 6th ed. Upper Saddle River, N.J.:Pearson Prentice Hall, 2006.Goldstein, Nathan. Figure Drawing. 6th ed. Upper Saddle River, N.J.: Prentice Hall,2004.Kaupelis, Robert. Experimental Drawing. New York: Watson-Guptill, 1992.Loscutoff, Lynn Leon. Painters’ Wild Workshop: 12 Master Artists Help Expand YourCreativity. Gloucester, Mass.: Rockport Publishers, 2002.Laseau, Paul. Graphic Thinking for Architects and Designers. 3rd ed. New York: JohnWiley, 2000.Mendelowitz, Daniel M., and Duane Wakeham. Guide to Drawing. 7th ed. Belmont,Calif.: Thomson Wadsworth, 2007.Mittler, Gene A., and James D. Howze. Creating and Understanding Drawings. 3rd ed.New York: Glencoe, 2001.Montague, John. Basic Perspective Drawing: A Visual Approach. 4th ed. Hoboken, N.J.:John Wiley, 2005.Nicolaides, Kimon. The Natural Way to Draw: A Working Plan for Art Study. London:Souvenir, 2008.Rawson, Philip S. The Art of Drawing. Englewood Cliffs, N.J.: Prentice Hall, 1984.Ruby, Erik. The Human Figure: A Photographic Reference for Artists. New York: JohnWiley, 1999.Simmons, Seymour, and Marc S. A. Winer. Drawing: The Creative Process. New York:Simon and Schuster, 1992.St. Aubyn, Jacklyn. Drawing Basics. 2nd ed. Belmont, Calif: Thomson Wadsworth,

2007.

Syllabus # 440034v1 Submitted

Painting 1 – Color and DesignVivian Moreira Komando, Ph.D

Welcome to Painting I!This class is an investigation of color and design. We will look at the

work of various painters and styles as you develop your skills and your own style of painting. Below are listed the major assignments. You will also have research and mini studies in your sketchbook as

you prepare for your assigned paintings. You should have the following supplies for class. They can be

purchased at the Exeter bookstore.Painting Supplies:

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Artisan Water Mixable oils, Langnickel Palette Knife, Jones Palette Kit II, Palette Pad, Brushes, Sketchbook, Kneaded Eraser, Portfolio Star Products

Assignment 1 – Sweet Endings

Inspiration: Wayne Thiebaud

Assignment 2 – Still Life

Inspiration:

Georgia O’Keeffe and Paul Jackson and Charles Bell

Assignment 3 - Abstract   Expressionism

Inspiration: Hans Hofffman and Mark Rothko and Barnett Newman, & others on your work sheet

Assignment 4 – Choice

Inspiration: Look at links and select one painter that inspires you

Final Assignment – Self Portrait

Inspiration: Chuck Close and Nall

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Painting 1 – Color and DesignVivian Moreira Komando, PhD, NBCT

Assignment 1 – Sweet Endings

Inspiration: Wayne Thiebaudhttp://www.artchive.com/artchive/T/thiebaud.html#images

http://www.artnet.com/Artists/ArtistHomePage.aspx?artist_id=16543&page_tab=Artworks_for_sale

http://en.wikipedia.org/wiki/Wayne_Thiebaud

http://www.artcyclopedia.com/artists/thiebaud_wayne.html

http://hackettfreedman.com/templates/artist.jsp?id=THI

Cezanne said, “If you can draw a cube, a sphere, a pyramid...you can draw anything.”

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And desserts tend to take the form of strong abstract geometric shapes more than steaks, chops or mashed potatos...or broccoli.”Assignment:You will be creating a “SWEET ENDINGS” painting. It may be your favorite dessert, candy, ice cream, cup of tea, etc. Work out a preliminary composition to share with the class in your sketchbook. Apply watercolor washes to get an idea of the colors you wish to use. You will be learning about color theory, oil paint application, mixing / blending colors, and brush strokes for this painting through class demonstrations. Homework: Light / Shape / Form - Using Watercolors – as demonstrated in class.

Read About Wayne Thiebaud and Carol Gillott (and visit the web

sites listed) below and have 3 examples of their work in your

folder or sketchbook.

Unbalancing Acts: Wayne Thiebaud Reconsidered

...Then at the end of 1959 or so I began to be interested in a formal approach to composition. I'd been painting gumball machines, windows, counters, and at that point began to rework paintings into much more clearly identified objects. I tried to see if I could get an object to sit on a plane and really be very clear about it. I picked things like pies and cakes - things based upon simple shapes like triangles and circles - and tried to orchestrate them.

"Thiebaud's paintings of food and consumer goods, which first emerged in mature form in 1961-62 have become such a familiar part of our art historical landscape that the risks they first posed can easily be taken for granted. As already seen, the inclination towards depictions of commonplace objects from middle-class America - decidedly "blue collar" subjects in the hierarchies of still-life painting - began to emerge for Thiebaud in the mid-1950s, well before the romance with similar iconographies that characterized the Pop movement. Thiebaud's choices may gesture backwards to such precedents as Stuart Davis's Odol bottle, Gerald Murphy's safety razor, or even Marcel Duchamp's urinal, but they mostly embrace objects that happened to be close at hand and that impressed him as interesting in character or presence. Also important in this development was his experience in advertising design and, for example, his layouts of simple objects in drugstore ads.

"It was the cafeteria-type foods, of course, the cakes, pies, ice creams, hamburgers, hotdogs, canapes, club sandwiches, and other staples of the American diet - all of which have a stereotypical this-can-be-found-any-where-in-the-country-but-only-in- this-country quality - that brought Thiebaud most of his early notoriety. He described the almost giddy feelings he experienced with his first daring paintings of these subjects:

When I painted the first row of pies, I can remember sitting and laughing - sort of a silly relief - "Now I have flipped out!" The one thing that allowed me to do that was having been a cartoonist. I did one and thought, "That's really crazy, but no one is going to look at these things anyway, so what the heck.

"With this concentration on simple objects or groups of objects came simultaneously a much clarified means of

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representation -the "isolation of the object" and "interest in objective painting" to which Thiebaud had referred - the rapid development of which can be traced by comparing the Oakland Museum of California's fine Delicatessen Counter of 1961 with the Delicatessen Counter from 1962 in the Menil Collection. Already by the time of the earlier work, Thiebaud was pressing his subjects forward against the picture plane, simplifying the objects into basic formal units, and aligning them in strictly ordered progressions. A possibly coincidental relationship exists here with the comparably architectonic ordering principles seen in work by the turn-of-the-century American Realist John Peto, with whom Thiebaud also shares a love of vernacular objects. Undoubtedly more direct was the influence of still-life paintings by Giorgio Morandi, long admired by Thiebaud for their contemplative quiet, the palpable sense of protracted looking that they convey, and their delicate, varied effects achieved with seemingly minimal means. Not only is the basic organizational structure of such works germane to Thiebaud's paintings, but also their use of modulated light and discrete, slow-moving strokes to model the forms. Between the two delicatessen paintings under consideration, a process of even greater rationalization took place. In the Oakland Museum's picture, the alignment of forms is not as rigid as it would soon become. The positioning of the different objects - trays, containers, and cheeses - is still slightly loose, the countertop and bottom of the counter's window are angled slightly downward as they cross the picture plane, and the definition of individual shapes is somewhat rough and irregular. By the time of the Menil painting, these relationships had tightened considerably. The shelves and counters reach out now to grip the sides of the painting, forming a resolute, Mondrian-like grid. (Perhaps "Mondrian of the cake shops" is an equally valid epithet!) The brushwork is highly viscous but individual forms are nevertheless defined with increased clarity, and the colors also have brightened compared to the slightly grayed palette in the Oakland example.

"This signature style of Thiebaud's paint handling - the rich, smooth dragging of paint across a surface or around a shape in a way that both proclaims the luscious texture of oils and often transforms itself into the very material being depicted, from frosting or whipped cream to metal - is referred to by the artist as "object transference." Its origins can be traced not just to Morandi but also Thiebaud's interest in the bravura effects of such artists as Joaquin Sorolla, clearly apparent in the transitional Beach Boys of 1959, the work of Willem de Kooning, and the Bay Area Figurative painters Richard Diebenkorn and David Park. Thiebaud's mature style had crystallized rapidly. The enthusiasm that greeted his still lifes when exhibited in New York at the Allan Stone Gallery in the spring of 1962 and later that year in San Francisco at the M. H. de Young Memorial Museum reflect their strength and appeal.

"A great deal has been written about the possible meanings these still-life subjects held for Thiebaud beyond their purely visual delights and the problems in formal composition that they posed, though Thiebaud himself has warned against reading too much into their symbolism. “ The symbolic aspect of my work is always confusing to me - it's never been clear in my mind.... I tend to view the subject matter without trying to be too opaque with respect to its symbolic reference, mostly from the standpoint of problematic attractions - what certain aspects of form offer." Nevertheless, he has also indicated that the foods he returned to again and again did hold an emotional or poetic resonance relating to the demotic Americanism of his boyhood memories. These paintings were made from memory, from mental images, not from actual setups of food or other objects:

Most of [the objects] are fragments of actual experience. For instance, I would really think of the bakery counter, of the way the counter was lit, where the pies were placed, but I wanted just a piece of the experience. From when I worked in restaurants, I can remember seeing rows of pies, or a tin of pie with one piece out of it and one pie sitting beside it. Those little vedute in fragmented circumstances were always poetic to me."

"Thiebaud has also pointed out many times that his foods were always processed and prepared, not raw, "which mostly ... has to do with some sort of ritualistic preoccupation... that interest in the way we ritualize the food, play

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around with it." Thiebaud's personal associations with the objects in his paintings, part of the personal voice he has spoken of trying to attain and open to others, reflect back upon family picnics with tables full of home cooking, his work in restaurants and small stores, and the displays of food and consumer goods he admired in drugstores, bakeries, and hardware stores. Distinctly different from the imagery in Pop Art, which simultaneously draws upon and satirizes consumer society, mass production, and advertising, his work relates an honest, Thornton Wilderesque appreciation for aspects of American experience that for decades have slowly disappeared:

"[My subject matter] was a genuine sort of experience that came out of my life, particularly the American world in which I was privileged to be. It just seemed to be the most genuine thing which I had done."

