This course is designed for students with focus and personal motivation to develop their art portfolio. Project assignments allow students to work in their chosen medium in order to find their own vision as an artist. Students will create a body of work that reflects a range of problem-solving, creative expression, and technical ability. Students will research, journal, participate in class critiques, and have artistic dialogues that will serve to inspire them in their creative process.
Overview This 2-semester, college-level course challenges highly motivated students to experiment, explore, and improve their practical experience of art through a variety of approaches in order to demonstrate their ability and versatility with techniques, problem solving, and ideation. Students will develop and demonstrate mastery of concept, composition, and execution of their personal ideas and themes.
Through completing the AP Studio Art portfolio, students achieve mastery in:
Creative and systematic investigation of formal and conceptual issues
Art making as an ongoing process that involves the student in informed and critical decision making
Developing technical skills and understanding the functions of the visual elements
Becoming independent thinkers who will contribute inventively and critically to their culture through the making of art
All students are expected to complete a portfolio that contains three sections - Quality, Concentration and Breadth. The details and requirements of this course are offered on the course website, in-class presentations and discussions with the teacher prior to enrolling.
Students understand in entering the course that they will need to be able to:
Create well-developed, technically accomplished artworks that express a unique point of view
Observe, assess, evaluate, express ideas and critique artwork in the context of artistic issues
Maintain well-organized, focused daily work habits independently and with directed assignments
Art Portfolio and AP Studio Art students meet during the same class period each year. Art Portfolio students complete assignments aimed at creating artworks that meet the requirements of the AP Studio Art course and portfolio submission requirements. Students must have 18-24 pieces by April to complete the quality, concentration and breadth section of the portfolio.
Course Preparation Students work to clarify their understanding, vision and personal approach to their portfolio and master techniques in ceramics prior to entering the course. Students must have completed 5 works that will fit into their breadth or concentration prior to the start of school in August. Of the 5 pieces, one must be from life, one slab and one coil built form. The other two may be of the student's choice. Students may work over the summer to create forms in clay which will be fired when school starts.
Portfolio Requirements QualityFive works must be selected for excellence and originality. Each should demonstrate quality and mastery in concept, composition and execution. The pieces can be part of the breadth or concentration sections. Each piece will be photographed from 2 different angles to create 10 images for submission.
ConcentrationTen to twelve works must be completed to show an in-depth personal commitment to a particular artistic concern. Students develop and refine their cohesive body of work to investigate a strong underlying visual idea. As they submit artwork on scheduled deadlines, they reflect on finished artworks using a self-evaluation tool similar to the grading rubric. With each finished work, students evaluate the strength of their idea, the cohesiveness of the artwork to the underlying visual idea how they will continue to improve their investigation, composition and technical skills. Concentration artworks are submitted once every 2-3 weeks from September through March. For example, the idea might be to create a series of human faces from various backgrounds and expressions. One work might be a bust of an ancient Mayan, constructed using hand-built stoneware clay; another face may be a child constructed with hand built techniques and carving; another face with Northern European features might be carved from a clay block; and another may be a bust with African features that is painted after bisque firing. Students’ ongoing journal and sketchbook can be quite helpful in this developmental process. Modifications can be made to original plans of action and need to be approved by the teacher. Each piece will be photographed from different angels to create 12 images for submission.
BreadthEight well-developed artworks must be completed to include in the Breadth section of the portfolio. The focus for these works is to experiment with a variety of techniques and materials. Each piece will be photographed from different angels to create 16 images for submission.
Assignments Breadth 100+ PhotographsStudents amass a personal visual catalog of compelling, original images to use as inspiration and visual reference in choosing subject matter for their portfolio artworks. These images provide original sources for artworks and aid the student in avoiding plagiarizing published images. They store the images for easy access whenever they are searching for subject ideas.
Personal Aesthetic CollectionStudents collect a variety of inspiring images by other artists to strengthen their understanding of personal aesthetic and their unique artistic decision-making. Images are stored either digitally or in a sketchbook and readily accessible to the student when formulating plans, especially their Concentration theme. The personal aesthetic assignment directly relates to the student’s understanding of sustained inquiry within the excellent visual acuity expected in the portfolio. The teacher reviews the collection and confers individually with students to discuss unique artistic characteristics and pursuit as well as issues of originality.
Breadth artworks Pieces are submitted every 3-4 weeks from September through March. Breadth projects are integrated in to the assignment schedule with teacher-directed goals aimed at individual and unique student responses. These goals encompass conceptual and subject requirements while encouraging students to develop their unique approach. As they progress, students are expected to increase ownership in planning and investigating strong and meaningful visual ideas in order to develop their personal artistic voice. Breadth projects are also designed to inform the development of the students Concentration artworks. Breadth assignments include the following:
Media Experimentation
Students explore and work to master a new medium or technique. Research and collect ideas for creating small sculptures. Students will create a small piece using pinching techniques.
From Direct Observation
The assignment goal is to improve observational and expressive skills in Sculpture. Research and collect ideas for sculptural pieces that depict life. Students are instructed in using both additive and subtractive methods with clay. or
Point of View
Students explore creative composition using perspective and scale while also expressing a conceptual “point of view” on a subject. Students submit a concise persuasive writing on an issue that is important to them and then photograph their subject. Taking an unusual viewing angle and creating a strong focal point is also emphasized. Students are to create something in three dimensions that shows an object from a different point of view or scale.
