AP STUDIO ART
This document contains a variety of assignments that
will help you to develop your skills and add to your portfolio over the summer
months. AP Studio Art is a college level course requiring regular and ongoing
practice.
Your first task is to click
on the hyperlinks above and become familiar with the structure and content of
the AP Studio portfolios by reviewing the grading criteria and the student
samples. Select a category for your portfolio based on your strengths and
interest. It is usually NOT a good idea to chose an area that you have little
or no experience with. To help you distinguish between 2-D Design and Drawing,
look at your previous work and assess whether or not the primary or dominate
features are more about your treatment of the elements and principles of design (line shape, colour, value,
texture, repetition, movement, rhythm, etc.) or about the drawing quality and sensitivity to light and shadow.
All work can be completed in a sketchbook; min. size
9”X12”. If you wish to create larger pieces, do not exceed 18”x 24” and ensure
your work is protected in a portfolio case or a mailing tube during travel. (NOTE:
if you cannot bring the physical objects to school with you in the Fall, email
the instructor for further information on how to photograph your work). Please
select a sketchbook with quality paper, as several of the projects below
require mixed media.
You have 8 weeks to complete the assignments. Aim for
4 assignments per week, this should take between 2-5 hours per week. The
summer assignments are due within the first 2 weeks upon our return to school
in September. Failure to meet this deadline will put your placement in the
course in jeopardy. Follow the instructions below carefully.
LABEL EACH DRAWING on the
BACK of the page with the title, # and
date, for example: Self Portrait #1, July 20, 2013. Do not put your name or
any identifying marks on the front of your work.
Drawing from Observation
Object Studies:
Each object should take up at least half the page and make sure the light
source is evident through a full range of values.
#1 Two shiny objects that show reflections.
#2
Translucent or clear objects (background elements are visible through the
objects).
#3 Still Life arrangement of at least 5 objects
#4 Fabric draped over a chair
#5 A potted plant
#6
The negative shapes around a bicycle (draw the shapes between and behind the
object, not the object itself)
Self-Portrait:
completed by looking in a mirror (you may include the mirror and other aspects
of the environment if you wish.) Head (shoulders optional) takes up ¾ of the
page.
#1
Blind Contour drawing using pen. (Do not look at the paper while you are
drawing.)
#2
Value scale self portrait-use dramatic lighting to emphasize your features.
Gestures of People: Quick, loose sketches that capture the essence of the gesture or
pose. Chose a location such as a coffee shop, mall, or a park where you can see
a wide range of people and go relatively unnoticed. Focus on the structure of
the skeleton.
#1-5 Five different locations, one page each, 20
gestures per page.
Hands and Feet:
5-10 different drawings per with some close up. Include foreshortening, 1 page
each.
#1 Hands
#2 Feet
Foreshortening: Use exaggerated scale and stacking to show extreme perspective.
#1 Drawing something from above looking down
#2 Drawing something from below looking up
Drawing from Imagination: Choose three
of the following:
#1 Create an image that represents the
following statement: “there is something growing in the well”.
#2 Design a work that focuses on past,
present and future in one image.
#3 Combine elements of 3 creatures to
create a new animal or insect.
#4 Animate an
inanimate object
#5 Design a vessel to hold a specific
memory. Alter the shape and design of it to suit aspects of the event or
memory.
#6 Create a series (10 or more) of ink
blot print images (drip water paint or ink on a non-porous surface to make the
stamps, once they are dry). Draw over top of them; transforming them into what
you see in the image.
#7 Design a
piece of furniture based on an insect.
#8 Opposites attract: design an image
based on the juxtaposition of opposing elements (i.e. hard soft, solid liquid)
Experimental Drawing:
#1
Dip an absorbent string in coloured liquid such as coffee, tea or ink. Drop the
string on the page and stamp it by closing the book or pressing a piece of
paper on top of it. Create an image by drawing back into the results.