"Thiebaud's language can be decidedly low-key and limited in its formal agendas, but even then, his objects say a lot about the people who make them and enjoy them. They also comment on the abundance that is part of American society and the longing or desires that go with it: desserts lined up in rows stretching far into the distance like trees in a landscape but held separate from the viewer by the glass of window or case. The tone, however, is celebratory, not negative.

Commonplace objects are constantly changing, and when I paint the ones I remember I am like Chardin tattling on what we were. The pies, for example, we now see are not going to be around forever. We are merely used to the idea that things do not change.

- By Steven A Nash, in "Wayne Thiebaud: A Paintings Retrospective"

Look at a CONTEMPORARY ARTIST WHO USES THE SAME SUBJECT MATTER AS THIEBAUD:

Carol Gillott http://parisbreakfasts.blogspot.com/2006_07_01_archive.html

Slide Show: http://www.flickr.com/photos/parisbreakfast/sets/72057594114774269/detail/

CUPCAKES: http://parisbreakfasts.blogspot.com/2007/08/jadore-les-cupcakes.htmlColor Combinations: http://parisbreakfasts.blogspot.com/2007/09/rouge-et-verte.html Fancy Writing: http://parisbreakfasts.blogspot.com/2007/09/pages-from-past.htmlCups: http://parisbreakfasts.blogspot.com/2007/08/coreys-cups.htmlSketchbook: http://parisbreakfasts.blogspot.com/2007/08/pages-from-my-sketchbooks.html Tricks of Watercolor: http://parisbreakfasts.blogspot.com/2007/07/tricks-of-watercolor-trade.htmlSpoons: http://parisbreakfasts.blogspot.com/2007/07/spoon-collector.html

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Painting 1 – Color and DesignVivian Moreira Komando, PhD, NBCT

Assignment 2 – Still Life

Inspiration:

Georgia O’Keeffe

http://www.artinthepicture.com/artists/Georgia_Okeeffe/ http://www.artinthepicture.com/paintings/view.php? nr=235

http://www.okeeffemuseum.org/background/index.html

http://en.wikipedia.org/wiki/Georgia_O'Keeffe

http://images.google.com/images?q=Georgia+O%27Keeffe&svnum=10&um=1&hl=en&start=20&sa=N&ndsp=20

http://www.albany.edu/~kh8475/womenartists.html

Paul Jackson

http://www.pauljackson.com/http://www.pauljackson.com/bio.asp

http://www.pauljackson.com/portfolio/larger.asp?id=21

http://www.pauljackson.com/portfolio/larger.asp?id=163

http://www.pauljackson.com/portfolio/larger.asp?id=140

http://www.pauljackson.com/portfolio/larger.asp?id=160

http://www.pauljackson.com/portfolio/larger.asp?id=155

http://www.pauljackson.com/hide-seek.asp#

and Charles Bell

http://www.allposters.com/-sp/Marble-Swirl-Posters_i1249567_.htm

http://www.allposters.com/-st/Charles-Bell-Posters_c22526_.htm

http://www.excellentvirtu.com/charles_bell_art_gallery.htm

http://www.askart.com/AskART/B/charles_s_bell/charles_s_bell.aspx?ID=30202

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Look at Lot 179 and Lot 262:

http://www.thecityreview.com/f04scon2.html

http://www.artnet.com/artist/2253/charles-s-bell.html

http://en.wikipedia.org/wiki/Charles_Bell_(painter ) http://www.art.com/asp/display_artist.asp? CRID=1636&RFID=054402&GCID=s15529x001&MTID=2&MKID=5525&keyword=Charles+Bell+art&CTID=645150167

Assignment:You will be creating a Still Life painting. Many artists compose their Still Life work with flowers, fruits, and everyday objects. My gift to you is your choice of any 5 crayons. Make a water color still life study that includes these crayons. Now research your INSPIRATION (with links) above. Have 3 images from each artist and a bio in your folder. Select the artist that inspires you the most and create your own still life composition. Will you be inspired by the close ups of flowers by Georgia O’Keeffe? Will Paul Jackson’s work, where he includes crayons, be your source of compositional mastery? Or will Charles Bell’s work, where his nostalgic subjects of toys and marbles be the source of inspiration for your new painting?Homework: Light / Shape / Form - Using Watercolors – as demonstrated in class. Compose your crayons for a watercolor sketch. After a class critique of these paintings, work out a preliminary composition in your sketchbook for your larger oil painting to share with the class. Apply watercolor washes to get an idea of the colors you wish to use. If you set up a still life in your dorm room – photograph it so you can set it up in class in the same manner. If you are using flowers – get outside and photograph some of the flowers or go to Walmart / Stop and Shop, etc. to buy some flowers. DO NOT PICK FLOWERS FROM ANYONE’S GARDEN WITHOUT PERMISSION FROM THE OWNER. And if you have some vintage toys, bring them to set up your still life.

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Painting I - Abstract   Expressionism

Explore the world of Abstract art – some past and some present. You will be composing and painting your own abstract starting on November 2. Be prepared to speak about abstract art in class on Friday. Follow links, have 3 examples of the work of 4 different abstract artists (12 images). READ about the artists as well.

The Golden WallBy Hans Hoffman Featured on the West Valley College web site: Abstract Expressionism: Fast Action Paintinghttp://instruct.westvalley.edu , http://en.wikipedia.org/wiki/Hans_Hofmann

HANS HOFMANN http://www.hanshofmann.org/

Hans Hofmann (1880-1966) is one of the most important figures of postwar American art. Celebrated for his exuberant, color-filled canvases, and renowned as an influential teacher for generations of artists--first in his native Germany, then in New York and Provincetown—Hofmann played a pivotal role in the development of Abstract Expressionism. As a teacher he brought to America direct knowledge of the work of a celebrated group of European modernists (prior to World War I he had lived and studied in Paris) and developed his own philosophy of art, which he expressed in essays which are among the most engaging discussions of painting in the twentieth century, including "The Color Problem in Pure Painting—Its Creative Origin." Hofmann taught art for over four decades; his impressive list of students includes Helen Frankenthaler, Red Grooms, Alfred Jensen, Wolf Kahn, Lee Krasner, Louise Nevelson and Frank Stella. As an artist Hofmann tirelessly explored pictorial structure, spatial tensions and color relationships. In his earliest portraits done just years into the twentieth century, his interior scenes of the 1940s and his signature canvases of the late 1950s and the early 1960s, Hofmann brought to his paintings what art historian Karen Wilkin has described as a "range from loose accumulations of brushy strokes…to crisply tailored arrangements of rectangles…but that somehow seems less significant than their uniform intensity, their common pounding energy and their consistent physicality."

Hofmann was born Johann Georg Hofmann in Weissenberg, in the Bavarian state of Germany in 1880 and raised and educated in Munich. After initial studies in science and mathematics, he began studying art in 1898. With the support of Berlin art patron Phillip Freudenberg, Hofmann was able to move to Paris in 1904, taking classes at both the Académie de la Grande Chaumière (with fellow student Henri Matisse) and the Académie Colarossi. In Paris Hofmann observed and absorbed the innovations of the most adventurous artists of the day including Pablo Picasso, Georges Braque, Robert and Sonia Delaunay, Fernand Léger and Henri Matisse, many of whom he met and became

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School of the Art Institute of Chicago, July 19 – 23, 2010

friendly with. Hofmann would remain in Paris until 1914 when the advent of World War I required him to return to Germany. In 1915, unable to enroll in the military due to a respiratory ailment, Hofmann opened an innovative school for art in Munich, where he transmitted what he had learned from the avant-garde in Paris. The school’s reputation spread internationally, especially after the war, attracting students from Europe and the United States, thus beginning what was to be almost a lifetime of teaching for Hofmann.

At the invitation of Worth Ryder, one of his former students, Hofmann went to the University of California, Berkeley, to teach in the summer of 1930. He returned to Berkeley the following year, a momentous one which also saw his first American solo exhibition at the Palace of the Legion of Honor in San Francisco. Because of the deteriorating circumstances in pre-war Germany, Hofmann made the decision to remain in the United States permanently (his wife, Maria, would join him in 1939). In 1932 he settled in New York where he again taught art, first at The Art Students League, then, a year later, at his own school (adding in 1935 summer sessions in Provincetown, Massachusetts, where he also lived). For eager young Americans, most of whom had traveled little—constrained in the 1930s by the Depression and in the 1940s by World War II and its aftermath—contact with Hofmann served as an invaluable alternative for direct contact with the European sources of Modernism. By 1960 noted art historian Clement Greenberg called Hofmann "in all probability the most important art teacher of our time." His school would remain a vital presence in the New York art world until 1958 when the seventy-eight year old Hofmann decided to devote himself full-time to painting.

Although Hofmann did not come to the United States until he was over fifty, he is embraced as an American painter and regarded as a key member of the Abstract Expressionists. For all his connections to that movement, and to abstraction itself, his work was nonetheless and by his own admission firmly rooted in the visible world. He combined Cubist structure and intense Fauvist color into a highly personal visual language with which he endlessly explored pictorial structures and chromatic relationships. Hofmann created volume in his compositions not by rendering or modeling but through contrasts of color, shape and surface. Beginning in the mid-1940s with a one-person exhibition at Peggy Guggenheim’s The Art of This Century Gallery in New York, Hofmann’s paintings were the subject of exhibitions at major institutions such as the Addison Gallery of American Art, the Whitney Museum of American Art and The Museum of Modern Art. Hofmann was also one of four artists representing the United States at the Venice Biennale in 1960.

Hofmann was close to 70 years old when, in a dazzling burst of energy he painted most of the large, highly recognizable canvases of the late 1950s and 1960s that assured his reputation. With their stacked, overlapping and floating rectangles and clear, saturated hues, these extraordinary paintings continued up until the end of his remarkable long career what Hofmann had first explored as an artist over six decades earlier.

http://www.allposters.com/-st/Hans-Hofmann-Posters_c956_s25239_.htm

Mark   Rothko http://en.wikipedia.org/wiki/Mark_Rothko

http://www.thefineartcompany.co.uk/abstract/abstract-LW6.htm

http://www.allposters.com/-st/Mark-Rothko-Posters_c956_s27892_.htm August 19th, 2007

Mark Rothko, aka Marcus Rothkowitz (1903-1970), is respected as one of the most talented abstract-expressionist artists although he did not appreciate being titled as such. In 1923 Rothko was visiting a

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friend at the Art Students League of New York where he witnessed a group of students sketching a nude model, and it was then that Rothko decided that he would also become an artist. In fall of that year he enrolled in the same school and began taking classes from Max Weber, a still-life artist who influenced Rothko’s earliest paintings. Because he was in New York, Rothko was in an environment in which he was able to learn a lot about different types of art such as German Expressionism and Surrealism. By 1929 Rothko began teaching his own classes at the Center Academy where he taught for the next 23 years. While there, he spent a great deal of time with Adolph Gottlieb, Barnett Newman, Joseph Solman, John Graham, and Milton Avery, all fellow artists. He eventually found inspiration in mythology and philosophy, the latter after having read The Birth of Tragedy by Nietzsche. It was then that Rothko began addressing spiritual and mythological subjects, both of now which he considered to be a requirement. He considered himself to be a mythmaker and wrote that “the exhilarated tragic experience” was for him “the only source of art.”

In 1943 he spent some time at Berkeley where he became influenced by Clyfford Still, who is said to have influenced his latter works. In describing this time, Rothko wrote, “I insist upon the equal existence of the world engendered in the mind and the world engendered by God outside of it. If I have faltered in the use of familiar objects, it is because I refuse to mutilate their appearance for the sake of an action which they are too old to serve, or for which perhaps they had never been intended. I quarrel with surrealists and abstract art only as one quarrels with his father and mother; recognizing the inevitability and function of my roots, but insistent upon my dissent; I, being both they, and an integral completely independent of them.” In the late 1940’s Rothko’s paintings became less surrealistic and mythological, and more abstract. This multiform style became Rothko’s signature work and was considered a breath of fresh air.

In 1950, Rothko traveled throughout Europe and visited the most noteworthy museums and architectural structures there. As he grew in popularity more people became interested in his multiform artwork which they described as abstract. Despite this, Rothko denounced that he was an abstract artist and wrote that his interest lied “only in expressing basic human emotions — tragedy, ecstasy, doom, and so on. And the fact that a lot of people break down and cry when confronted with my pictures shows that I can communicate those basic human emotions . . . The people who weep before my pictures are having the same religious experience I had when I painted them. And if you, as you say, are moved only by their color relationship, then you miss the point.” In 1960 Rothko ended his own life and his legacy continued with the famous Rothko Chapel, his life works, and influence on art.

Featured Paintings

Rothko

White Over Red

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School of the Art Institute of Chicago, July 19 – 23, 2010

Rothko

No. 14 (White and Greens…)

Orange and Yellow by Mark   Rothko

BARNETT Newman - http://www.tate.org.uk/modern/exhibitions/newman/default.htm

Newman's paintings are impossible to grasp from reproductions. They require us to stand before them, close enough to experience all their nuances of colour and structure. So adamant was Newman about the way his art should be viewed that he once typed a statement and stuck it to the gallery wall instructing people to stand at only a 'short distance' from his canvases. Seen in proximity, Newman believed that his work could engender feelings of heightened self-awareness. 'I hope that my painting has the impact of giving someone, as it did me, the feeling of his own totality, of his own separateness, of his own individuality,' he said.

Though Newman always insisted on the rich emotional content of his work, for most of his life it met with incomprehension and charges of 'emptiness'. He kept nothing he made before he was nearly forty years old, and over the rest of his career produced only around 120 paintings. It was not until he was nearly sixty that he began to be recognised as one of America's foremost artists. Born in 1905 in New York, the son of Polish-Jewish immigrants, Newman grew up in the Bronx, and in his early career was known as a critic rather than a painter. Politically committed, he counted himself an anarchist, and in 1933 offered himself as a candidate for mayor of New York City with a manifesto calling for 'action by men of culture'. He came of age as an artist after the Second World War, when, together with contemporaries such as Jackson Pollock, Mark Rothko, Adolph Gottlieb and Clyfford Still, he developed a new style of painting, Abstract Expressionism.The intervening years have seen Newman variously described as an exemplar of high modernism, a practitioner of the art of the sublime, a precursor of Minimalism, an existentialist, and a spiritual artist fascinated by Jewish mysticism. For his own part, he declared in 1947, just as he arrived at his mature style, that any art worthy of its name should address 'life', 'man', 'nature', 'death' and 'tragedy'. Subsequently, such pronouncements became infrequent, and he preferred to leave the paintings to speak for themselves.

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School of the Art Institute of Chicago, July 19 – 23, 2010

Enlarge  Description

Concord, 1949Barnett Newman (American, 1905–1970)http://en.wikipedia.org/wiki/Barnett_Newman Oil and masking tape on canvas; 89 3/4 x 53 5/8 in. (228 x 136.2 cm)George A. Hearn Fund, 1968 (68.178)© Barnett Newman Foundation

http://en.wikipedia.org/wiki/Barnett_Newman Images:http://www.porges.net/BarnettNewman.html http://www.allposters.com/-sp/The-Name-I-Posters_i1683057_.htm

AND NOW YOUTUBE PRESENTS CONTEMPORARY ABSTRACT PAINTING:

Dream by D. Lane   Taylor

DreamBy: D. Lane Taylor

The abstract expressionist art of D. Lane Taylor  at Deviant Art.

http://www.youtube.com/watch?v=gTJ2bQU3neo

http://www.youtube.com/watch?v=gTJ2bQU3neo

Heidi Vaught http://www.youtube.com/watch?v=5E72h3XU26ghttp://www.youtube.com/watch?v=ic471LFfn4c

"COLORS" By Gino Savarinohttp://www.youtube.com/watch?v=bgGAsuz_Bwo

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Hal Schwartzehttp://www.youtube.com/watch?v=0qLPlI06zXE , http://www.youtube.com/watch?v=UbsjI7uDmHY ,http://www.youtube.com/watch?v=13OZyfnk78o

LIVE Gold Abstract Painting - John Deecken USING AN OLD CANVAShttp://www.youtube.com/watch?v=iUpjSiXX1Ig Time Lapse Speed Painting Abstract Landscape art by Gagnonhttp://www.youtube.com/watch?v=NJVghzS6V3Q

Painting II & Drawing II, Winter 2010Instructor: Vivian Moreira Komando, Ph.D

Welcome to Drawing II and Painting IIThe goal of this class is to challenge your creative spirit to create work that focuses on your exploration of concepts and stylistic development within the framework of projects and topics assigned. This advanced course also seeks to strengthen your technical, visual, and conceptual skills, as well as your

resources. You will work with familiar media and also be introduced to alternate methods of expressing yourself. This is an individual journey for each of you, which you may consider a parallel universe with your peers in class. Your paths may be different or similar, yet it is an adventure that will be unique to each of you, and my hope is that you will discover new worlds

and new visions.Paz,

Mrs. KAssignment 1Get Out of the BoxIntroduction to the term with a large (at least 4’ – yes that is feet – tall) piece that results in an imaginative, expressive portrait.Requirements: VIEW the portrait drawing video on youtube: http://www.youtube.com/watch#!v=RiUfVKPEKxU&feature=related Also research artists from the links below and work with available class resources. Quality of thought as well as of work will determine your grade.

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Incorporate some of your research into your piece. You are to plan out prelim work in your sketchbooks.View in class: LG Portraits ImagesArtists to research:Renaissance Portraits: http://www.google.com/search?hl=en&rlz=1G1GGLQ_ENUS314&um=1&q=Renaissance%20Portraits&ie=UTF-8&sa=N&tab=iw , http://images.google.com/images?hl=en&rlz=1G1GGLQ_ENUS314&um=1&q=Renaissance%20Portraits&ie=UTF-8&sa=N&tab=wi DaVinci: http://images.google.com/images?hl=en&rlz=1G1GGLQ_ENUS314&um=1&q=Da+Vinci+%2C+drawing

Gabriel Moreno http://www.as-i-am.fr/dose/index.php?post/2009/05/03/Gabriel-Moreno http://images.google.com/imgres?imgurl=http://4.bp.blogspot.com/_62qAbXImgKA/SmOLr17HDRI/AAAAAAAAAxU/apMYkwSHX08/s400/gabriel%2Bmoreno%2B-%2Bpajaro.jpg&imgrefurl=http://ipaintmymind.blogspot.com/2009/07/gabriel-moreno.html&usg=__5uEzUvROX7LI17ewcsFs6c13r7I=&h=400&w=397&sz=44&hl=en&start=7&sig2=k4GGcuFt201mlLbmy3kRAQ&um=1&itbs=1&tbnid=RgVjb4oYf3PRAM:&tbnh=124&tbnw=123&prev=/images%3Fq%3Dgabriel%2Bmoreno%26um%3D1%26hl%3Den%26rlz%3D1G1GGLQ_ENUS314%26tbs%3Disch:1&ei=g6aqS5izCIT7lwez9YTjAQ Assignment 2The Still LifeRobert C. Jackson: http://www.robertcjackson.com/ http://www.robertcjackson.com/pages/gallery/index.htm http://www.gallery1261.com/html_artists/jackson/jackson.htm?gclid=CKLRzeyNhZkCFQhdswodz3_hmgPAUL BÉLIVEAU: http://www.ardengallery.com/Beliveau/paul_beliveau.htmLYNDA LOWE: http://www.lyndalowe.com/default.phphttp://www.ardengallery.com/Lowe/lynda_lowe2.htmhttp://www.gailseverngallery.com/index.php/component/gailsevern/view/artist/id/797Audrey Flack: http://www.audreyflack.com/AF/index.php?name=photorealism Charles Bell: http://www.google.com/images?hl=en&q=charles+bell+artist&um=1&ie=UTF-8&source=univ&ei=85c7TKmHCIG8lQf48-

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H7BQ&sa=X&oi=image_result_group&ct=title&resnum=4&ved=0CDMQsAQwAw Nall: http://www.nallart.com/index.php?option=com_virtuemart&page=shop.browse&category_id=12&Itemid=50 Click on these:Retrospective: http://www.nall.org/pressrelease/violata-pax-english.pdf New work: http://www.nall.org/pressrelease/violata-pax-english.pdfViolata Pax: http://www.nall.org/pressrelease/violata-pax-english.pdfAlchemy: http://www.nall.org/pressrelease/violata-pax-english.pdfAssignment 3 - CHOICEFINAL Assignment The Self-Portrait / Mixed MediaResources:http://images.google.com/images?hl=en&rlz=1G1GGLQ_ENUS314&um=1&q=Charles+Dwyer http://www.paulwruiz.com/ http://images.google.com/images?um=1&hl=en&rlz=1G1GGLQ_ENUS314&q=Paul+Ruiz%2C+art&btnG=Search+Images Michelle Flanaganhttp://www.drawingself.com/1997/personal.htmlResources:http://www.ardengallery.com/galleryartists.htm

Vivian Moreira Komando, Ph.DPainting II and Drawing II Spring 2010

Assignment Text in ArtDue April 8thThis assignment will investigate how artists incorporate text into their work and the message they are giving. Please research Rodney White, Jenny Holzer (truisms), and Barbara Kruger. Some of the work has a vintage look and some is very graphic looking. There are some links to help you start

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your research below. Please have 3 images from each artist’s works in your sketchbook as well as information about the art they create.Your project is to have your own text – made up by you after looking at the work for your research. Your technique will be an investigation of layering and surface manipulation, as well as a consideration of text / font styles. Think vintage as you plan and investigate vintage labels and posters. You need 2 - 3 sketch ideas in your sketchbook by Friday’s class. We will go over your research on Thursday, and I will give you your canvas or drawing paper. If you are ready to work on Thursday – GREAT!