#2
Stamp 5-8 found objects on a single page by brushing paint or ink on them,
refine the composition by working back into the image pulling out selected
shapes
#3
Cut out a small section of a found image, paste it on the page and build a
composition around it by elaborating on the forms, shapes, and/or colours in
the selection.
#4 Cover
a double page spread with unconventional materials such as dirt, coffee,
spices, make up, etc.
#5
Fill two pages with rubbings of textures found in different environments (place
the paper over the texture and rub over it with a crayon or piece of chalk to
capture the impression)
Inspiring Artists:
Print examples of their work and put them in your sketchbook. Make notes on
their style, biography and content. One page per artist. Point form notes
covering the aspects below are sufficient.
#1
Artists in the Community: research an artist living and working in your
community. Do they evoke a sense of place in their work? How is their work
connected to, or reflective of the community in which they live?
#2
Research two artists whose work inspires you. Describe their use of the
elements and principles of design and what expressive impact they have. What
attracts you to their work? You may want to check out some of the artists on
this site: http://www.art21.org/artists
#3
Visit a museum, exhibition or event that features the work of a contemporary
artist. Take notes and sketches during and after the visit. What stood out for
you?
Visual References: Enjoy your summer, spend time with friends, go to the
beach, hike, attend concerts and visit museums. Your experiences and reflections
on those experiences are important research for your art.
Collect
a minimum of 6 pages of notes, images, ticket stubs, artifacts, sketches etc.
related to your summer activities.
Studio Art 3-D
Summer Assignments
a. Draw an ordinary object, transforming it in 20 different ways using the strategies listed in the hand out provided.
· Nicholas Roukes, Art Synectics, p. 33-34
b. Complete a 1000 word descriptive essay on either Giovanni Arnolfini and His Bride by Jan Van Eyck, or Les Tres Riches Heures, February, by the Limbourg Brothers.
c. Create a chart based on the AP Studio Art sections with the following sections: piece #, title, materials, size, description (dominant elements), intent, image
Breadth Portfolio-students will complete at least 10 from section I and all of section II
Section I
1. Skeleton Studies-wire sculpture
Create an animated skeleton of a real or imaginary creature (based on aspects of existing mammals) that has at least one moveable limb.
line, proportion, space, movement, exaggeration, kinetics.
· Alexander Calder, Louise Bourgeois (Maman)
2. Totemic Forms-mixed media
Investigate objects of worship or iconic status. Represent an activity or daily ritual through a totemic object made by the combination or arrangement of found materials and objects. Discuss and support your work with reference to existing traditions and iconic forms.
unity, context, scale, materials and meaning, assemblage
· Brian Jungen
3. Architectural Design-found materials (such as popsicle sticks, cupcake liners, plastic cream containers)
Collect found materials that are readily available in multiples, create a scale model for a building using the objects as units of construction. Use google sketch-up to plan the work.
· Repetition, unity, balance,
· Frank Gehry
4. Cardboard Cross sections-cardboard
Create a head using layered cardboard forms.
· Form, topographical representation, image planning, recycled materials.
5. Miniature Relics- plaster casting, carving
Use plastic bags to cast several small to medium plaster forms. Carve, arrange and present them as if they were ‘sacred objects’ or
· Zuni fetishes,
· Henri Moore, Barbara Hepworth,
6. Toy Hybrids- assemblage
Create new creatures by combining disassembled parts of existing toys.
Combination, unity, assemblage
· Toy Story (animated movie)
7. Earth Sculpture-additive
Using only natural materials create a work of art that represents a selected element of design. Document your project using video and photography.
Elements and principles of design
· Andy Goldsworthy
8. Sense Enhancing Tool
Design a tool or machine that enhances a particular sense.
Science, research, form and function
· Jean Tinguely
9. Body Casting Sculpture
Design an original sculpture from a casting of a body part.
· George Segal
10. Create a playground for a non-human
Design and construct a ‘play structure’ based on the physical attributes and needs of a non-human species.