Rodney Whitehttp://www.prints.com/art.php?artist_id=15648&sort=00&RF=1&gclid=CIuSrPSUlZ8CFdx05QodUkGLfwhttp://www.youtube.com/watch?v=PD5y4xT2kjchttp://images.google.com/images?hl=en&rlz=1R2ADFA_enUS349&q=rodney%20white%20art&um=1&ie=UTF-8&resnum=6&sa=N&tab=vi Jenny Holzer – Wait and the beliefs change on the web page:http://www.adaweb.com/project/holzer/cgi/pcb.cgihttp://www.youtube.com/watch?v=QeOOFKzQxS0&feature=channel http://www.youtube.com/watch?v=VkjOK6EsqJs&feature=related http://www.youtube.com/watch?v=8GbYRaVyl9M http://images.google.com/images?sourceid=navclient&rlz=1T4ADFA_enUS349US352&q=jenny+holzer+truisms&um=1&ie=UTF-8&ei=RFhHS7-BDZOltgfFz_H1AQ&sa=X&oi=image_result_group&ct=title&resnum=5&ved=0CB8QsAQwBA Barbara Krugerhttp://www.pbs.org/art21/artists/kruger/index.html http://www.eng.fju.edu.tw/Literary_Criticism/feminism/kruger/kruger.htm http://images.google.com/images?source=ig&hl=en&rlz=&q=Barbara+Kruger&um=1&ie=UTF-8&ei=vPJIS7WTC4iXtge00-TkDQ&sa=X&oi=image_result_group&ct=title&resnum=1&ved=0CBwQsAQwAA

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http://www.pbs.org/cgi-registry/mediaplayer/videoplayer.cgi?playertype=quicktime&speed=hi&;playeraddress=videoplayer.cgi;media=%2Fart21%2FBK_video_lo.rm%2C%2Fart21%2FBK_video_hi.rm%2C%2Fart21%2FBK_video_lo.mov%2C%2Fart21%2FBK_video_hi.mov%2C%2Fart21%2FBK_video_lo.wmv%2C%2Fart21%2FBK_video_hi.wmv;title=Opening%20segment%20by%20Barbara%20Kruger%20with%20John%20McEnroe;widescreen=true;playertemplate=%2Fart21%2FTemplates%2Fart21_mp.html Vintagehttp://www.enjoyart.com/fairs_circus_expos.htm http://www.enjoyart.com/goodhousekeeping.htmhttp://www.enjoyart.com/musicinstruments.htmhttp://www.enjoyart.com/officesupplyads.htmhttp://www.enjoyart.com/schoolscollegeads.htmhttp://www.enjoyart.com/sewingmachineads.htmhttp://www.enjoyart.com/prestretchedcanvasvintageart.htmhttp://www.enjoyart.com/auto_racing.htmhttp://www.enjoyart.com/dance.htmhttp://www.enjoyart.com/gasoline_tires_oil.htmhttp://www.enjoyart.com/aviation.htm Vintage Labelshttp://www.labelcollector.com/

Assignment 3ChoiceDue Monday, February 8 th

Your choice – but you must have an artist reference! Go on BlackBoard and review the Power Point on Drawing that I showed at the beginning of the term for ideas for your last 2 assignments. Some artists to research if you still don’t have an idea – Betty LaDuke: http://images.google.com/images?hl=en&um=1&sa=1&q=betty+laduke&aq=f&oq=&aqi=&start=0 ,

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Valery Milovic http://www.fluxfire.com/ , Sheppard Fairey http://www.neublack.com/art-design/shepard-fairey-jonathan-levine-gallery/ , Nall http://www.nallart.com/index.php?option=com_virtuemart&page=shop.browse&category_id=12&Itemid=50 , Gallery -http://www.gowlangsfordgallery.co.nz/artists/anthonygoicolea/default.asp?artwork=167 Lori Field http://www.lorifieldfineart.com/Asset.asp?AssetID=4950&AKey=KMCEL7Y3

Final AssignmentProposalDue Final ClassProposal for what you want to do as your final. Again you must have an inspiration artist! You may be inspired by any artist we have looked at this term or any new artist.

Senior Portfolio

Vivian Moreira Komando, PhD, NBCT

Name: ______________________________

Puzzling Viewpoints

Life can be viewed as a puzzle, which we live to solve. There are problems that need solutions. When pieces are missing, one needs vision to complete the big picture. Your new art project is to be executed using the jigsaw puzzle as the vehicle to your expression. You may work in any medium to create your piece. It may be a drawing, painting, ceramic work, photography, digital, mixed media, etc. You

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may literally incorporate puzzle pieces or create your own puzzle pieces out of any art media. BUT, your work must use a jigsaw puzzle format to convey your idea.

So, what puzzles you? Is it a social statement (think Soraida)? Are you a peace activist? Are human rights puzzling as to the role you play? And what about the human condition? Where does change need to occur? What exactly is happening in the world that perplexes you – and what do you want to say about it?

Research, of course, to help you! Think Activist as you research.)For the people listed below – One picture of the person (if available), a quote from the person, and what they did that was significant or made a difference to a group or groups of people:

1. Aeschylus' Agamemnon. Explain the quote: "in our sleep, pain which we cannot forget falls drop by drop upon the heart until, in our own despair, against our will, comes wisdom through the awful grace of God."

2. Martin Luther King 3. Robert Kennedy 4. Mother Teresa5. Gandhi6. Anne Frank7. Che Guevara8. Jackie Robinson9. Billy Graham10. Amelia Earhart11. Sadako12. Your hero – up to three people here.

Ideas – Answer in your art journal before getting supplies:

1. What issues do you want to address?2. What inspires you?3. What do you want to see changed?4. What part do you play?5. How do you plan to explore your ideas visually?6. 3 Sketches / proposals for your project7. Artists that are influencing the way you will work.

The AP Studio Art Drawing Portfolio

http://apcentral.collegeboard.com/apc/members/exam/exam_questions/2182.html#name9

More About AP Studio Art: Drawing

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AP Exam Formats

About Studio Art Digital SubmissionThe Drawing PortfolioPortfolio Requirements at a GlanceQuality with Student SamplesConcentration with Student SamplesBreadth with Student SamplesScoring GuidelinesStudent Performance Q&AGrade DistributionsScoring StatisticsThe Studio Art Poster

The Drawing PortfolioA brief description of the Drawing portfolio follows below. Complete descriptions of all the portfolios can be found in the Course Description for AP Studio Art (.pdf/391KB). The AP Studio Art poster also contains descriptions of all of the portfolios. For more information on the poster, click on the link above.

The Advanced Placement Program in Studio Art: Drawing is a performance-based visual exam. Each student develops and submits a portfolio that serves as a direct demonstration of achievement. The term "drawing" is used very broadly; all sorts of art that involves directly making marks on a surface can fit into this portfolio. This includes not only work in traditional drawing media -- such as pencils, ink, and pastels -- but also many kinds of painting, printmaking, and other forms of expression.

In the Drawing portfolio, mastery of drawing can be demonstrated through a wide range of approaches and media. Light and shade, line quality, rendering of form, composition, surface manipulation, and the illusion of depth are drawing issues that can be addressed through a variety of means, which could include painting, printmaking, mixed media, etc. Abstract, observational, and inventive works may be submitted. The range of marks used to make drawings, the arrangement of the marks, and the materials used to make the marks are endless.

Videotapes and three-dimensional work may NOT be submitted for the Drawing portfolio. Any work submitted in the Drawing portfolio that incorporates digital or photographic processes must address drawing issues such as those listed above, with emphasis on mark-making. Using computer programs merely to manipulate photographs through filters, adjustments, or special effects is not appropriate for the Drawing portfolio. Students' work (in either traditional or technologically manipulated media) that makes use of photographs, published images, and/or other artists' works or computer software must show development beyond duplication. This development may be demonstrated through the manipulation of the formal qualities, design, and/or concept of the original work.

Portfolio Requirements at a Glance

The portfolio for Studio Art: Drawing requires submissions in three distinct sections.

SECTION I: Quality Five actual drawings; maximum size is 18" x 24"

SECTION II:

Concentration12 images; some may be details

SECTION III: Breadth

12 images of 12 different works; one image of each is submitted

There's nothing quite like looking at actual art work, so the first section of the portfolio consists of five works that are limited only by size -- they have to fit into the 18-by-24-inch portfolio envelope. On the other hand, there's a limit to how much actual work can be physically accommodated for scoring, so the other two sections of the portfolio are submitted as digital images. Although digital images provide a less direct view than looking at actual works, they also offer a tremendous advantage: documenting art work in this way means that students are free to work as large as they like for the

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rest of the portfolio.

Quality with Student SamplesThe Quality section promotes the development of a sense of excellence in art. For this section, students submit five works that best demonstrate excellence. There are no preconceptions about what the works will look like -- they may have been created quickly or over a long period of time; they may be drawn from observation, imagination, or a combination. The five works chosen for the Quality section may come from the student's Concentration section and/or Breadth section, but they don't have to. They may be a group of related works, unrelated works, or a combination of related and unrelated works.   2009 Studio Art Drawing: Quality Samples   2008 Studio Art Drawing: Quality Samples   2007 Studio Art Drawing: Quality Samples   2006 Studio Art Drawing: Quality Samples   2005 Studio Art Drawing: Quality Samples   2004 Studio Art Drawing: Quality Samples   2003 Studio Art Drawing: Quality Samples   2002 Studio Art Drawing: Quality Samples

Concentration with Student SamplesThe Concentration section shows the student's in-depth exploration of a particular design concept. It is presented as 12 images, some of which may be details of works. The stress is on a coherent idea and development of the work, in addition to the artistic success of the work.   2009 Studio Art Drawing: Concentration Samples   2008 Studio Art Drawing: Concentration Samples   2007 Studio Art Drawing: Concentration Samples   2006 Studio Art Drawing: Concentration Samples   2005 Studio Art Drawing: Concentration Samples   2004 Studio Art Drawing: Concentration Samples   2003 Studio Art Drawing: Concentration Samples   2002 Studio Art Drawing: Concentration Samples

Breadth with Student SamplesThe Breadth section shows the range of experimentation and experience in drawing. It is presented as 12 images, each of which shows a different work. In addition to its quality, each work is scored on the degree to which it actually shows a variety of approaches to drawing.   2009 Studio Art Drawing: Breadth Samples   2008 Studio Art Drawing: Breadth Samples   2007 Studio Art Drawing: Breadth Samples   2006 Studio Art Drawing: Breadth Samples   2005 Studio Art Drawing: Breadth Samples   2004 Studio Art Drawing: Breadth Samples   2003 Studio Art Drawing: Breadth Samples   2002 Studio Art Drawing: Breadth Samples

Scoring GuidelinesPlease note: The links to Scoring Guidelines for this course are in Adobe® PDF format, and you will need to use the Adobe® Acrobat® Reader® to view them. If you don't have Acrobat Reader 6.0 or higher installed on your computer, choose the link for the Adobe Web site below for installation instructions. For help downloading and printing PDF files, choose the link "PDF Troubleshooting" below in "See also."   2009 Scoring Guidelines   2008 Scoring Guidelines   2007 Scoring Guidelines   2006 Scoring Guidelines   2005 Scoring Guidelines   2004 Scoring Guidelines   2003 Scoring Guidelines   2002 Scoring Guidelines

Student Performance Q&A   2009 Student Performance Q&A   2008 Student Performance Q&A   2007 Student Performance Q&A   2006 Student Performance Q&A   2005 Student Performance Q&A   2004 Student Performance Q&A   2003 Student Performance Q&A   2002 Student Performance Q&A   2001 Student Performance Q&A

Grade Distributions   2009 Grade Distributions   2008 Grade Distributions   2007 Grade Distributions   2006 Grade Distributions   2005 Grade Distributions

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   2004 Grade Distributions   2003 Grade Distributions   2002 Grade Distributions

Scoring Statistics   2009 Scoring Statistics   2008 Scoring Statistics   2007 Scoring Statistics   2006 Scoring Statistics   2005 Scoring Statistics   2004 Scoring Statistics   2003 Scoring Statistics

The Studio Art PosterPosters are automatically mailed to schools that offered AP Studio Art the previous year. Additional posters can be ordered from the College Board's online store for $3 each. Schools offering AP Studio Art for the first time will be given the opportunity to order 10 free posters.

   College Board Store   The Studio Art Poster 

How the Studio Art Portfolio is Graded

http://apcentral.collegeboard.com/apc/members/courses/teachers_corner/196363.html

by Lauren SleatMaryland Institute College of Art Baltimore, Maryland

The job of the AP® Exam Reader for the portfolios in Studio Art—that is, the task of scoring the student artwork—is a difficult one. As Readers, we want to make sure we give all students every possible chance to get the grade they deserve; we want to give them the benefit of the doubt.

Readers are trained to look for students who are trying to enhance their intellectual engagement, understanding of visual language, and application of vocabulary. Student work should demonstrate originality, evidence of thought and personal vision. We also look for students who are more aware of the principles and elements of design in their work; these students tend to produce work that is not only conceptually but also technically superior.

We are not saying that student work needs to "walk on water," but we are looking for the following traits: emergence of technical competence, manipulation of original ideas, work that has purpose and direction, decisions executed with authority and confidence, evidence of experimentation and risk taking, a range of stylistic as well as technical concerns evident in the work, purposeful composition, and a sense of real effort. If the student is using photographic resources, we as Readers should be able to discern the student's individual "voice," that is, we should get a strong sense that the student is transforming the images to speak to the viewer from his or her artistic mindset. Exact replicas of published photographs are not useful in enabling the Readers to see into the student's creative realm. This is only a small sample of the types of things Readers are looking for; however, the above criteria are very good guidelines.

Three to seven Readers look at each portfolio to help ensure that the student's achievements and the positive qualities of the artwork are recognized. For the Breadth and Concentration sections, two Readers look at each portfolio; for the Quality section there are three Readers for each portfolio. Each of the three sections has equal weight in averaging the final score.

That said, there are inevitably times when not all Readers agree. In this situation, the Readers must take the portfolios to the Table Leaders for their judgment. Table Leaders are responsible for training Readers on how to use the rubric to evaluate the portfolios. When the scores between Readers vary by more than 3 points for a given section of a portfolio, they are considered discrepant. For instance, if one Reader gives the student a 1 and another Reader gives the student a 5, this is a discrepancy. Two Table Leaders will then review the work and decide a final score.

After each portfolio is scored by the Readers, a table of assistants compile the scores. A record is kept of which Reader scored which portfolio to track how each Reader is evaluating and ensure that their scores are consistent. When there is a discrepancy between scores, the assistants take the portfolio in question over to the two or three Table Leaders for their opinion. This is the point at which the rubric is carefully considered; the discrepancy may be a result of Readers misinterpreting or not following the rubric. The Table Leaders score the portfolio again arriving at a score that is not discrepant through consensus. The Studio Art Chief Reader (who is in charge of the entire Studio Art Reading) does not like there to be more than a 1-point difference between the Table Leaders' scores. There are times when the Chief Reader is called in to make a final decision on a portfolio if the Table Leaders cannot reach agreement. As you can see, the process of scoring portfolios and solving discrepancies is taken extremely seriously.

The rubric is based on a 1-to-6 scale, 1 being the lowest and 6 being the highest possible score. The 1-to-6 score is the raw score for the Reading, and

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after the Reading the statisticians work the raw score into the 1-to-5 grades sent to students and schools.

As teachers of AP Studio Art, our job is to help students excel. As AP Exam Readers, our job is to reinforce the push toward excellence by judging student work by the highest possible standard, with careful, fair, and consistent consideration.

AP Studio Art Digital Submission FAQshttp://apcentral.collegeboard.com/apc/public/courses/teachers_corner/201195.html More...

Digital Submission Web Demo Digital Submission Web Application

Frequently Asked Questions

Ordering AP Studio Art Materials When can Coordinators order Studio Art Exams? Does my Coordinator have to place my school's exam order before students and teachers can access the Digital

Submission Web application? Does my school need to return any unused Studio Art portfolios? Can Coordinators access the Studio Art Digital Submission Web application through the AP Exam Ordering website?

About the Application How does the digital submission process work? How and when do Coordinators, teachers, and students gain access to the Digital Submission application? What if I forget my user name and/or password? Can I use my user credentials for other College Board websites (e.g., AP Course Audit, AP Exam Ordering, Education

Professionals) to access the Studio Art Digital Submission Web application? Will I need to set up a user name and password for the AP Studio Art Digital Submission Web application if I

participated last year? How do I obtain my Teacher Key to give to my AP Studio Art students? Can I create accounts for my students? Will students need to complete a paper answer sheet for the AP Studio Art Exam?

Portfolio Issues What if a student initially plans to submit one type of portfolio and later changes his or her mind? Can the teacher or AP Coordinator change anything in students' portfolios? Can students submit any portfolio, even if their teacher isn't authorized to teach that course?

Technical Specifications and Digital Imaging I don't understand the technical specifications. Can you give me simpler instructions? What resolution should images be? How do I reduce the number of pixels in an image? The pictures I have taken already are larger than the image

recommendations. What file format should be used for saving images? What file size should be used to save images? Are there guidelines for image sizes? I'm concerned about how students' work will look when it is displayed according to the recommended image

specifications. What does an image with these specifications look like?

Photographing Artwork What type of camera should students use? How should students get started taking pictures? Where can I (and my students) download image editing software?

Saving, Managing, and Editing Image Files How are images transferred from the camera to a computer or other storage devices? What should students name their files before uploading them to the application? How much editing or manipulation can be done to images of artwork? Should students create backup files of their images?

Professional Development What resources are available to help me learn more about digital photography?

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Ordering AP Studio Art Materials

When can Coordinators order Studio Art Exams? The AP Exam Ordering website will become accessible for Coordinators to place their schools' 2010 AP Exam orders in mid- to late January. Coordinators should be sure to order before applicable ordering deadlines.

Does my Coordinator have to place my school's exam order before students and teachers can access the Digital Submission Web application?No. Students and teachers can access the application before your Coordinator places your school's exam order.

Note: Before your Coordinator places your school's Studio Art exam order, the number of total portfolios that can be set up online for your school's students in the Web application will be limited to the number of portfolios your school ordered last year, plus ten percent to accommodate growth. If you have a significant increase this year in the number of Studio Art students interested in the exam, your Coordinator should place your order as early as possible.

Does my school need to return any unused Studio Art portfolios?No. Unused Studio Art portfolio envelopes do not need to be returned to the AP Program. For example, if you ordered AP Studio Art Exams for two students who planned to submit portfolios for Drawing and 2-D Design, and they chose not to submit, you do not need to return those two portfolio envelopes. However, the unused exam fee of $13 for each portfolio will be charged.

Note: Because the 3-D Design portfolio is submitted entirely online, only the envelopes for used 2-D Design and Drawing portfolios need to be returned to the AP Program. (Schools will not be charged an unused exam fee for these portfolios.)

Can Coordinators access the Studio Art Digital Submission Web application through the AP Exam Ordering website?No. The Digital Submission Web application is a separate site, accessible to AP Coordinators, teachers, and students at https://apstudio.ets.org/apstudioart. (Important: Don't forget the "s" in "https.") Links to the site are also available on the Studio Art Course Home Pages on AP Central, the Studio Art Digital Submission page for students, and the Studio Art Exams page for Coordinators.