· Biology text book, internet research
11. Design or draw an invisible (transparent) environment
· Eva Hesse
12. Environmental Sculpture
Design a sculpture for an alien environment. Describe how the design features relate to the characteristics of the environment in an artist’s statement.
· Jason de Caires Taylor (underwater reef sculpture)
13. Soft Sculpture
Transform an object by substituting hard materials for soft materials
· Meret Oppenheim, Claus Oldenburg
14. Art History in Design
Design a line of clothes inspired by a historical artist. Construct one of the pieces.
· Piet Mondrian, Sonia Delanay
15. Biographical Vessel
Create an effigy vessel or teapot designed for a specific person (or yourself)
Form and meaning, symbolism, clay construction techniques
16. Tesselating Tiles
Design a tessellating pattern for a clay tile based on a selected cultural or period style. Opt: create a mold and use the cast tiles to construct a box.
Pattern, repetition, ceramics construction techniques, mold making and casting.
· Jones, Owen. The Grammar of Ornament. Dover publications, 1987
· Proctor, Richard. The Principles of Pattern.
· Visual Elements 4: World Traditional Folk Patterns, Rockport Publishers, Rockport Massachusetts
· Van Lemmen, Hans. Decorative Tiles Throughout the Ages. Crescent Books, N.Y. 1988
Section II
1. Hommage to an Artist
Create a work of art inspired by an artist of your choice. You may use similar materials, stylistic elements, and/or subjects as your selected artist, however, you may not ‘copy’ a specific work. Describe the difference between influence and reproduction in your artist’s statement.
2. Three Views
Create a series of three works based on different views of a selected object or subject. Include planning sketches and image resources
Research Paper (due end of November)
Visit the Art21 website and view several documentaries. Select an artist whose work or approach to image making resonates with you. Complete a 1000 word essay on that artist including an in depth analysis of their use of the elements of design, materials, background and over arching conceptual concerns. Present your artist to the class include at least 3 slides to reference in support of your arguments and observations.
Concentration Portfolio
Early in the year students will select concentration themes that are personally meaningful to them and apply the image development strategies introduced in the summer section to these topics. Visual journals, notes, mind maps, word associations and plans related to their topic of interest will be presented to the instructor and the class on a weekly basis for analysis and discussion of progression and theme development. The first 30 min. of each weekly session is dedicated to critique sessions where students will present their work by reading an artist’s statement that includes reference to the design elements, intended message, subject and/or topic of focus, and possible future directions. Students are expected to contribute to the discussions by referring to the work of their peers.
Sample concentration themes can be explored through the following sites:
http://apcentral.collegeboard.com/apc/members/exam/exam_information/2135.html?affiliateId=APSamp&bannerId=st3d#name5
http://apstudioart.wetpaint.com/page/Concentration+list
Out trips (completed by the end of January)
Plan an out trip based on a selected theme or interest developing in your work. Examples of out trips might include a local zoo, a university medical center, a metal recycling depot, an architectural tour, a totem tour, a museum or gallery, a guided nature walk. The purpose of an out trip is to provide a supplement to the research being done on a selected theme or subject.
Other Resources
Read, Herbert. Henry Moore, A study of his life and work. Thames and Hudson, London. 1965
Lanteri, Edouard. Modelling and Sculpting the Human Figure. Dover Publications, INC. New York. 1965.
Flint, Tom and Stanyer, Peter. Anatomy for the Artist. Arcturus Publishing Limited, London. 2007.
Roukes, Nicholas. Sculpture in Paper. Davis Publications, Worcester, Massachusetts. 1993.
Ball, Carlton and Lovoos, Janice. Making Pottery Without a Wheel. Van Nostrand Reinhold Company, New York. 1965.
Ocvirk, G. Otto et al, Art Fundamentals, Theory and Practice 8th ed. McGraw Hill, Boston, Massachusetts, 1998.
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