About the Application

How does the digital submission process work? For more information about how the process works, view this Web demo, or visit the AP Studio Art Digital Submission page.

How and when do Coordinators, teachers, and students gain access to the Digital Submission application?For details on how Coordinators, teachers, and students should access the Web application, visit this Web demo.

What if I forget my user name and/or password?If you forget your user name or password, click "Forgot your user name?" or "Forgot your password?" on the sign-in page.

Can I use my user credentials for other College Board websites (e.g., AP Course Audit, AP Exam Ordering, Education Professionals) to access the Studio Art Digital Submission Web application?No. These are distinct websites and must be accessed independently. User names and passwords that allow you to access the AP Course Audit site or other College Board websites will not work with the AP Studio Art Digital Submission Web application. You will need to set up a distinct user name and password to access this application. To do this, click on "Set up your access now" on the sign-in page.

Will I need to set up a user name and password for the AP Studio Art Digital Submission Web application if I participated last year?No. If you participated last year you do not have to set up your access again. Simply log in to the Web application using last year's user name and password when the Web application becomes available in mid- to late January. Please view this demo for more information about access procedures and passing access information on to students.

How do I obtain my Teacher Key to give to my AP Studio Art students?When you set up access as a teacher to the Web application, you will receive a confirmation on the screen and via email that includes your unique Teacher Key. If at a later time the Key is needed, you can find it by visiting your Account Information page in the Web application.

Can I create accounts for my students?No. To ensure the validity and security of students' artwork, students will need to set up their own accounts.

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Will students need to complete a paper answer sheet for the AP Studio Art Exam?No. Students will complete comparable registration information within the Studio Art Digital Submission application.

Portfolio Issues

What if a student initially plans to submit one type of portfolio and later changes his or her mind?The student will be able to update his or her account information with the desired portfolio type (i.e., 2-D Design, 3-D Design, or Drawing) and immediately begin working on the correct portfolio type. The student's teacher should then delete the student's unwanted portfolio. It is crucial that the correct portfolio type is selected, as each portfolio type is scored according to a unique rubric. Please work with students to ensure they select the correct portfolio type.

Can the teacher or AP Coordinator change anything in students' portfolios?No. Coordinators and teachers can view the portfolios but cannot change them.

Can students submit any portfolio, even if their teacher isn't authorized to teach that course?Yes. Students can submit any portfolio, regardless of their teacher's Course Audit authorization.

Technical Specifications and Digital ImagingPlease visit AP Studio Art Digital Submission for a list of technical requirements and recommendations for the AP Studio Art Digital Submission Web application.

I don't understand the technical specifications. Can you give me simpler instructions?The three most important things to remember are the following:

The images must be in JPEG format (file name extension .jpg). Each image file must be 3 MB or smaller in size. Image sizes, whether in pixels or inches, must meet the requirements listed here.

Since there are so many different cameras and software applications that may be involved in creating and editing the images, it is impossible to present a set of directions for resizing images that is accurate for all situations. If you are new to digital imaging, please visit Short Courses: The Online Library of Digital Photography to learn more about digital photography and photo editing, including resizing.

It will also be helpful to read through your camera's owner's manual and to review your software application’s tutorial and/or help pages. As with traditional photography, experimenting with the camera until you feel confident with your abilities is the best approach to digital photography and photo editing. With digital photography, the advantages are that your results are immediate, and that mistakes are correctable with the touch of a button or two.

What resolution should images be?For files that are uploaded to the Web application, we recommend using a resolution of 72 pixels-per-inch (ppi) because a higher resolution does not add clarity when viewing images on a computer screen. For information about image resolution, visit A Short Course in Sensors, Pixels, and Image Sizes.

How do I reduce the number of pixels in an image? The pictures I have taken already are larger than the image recommendations.Once image files have been uploaded from your camera and saved to your computer, the image editing software of your choice (Photoshop, Picasa, Microsoft Picture Manager, etc.) can be used to edit the images files so that they meet the recommendations for digital submission. Information about free, downloadable image editing software is available below.

What file format should be used for saving images?All images for the digital portfolio must be submitted in JPEG format (file name extension .jpg). For information about file formats, visit A Short Course in Digital Photography Workflow.

What file size should be used to save images?Individual image file size should be no larger than 3 MB. In most cases, individual image files will be much smaller than 3 MB and may well be smaller than 1 MB.

Are there guidelines for image sizes?For artworks with landscape orientation, recommended maximum measurements are 10.83 x 7.36 inches; recommended minimum measurements are 6.67 x 6.67 inches. For artworks with portrait orientation, recommended maximum measurements are 7.36 x 10.83 inches; recommended minimum measurements are 6.67 x 6.67 inches.

I'm concerned about how students' work will look when it is displayed according to the

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recommended image specifications. What does an image with these specifications look like?For information about how images are displayed on a computer monitor, visit this tutorial or A Short Course in Sensors, Pixels, and Image Sizes.

Photographing Artwork

What type of camera should students use?Any type of image-capturing device may be used to create digital image files. Traditional 35mm film cameras can be used; most film processing facilities provide the option of converting film images to digital images. For smaller, flat artworks, a scanner may be used to create a digital image of the work.

Visit Curtin's Guide to Digital Cameras for information about selecting a digital camera and scanning.

How should students get started taking pictures?A thorough review of the camera's user manual is a good way for students to familiarize themselves with the camera and its functions. Taking experimental or practice images is the next step. Once they are comfortable with photographing their artwork, students can upload the images to their computers and work with an image editing application to edit the images to meet the requirements for the digital portfolio.

Visit Curtin's Guide to Digital Cameras for information about working with digital cameras.

Where can I (and my students) download image editing software?Below are some sources for free, downloadable image editing and management software:

Picasa Photoscape Paint.NET FastStone

Saving, Managing, and Editing Image Files

How are images transferred from a camera to a computer or other storage device?For information about transferring images, visit A Short Course in Digital Photography Workflow.

What should students name their files before uploading them to the application?Students may name their image files anything they would like as long as each image file has a unique file name. When viewing the images, the Readers who evaluate the portfolios will not be able to see the students’ original file names.

How much editing or manipulation can be done to images of artwork?The goals of image editing for digital submission should be to present the clearest, most accurate representation of the students' artworks, and to ensure that images meet the requirements of the Digital Submission Web application. When submitting their portfolios, students must indicate their acceptance of the following statement: "I hereby affirm that all works in this portfolio were done by me and that these images accurately represent my actual work."

Should students create backup files of their images? Yes. It is recommended that students store their images in more than one location, in case technical difficulties interfere with retrieval of stored data. Back-up image files can be stored on CDs, external hard drives, flash drives, memory cards, and other portable electronic devices. For more information about storing images, visit A Short Course in Digital Photography Workflow.

Professional Development

What resources are available to help me learn more about digital photography?The following are a few recommended external resources:

The Online Library of Digital Photography George Schaub's Hands-On Digital Photography: A Step-by-Step Course in Camera Controls, Software

Techniques, and Successful Imaging (Amphoto Books, 2007)

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APCentral Course Audit:

http://www.collegeboard.com/html/apcourseaudit/

What Is the AP Course Audit?

The AP Course Audit was created at the request of secondary school and college and university members of the College Board to:

Provide teachers and administrators with clear guidelines on the curricular and resource requirements for AP courses

Help colleges and universities better interpret secondary school courses designated "AP" on students' transcripts

To receive authorization from the College Board to label a 2008-2009 course "AP," schools must demonstrate how their courses meet or exceed these requirements.

AP Course AuditJune 1, 2010

June 1 is the preferred date by which to submit a syllabus and Course Audit form finalized by the school’s AP Course Audit administrator. Once authorized, courses submitted by this date will appear in the initial release of the AP Course Ledger in November.

NOTE: June 1 is a preferred submission date, NOT a deadline.

Aug. 2010

Teachers — Teachers who have moved to a new school can begin transferring existing accounts to their new schools. A new electronic Course Audit form must be submitted by the teacher and finalized by the receiving school’s administrator to transfer an authorized AP course.

Administrators — AP Course Audit administrators begin renewing previously authorized courses for the current school year and finalizing Course Audit forms for courses transferred to their schools by teachers. Authorized Online/Distance Learning courses can be added from the School Status page.

Oct. 15, 2010

Administrators — Preferred date by which administrators should renew previously authorized courses that are again offered in the 2010-11 school year to ensure the inclusion of these courses in the initial publication of the AP Course Ledger in November.

Remove teachers not teaching or courses not being taught during the current school year from the School Status page.

NOTE: You must contact the AP Helpline to remove authorized courses from your school.

Jan. 31, 2011

Teachers — Deadline for the initial submission of course materials (a syllabus and Course Audit form) for the 2010-11 school year.

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Administrators — This is the last day to: Approve Course Audit forms, Renew courses, Remove teachers not teaching or courses not being taught during the current school year, and Add Online/Distance Learning courses for the current school year.

AP Course Ledger https://apcourseaudit.epiconline.org/ledger/index.php

The AP Course Ledger now includes courses authorized for the 2008-09 academic year.

To view the Ledger, click here.

Do schools have to complete the audit each year?

The AP Course Audit is an annual process; however, after receiving authorization during any given year, schools will not need to resubmit AP Course Audit forms or syllabi in following years unless the teacher has changed, the school offers a new AP course, or the curricular and resource requirements for a course undergo significant revision by the College Board. Beginning in August of each year, Course Audit administrators can renew their schools' course authorizations for the following year through their AP Course Audit online accounts.

Why do teachers need to submit the AP Course Audit form and syllabus?

The AP Course Audit is, at heart, a way of achieving a mutual understanding between those leading the course, the AP teachers; their principals; and colleges and universities, who gain access to a ledger of courses authorized to use the "AP" designation. Each school will participate in the audit differently, with some schools or districts, perhaps, using a common syllabus for single subjects and others using syllabi that vary by teacher. In order to ensure that each and every teacher demonstrates their awareness and inclusion of the curricular requirements in their course, we need to require that all teachers submit the same type of materials for review.

Why do teachers need to submit the AP Course Audit form and syllabus?

The AP Course Audit is, at heart, a way of achieving a mutual understanding between those leading the course, the AP teachers; their principals; and colleges and universities, who gain access to a ledger of courses authorized to use the "AP" designation. Each school will participate in the audit differently, with some schools or districts, perhaps, using a common syllabus for single subjects and others using syllabi that vary by teacher. In order to ensure that each and every teacher demonstrates their awareness and inclusion of the curricular requirements in their course, we need to require that all teachers submit the same type of materials for review.

More on: http://www.collegeboard.com/html/apcourseaudit/faq.htmlhttp://www.collegeboard.com/html/apcourseaudit/teacher.html

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AUDIT Curricular Resources for Teachers

2D - http://www.collegeboard.com/html/apcourseaudit/courses/studio_art.html

3D - http://www.collegeboard.com/html/apcourseaudit/courses/studio_art_3d.html

Drawing –

http://www.collegeboard.com/html/apcourseaudit/courses/studio_art_drawing.html

AP Central Home Course Pages

http://apcentral.collegeboard.com/apc/public/courses/teachers_corner/index.html

AP 2D Course Home Page

http://apcentral.collegeboard.com/apc/public/courses/teachers_corner/3987.html

AP Studio Art: 2-D Design Course Home Page

AP Studio Art: 2-D Design Course Information AP Studio Art Course Description (.pdf/391KB) AP Studio Art Teacher's Guide (.pdf/5.9MB) Sample Syllabi AP Studio Art FAQs AP Studio Art Development Committee AP Studio Art Newsletter AP Studio Art: 2-D Design Course Perspective

AP Course Audit Information Syllabus Development Guide, Sample Syllabi and more

Exam Information and Resources About AP Studio Art Digital Submission Digital Submission Web Demo   Digital Submission Web Application AP Studio Art Digital Submission FAQs AP Studio Art: 2D Design Portfolio with Student Samples and Scoring Guidelines

Classroom Instruction and Resources

Lesson Plans and Teaching Strategies Aesthetics and the Development of the Concentration Printmaking as Social Force: A Lesson Plan Using a Sketchbook in AP Studio Art 2-D Design Portfolio: Expanded Contour Self-Portrait Approaches to Concentration: Ideas and Execution

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Self-Portrait Based on Albrecht Dürer's Melancholia I Leading Critiques in Studio Art Classes

Upcoming Exhibits 2009-10 AP Studio Art Exhibit

Images from the Studio Art Poster Images from the Studio Art Poster

Note: You can order the Studio Art Poster from the College Board Store (see College Board Store link below).

Course Content - Related Articles Stimulate: Using National Gallery of Art Islamic Resources Field Trips as a Means in Developing Concentrations Curriculum Revision and Vertical Teaming Tips for Starting a Successful AP Studio Art Program Studio Art Vertical Teaming in Polk County Schools Parallel Lessons for AP Studio Art Instructors Diversity in the Art Classroom Teaching Studio Art to a Diverse Group of Students Cartooning and Comic Book Art in the AP Studio Art Environment AP Vertical Teams for Studio Art: Broken Arrow, Oklahoma The Role of the AP Studio Art Development Committee

Reviews of Teaching ResourcesThere are currently more than 250 reviews of Studio Art resources, including textbooks, Web sites, software, multimedia CD-Roms, and more, in the  Teachers' Resources area. Each review describes the resource and suggests ways it might be used in the classroom. New reviews are added regularly, so check back often!

Electronic Discussion GroupsCommunicate via email with other members of the AP Central community by joining the electronic discussion group (EDG) for the course(s) you teach.

AP Studio Art EDG Registration for Electronic Discussion Groups

College Board Store Products for AP Studio Art  

AP 3D Course Home Page

http://apcentral.collegeboard.com/apc/public/courses/teachers_corner/7880.html

AP Studio Art: 3-D Design Course Home Page

AP Studio Art: 3D Design Course Information AP Studio Art Course Description (.pdf/391KB) AP Studio Art Teacher's Guide (.pdf/5.9MB) Sample Syllabi AP Studio Art FAQs AP Studio Art Development Committee AP Studio Art Newsletter

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

AP Studio Art: 3-D Design Course Perspective

AP Course Audit Information Syllabus Development Guide, Sample Syllabi and more

Exam Information and Resources About AP Studio Art Digital Submission Digital Submission Web Demo   Digital Submission Web Application AP Studio Art Digital Submission FAQs AP Studio Art: 3D Design Portfolio with Student Samples and Scoring Guidelines

Classroom Instruction and Resources

Lesson Plans and Teaching Strategies Aesthetics and the Development of the Concentration Using a Sketchbook in AP Studio Art 3-D Design Portfolio: Creating a Moment of Beauty on the Land 3-D Design Lesson Plan: Elongated Pinch Pot Vessel Approaches to Concentration: Ideas and Execution Leading Critiques in Studio Art Classes

Upcoming Exhibits 2009-10 AP Studio Art Exhibit

Images from the Studio Art Poster Images from the Studio Art Poster Note: You can order the Studio Art Poster from the College Board Store (see College Board Products link below).

Course Content - Related Articles Stimulate: Using National Gallery of Art Islamic Resources Field Trips as a Means in Developing Concentrations How the Studio Art Portfolio is Graded Curriculum Revision and Vertical Teaming Tips for Starting a Successful AP Studio Art Program Studio Art Vertical Teaming in Polk County Schools Parallel Lessons for AP Studio Art Instructors Diversity in the Art Classroom Teaching Studio Art to a Diverse Group of Students Cartooning and Comic Book Art in the AP Studio Art Environment AP Vertical Teams for Studio Art: Broken Arrow, Oklahoma The Role of the AP Studio Art Development Committee

Reviews of Teaching ResourcesThere are currently more than 250 reviews of Studio Art resources, including textbooks, Web sites, software, multimedia CD-Roms, and more, in the  Teachers' Resources area. Each review describes the resource and suggests ways it might be used in the classroom. New reviews are added regularly, so check back often!

Electronic Discussion GroupsCommunicate via email with other members of the AP Central community by joining the electronic discussion group (EDG) for the course(s) you teach.

AP Studio Art EDG   Registration for Electronic Discussion Groups

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

AP Drawing Course Home Page

http://apcentral.collegeboard.com/apc/public/courses/teachers_corner/7881.html

AP Studio Art: Drawing Course Home Page

AP Studio Art: Drawing Course Information AP Studio Art Course Description (.pdf/391KB) AP Studio Art Teacher's Guide (.pdf/5.9MB) Sample Syllabi AP Studio Art FAQs AP Studio Art Development Committee AP Studio Art Newsletter AP Studio Art: Drawing Course Perspective

AP Course Audit Information Syllabus Development Guide, Sample Syllabi and more

Exam Information and Resources About AP Studio Art Digital Submission Digital Submission Web Demo   Digital Submission Web Application AP Studio Art Digital Submission FAQs AP Studio Art: Drawing Portfolio with Student Samples and Scoring Guidelines Portfolio Tips: AP Studio Art

Classroom Instruction and Resources

Lesson Plans and Teaching Strategies Drawing Portfolio: The Contemporary Picturesque Landscape Aesthetics and the Development of the Concentration Using a Sketchbook in AP Studio Art Approaches to Concentration: Ideas and Execution Self-Portrait Based on Albrecht Dürer's Melancholia I Leading Critiques in Studio Art Classes Advice from the Trenches

Upcoming Exhibits 2009-10 AP Studio Art Exhibition

Images from the Studio Art Poster Images from the Studio Art Poster

Note: You can order the Studio Art Poster from the College Board Store (see College Board Products link below).

Course Content - Related Articles Stimulate: Using National Gallery of Art Islamic Resources Field Trips as a Means in Developing Concentrations How the Studio Art Portfolio is Graded Curriculum Revision and Vertical Teaming Tips for Starting a Successful AP Studio Art Program Studio Art Vertical Teaming in Polk County Schools Parallel Lessons for AP Studio Art Instructors Diversity in the Art Classroom

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

Teaching Studio Art to a Diverse Group of Students Cartooning and Comic Book Art in the AP Studio Art Environment AP Vertical Teams for Studio Art: Broken Arrow, Oklahoma The Role of the AP Studio Art Development Committee

Reviews of Teaching ResourcesThere are currently more than 250 reviews of Studio Art resources, including textbooks, Web sites, software, multimedia CD-Roms, and more, in the  Teachers' Resources area. Each review describes the resource and suggests ways it might be used in the classroom. New reviews are added regularly, so check back often!

Electronic Discussion GroupsCommunicate via email with other members of the AP Central community by joining the electronic discussion group (EDG) for the course(s) you teach. AP Studio Art EDG Registration for Electronic Discussion Groups

Pre AP

http://apcentral.collegeboard.com/apc/public/preap/index.html

In PRE-AP Teachers' Corner for Pre-AP Pre-AP: Workshops

Preparing Every Student for College

Pre-AP is a suite of K-12 professional development resources and services. The purpose of the Pre-AP Initiative is to equip all middle and high school teachers with the strategies and tools they need to engage their students in active, high-level learning, thereby ensuring that every middle and high school student develops the skills, habits of mind, and concepts they need to succeed in college. Pre-AP Initiatives is a key component of the College Board's® K-12 Professional Development unit.

Conceptually, Pre-AP is based on the following two important premises. The first is the expectation that all students can perform at rigorous academic levels. This expectation should be reflected in curriculum and instruction throughout the school such that all students are consistently being challenged to expand their knowledge and skills to the next level.

The second important premise of Pre-AP is the belief that we can prepare every student for higher intellectual engagement by starting the development of skills and acquisition of knowledge as early as possible. Addressed effectively, the middle and high school years can provide a powerful opportunity to help all students acquire the knowledge, concepts, and skills needed to engage in a higher level of learning.

Since Pre-AP teacher professional development supports explicitly the goal of college as an option for every student, it is important to have a recognized standard for college-level academic work. The Advanced Placement Program provides these standards for Pre-AP. Pre-AP teacher professional development resources reflect topics, concepts, and skills found in AP courses.

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

The College Board does not, however, design, develop, or assess courses labeled "Pre-AP." Courses labeled "Pre-AP" that inappropriately restrict access to AP and other college-level work are inconsistent with the fundamental purpose of the Pre-AP initiatives of the College Board.

The College Board strongly believes that all students should have access to preparation for AP and other challenging courses, and that Pre-AP teaching strategies should be reflected in all courses taken by students prior to their enrollment in AP. The College Board discourages using "Pre-AP" in the title of a course and on a student's transcript, because there is no one fixed or mandated Pre-AP curriculum that students must take to prepare for AP and other challenging coursework. Rather than using Pre-AP in course titles, the College Board recommends the adoption of more comprehensive Pre-AP programs that work across grade levels and subject areas to prepare the full diversity of a school's student population for AP and college.

The College Board's official Pre-AP program for all middle school and high school students is SpringBoard® , which consists of a full curriculum in mathematics and English language arts. SpringBoard is integrated with professional development and formative assessments, and is based on the College Board's college readiness standards: the College Board Standards for College Success.

The College Board also provides an array of  Pre-AP professional development workshops designed to help teachers instill more rigor in the courses they are teaching students in the years prior to AP.

As in all its programs, the College Board is deeply committed to equitable access to rigorous academic experiences. We applaud the efforts of our many colleagues making that happen in so many different ways in classrooms around the world.

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

Why Teach ArtArt is a Science - In many cases creating art demands exact, specific mixtures as a variety of compounds such as: silica, wax, oil, and pigment. Artists develop hypotheses on the result of these combinations and how they will affect their art. This experimentation is done with note taking in a journal to record successful and sometimes not so successful results. Artists look for absorption rates, appropriate catalysts, dissociation points, and causes of devitrification. Artists are keen observers and recorders of their environment just as a scientist is.Artists are scientists.ART IS MATHEMATICAL - Artists translate a complex three-dimensional world in to two-dimensional and three-dimensional images and sculptures. This requires a keen understanding of spatial relationships, linear perspective, technical shading of form, symmetry, and asymmetry, and a knowledge of geometrical and organic shapes. Many works of art require the artist to develop exact measurements of size and weight.

Artists are mathematicians.

ART IS A FOREIGN LANGUAGE - Many of the terms commonly used in art originate from a variety of languages like: Italian, German, Latin, and French. Words such as: appliqué’, Bas Relief, tromp-l’oeil, chiaroscuro, monochrome, gouache, and sgraffito. Vocabulary in art is a blend of many cultures and therefore becomes its own unique language.Artists speak a foreign language.

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

Art is History - Art reflects the environment, culture, and often the political conditions of the time and place in which it was created. The artworks of the world are mankind’s’ greatest records of his history on planet earth. The cave paintings of France, the pyramids of Giza, the urns of Greece, the sculptures of Michelangelo, the masks of the Native Americans, the narrative paintings of the 19th century, and the characters of Grant Wood, have all remained as a record of communication of times gone by. History is simply not history without the artifacts that support its existence.Artists record history.Art is Language Arts - Art is a higher form of communication. As artists translate the world around them, stories of bravery, heroism, valor, sorrow, and hope emerge into narratives of imagery, characters, and settings. Artists research, brainstorm, rough draft, create preliminary drawings, keep journals, date title, and sign their works, and create works based upon a theme or series. Artists have made images inspired by poems, music, stories, and events.Artists are communicators.Art is Physical Education - Art requires fantastic coordination of the fingers, hands, arms, and body. The hand and the eye must work in perfect harmony in order to create. Many forms of art require great physical strength, balance, and coordination such as sculpting large structures from stone, metal, and wood, and throwing hundreds of pounds of clay. Painting, drawing, and sculpting require great physical stamina.

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

Artists are fit for life.Art is Technology - Great works of art are now created on computers requiring artists to have highly developed computer skills and knowledge. Graphic arts and communication professions have changed dramatically with the use of this tool.Artists are visionaries.

Art is All of These Things and Most of All, Art is Art - It allows a human being to take all of these dry, technical, and difficult techniques and use them to create intense beauty, and powerful emotional response. This is one thing that science cannot duplicate, mathematics cannot calculate, foreign language cannot translate, history cannot legislate, and physical education cannot replicate.That is Why We Teach Art! Not because we expect you to major in Art. Not because we expect you to create art all of your life. Not so you can relax or just have a hobby.

W e Teach Art - So you will be human. So you will recognize and appreciate true beauty. So you can communicate from the very depths of your soul. So you will be sensitive to life and the peoples within it. So you will be closer to an infinite beyond this world. So you will

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

have more love, more compassion, be more gentle… have more life.

By Tina Farrell

Artists to Inspire Concentrations

What is a Concentration?

Visual Examples from Contemporary Artists’ Works3D AP, 2D AP Portfolio, 2D AP Photography

Vivian Moreira Komando, PhD, NBCT / komandov@yahoo.com

These artists’ body of works are what a concentration in AP should look like.

Select 3 artists’ works from below and have 4 images for each. If you cannot link to their sites, the links are below. Additional artists’ sites are at the end for you to explore as you develop your concentration statement.

Research these artists as you start to think of your concentration. The work will be due in your journals on 11/ 8 or 11/ 9 (first class meeting of the week for your particular class)

http://www.suzyscarborough.com/home.html

http://homepage.mac.com/jillkline/Menu39.html

http://www.harpershanks.com/index.html http://www.chrisroberts-antieau.com/

http://www.harpershanks.com/Steve_Shanks_Gallery_1.html

http://www.tropicalheatwave.com/

http://www.jonmichaelroute.com/

http://www.wargin.com/index_gallery.php

http://www.thingsforgood.com/index.html

http://www.broskiclay.com/

http://www.michaelgard.com/

http://www.pritchardfinecraft.com/

http://www.sharonstrasburg.com/

http://www.marymark.com/

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

http://amitmay.com/fuller.htm

http://www.scavengerart.com/

FURTHER EXPLORATION – A place to start imagining!Also look at the work on these sites for more inspiration – and mixed media. I expect new

research with each new project – sketches, ideas, etc. Each week include a new artist.

Photo / Digital

Photo Montage: http://www.cutandpaste.info/

Andy Goldsworthy

David Hockney

Jeremy Wolff

Drawing and Painting:http://www.taospaint.com/

Remedios Varos – Surrealism: http://www.ottosell.de/pynchon/varo.htm

Pastels: http://ceresearts.com/current_work_gallery.html

Brady: http://www.bradyart.com/

Sculpture

Sculpture of Jesús Moroles http://www.getty.edu/artsednet/resources/Moroles/images/work.html

Dolls: http://www.gretchenlima.com/pages/gallery.html

Kevin Cole: http://www.thelmaharrisartgallery.com/artists/mixed_media/kevin_cole/works/

Beth Pivers (Sculpture link): http://bethpiver.com/

C. Jagdish: http://www.degraaffineart.com/degraaf3/jagdish.html

Barrett: http://www.degraaffineart.com/degraaf3/kbarrett.html

Design

Teja’s: http://tejakrasek.tripod.com/intro/id1.html

Mixed Media

Collage: http://www.bradyart.com/GALLERY/adjust/a_fig6.html

Collage Museum: http://collagemuseum.com/index.html

Tags: http://jennysartspace.com/tagart/

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

From: "Judy Decker" To: "World Art Teachers" ,"art education" ,"ArtsEducators" Subject: Assemblage - Collage Artists - More! Happy surfing!

Greetings Art Educators,

Vivian Komando is exploring and sharing her "treasures". I invite ALL to dothe same. I love seeing "new to me" artists (although one of these I haveseen - and am thrilled to see someone using her now!). Vivian is as hookedon Joseph Cornell as I am....She will be using these artists with her unit.

Mercier, Jason - http://www.jasonmecier.com/ Using materials such as beans, yarn, candy, pencils, food and anything elsehe finds (or you send to him) Jason will produce intricate portraits. He mayfall more inot the "outsider" art category.... I can guarantee you all willfind at least one work you will like.I did like the pencils and a couple of the portraits that had elaborateframes.....Worth taking a look.

Meltzer, Bonnie - http://www.bonniemeltzer.com/ Creates artworks made from recycled computer parts, crocheted wire, anddigital photography transferred onto metal. Some of the items exhibited arefor sale. Loved her work! and her pins are very affordable. I one one!Trojan Horse (scroll) Linda Woods - I hope you see thishttp://www.bonniemeltzer.com/MixedMedia.html

Bonnie's Totemhttp://www.ifcc-arts.org/gallery/artistswork/meltzer/source/bonnie-meltzer.9.htm Love the pins! Kids can do these (I wanted to make jewelry with my Art Techkids - but never did)http://www.bonniemeltzer.com/jewelrypins.html

Here is an Hispanic Artist who works in a similar way:http://www.MarionMartinez.com

Hines, Roger - http://www.roomsofthemind.com/Surreal "rooms" that contain enigmatic elements of time and space. Greetinspiration for mini "shirnes" alters....I wish I had this artist when I didmy ceramic personal shrines project. Love this work! Lots of possibilities

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

for kids.... Tie in Betye Saar, too.

Brady, David - http://www.bradyart.com Explore the figure through assemblage and mixed media paintings.Expressionistic - abstract. Tie in Rauschenberg - Jaune Quick to See Smithand others. I didn't look at all galleries to make sure they were OK forkids (if you are worried - have "up tight" tech folks - check thoroughly for nudes)

Jackson, Jerry - http://www.jerryjackson.com/ Works constructed with found objects seeking to capture elements of family,friendship and simplicity of lifestyle which are being changed forever bymodern life. Check the attic for some treasures to use -- Hit the garagesales!

Copeland, Dale - http://outofsight.co.nz/Dale/ Assemblage art from New Zealand in the tradition of Joseph Cornell.

I will be adding all of these to my Joseph Cornell page....soon...... Butwanted all of you to have them now for summer planning. Grab an image or twofrom each artist you admire. Fair use DOES allow you up to 5 (?) per artist(read yourself to be sure) without asking permission (Fair use does notallow you to publish images on your web sites, though).

If I want to really do the kind of art that is "me" - I need a bigger house!We just threw out tons of stuff that would make great art.....no room. Iwill just continue to admire others who are making my kind of art.

Judy Decker - OhioIncredible Art Departmenthttp://www.princetonol.com/groups/iad/Incredible Art Resourceshttp://www.princetonol.com/groups/iad/lessons/middle/

________________________________________________________________________

copyright 2000, Cindi Anderson, www.bigceramicstore.com

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AP Studio Art ResourcesVivian Moreira Komando, PhD, NBCT

School of the Art Institute of Chicago, July 19 – 23, 2010

If you have any questions, contact me at:komandov@yahoo.com

orVivian Moreira Komando, Ph.D, NBCT

Montgomery Bell Academy4001 Harding RoadNashville, TN 37205

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