Art Every Day
The goal of this assignment is to renew and strengthen the student’s artistic discipline. Students are required to complete one part of a piece every day. An example would be to make a mug. The first day create the form of the body. The second day, create an aesthetically pleasing handle. Day three, add carving elements. Day four, refine and perfect. Day five, research and decide on glazing technique.
then
Synthesis
Students learn acceptable ways to source other artists’ work and how to synthesize concept and approach. Students identify 2 master paintings or sculptures by 2 different artists. Next, they select an original photograph to render in clay. Students list specific ways that each work uses realism, abstraction, and other elements and principles contribute to the work’s success. Next, they identify what artistic devices they will select in creating their own subject.
Look through your personal aesthetic collection and pick something or a group of objects and create your own piece from this inspiration. Remember that your piece must be transformative and cannot be a copy of your chosen piece. Step outside of your comfort zone and do something you have never done before. Your sketches should show crazy elements you don’t think you can make. Then, of course, try to make them. Use a variety of techniques to complete your piece.
Abstract sculptural piece
Research sculpture and create a geometric abstract form. Concentrate on the form for this piece. This piece will not be glazed but may be painted. The clay chosen should enhance the feeling of your form.
Figure or face
Create a figure or a face. You may create a form that is realistic or abstract. Use your personal aesthetic collection to inform your choices. The piece may be glazed or painted. Research techniques and try something you have never tried before.
Workshop week
Research ceramic forms, learn a new technique and present it to the class. Your technique should be about creating forms (not glaze). For example, making industrial parts that are pieced together to create a teapot.
Additional projects
Henry Moore Sculpture- Create a figurative sculpture using Moore’s approach.
George Segal- Create a sculpture using Segal’s work as inspiration. You may create a plaster cast and use it as a mold or hand build your piece.
Textured drape project- Remember the elbowl or the beach ball project. Repeat the idea in a different way.
Alternative Coil piece- Use alternative coil techniques to create a vessel referencing Zulu forms.
Carved vessel- Create a lantern or bowl with negative space.
In the last half of the spring semester, students shift their focus to the overall success of both sections of their portfolio. They identify and address how they will strengthen and improve the cohesiveness and development of their thematic exploration in the Concentration section. In April, students assemble, photograph and order the final artworks for the Breadth and Concentration sections in the AP digital submission tool. They discuss ordering them to their best advantage and consider the use of detail or process images in the Concentration section. In conference with the teacher, they select artworks for the Quality section that best demonstrate their mastery of concept, composition, and execution. Students refine their Concentration statement, write their Concentration commentary and complete all portfolio submission steps.
Concentration ThemeStudents are expected to develop and sustain a specific, coherent plan of action for the development of their focused investigation. They prepare to create a cohesive body of work to investigate a strong underlying visual idea by viewing examples of highly original Concentration ideas from the AP Studio Art website for inspiration.
An initial statement for their Concentration is submitted in a journal entry (see below). Students research ideas in order to arrive at a specific conceptual thesis.
Journal Questions / Initial Concentration Idea:
Subject - What is your Concentration section about? Why are you interested in this? What other subjects did you consider?
Technique - What building techniques will you use? What size?
Composition – What elements of art and principles of design will be highlighted in your works?
Expressive qualities - What will impact and engage your viewer? What connections will your subject have to your choices?
Exploration – describe how you plan to develop this idea. Be specific about visual and conceptual perspectives you will explore and how you will demonstrate growth and discovery with the theme you have chosen.
Sources – What visual references or resources will you use for your artworks? If you use appropriated images, how will you simply reference or substantially transform them?
Write the first part of your Concentration statement. Be as succinct as possible.
Students meet with the teacher to present 2 completed works as evidence of their visual theme and discuss the strength of the student’s concept, composition and technical execution.
What is this work about? What aspect of your Concentration idea does this work explore?
What changed from your previous artwork? Why?
What artistic devices did you use most to convey your idea? Are they working?
Is your artwork strongly reflecting your statement? Do you need to alter your statement to better express the underlying visual idea that you are exploring? What else needs to change?
Is the work technically excellent? What most needs improving?
What aspect of your theme will you be exploring in your next artwork?
Students critique the submitted artwork as a group with reflection questions and each receives written feedback from the teacher with rubric scoring and specific goals for improving the quality of their work. The teacher also assesses and discusses the student’s visual theme development.
Course Content The fall and spring semesters include assignments for developing both the Concentration and the Breadth sections of the portfolio. Assignments are given for students to develop and demonstrate mastery of concept, composition, and execution of their personal ideas and themes. Standards of quality are stressed throughout the course and defined using the following grading rubric:
QUALITY RUBRIC - Strength of artistic decision-making and technical execution
0-4 5/6 7/8 9/10
Composition Not Developed Attempted but Not Successful Moderately Successful Very Effective /10 pts
Texture Not Developed Attempted but Not Successful Moderately Successful Very Effective /10 pts
Depth of Space Not Developed Attempted but Not Successful Moderately Successful Very Effective /10 pts
Skill with Media Not Developed Attempted but Not Successful Moderately Successful Very Effective /10 pts
Color Usage Not Developed Attempted but Not Successful Moderately Successful Very Effective /10 pts
Subject Matter Not Developed Attempted but Not Successful Moderately Successful Very Effective /10 pts
Visual Impact Not Developed Attempted but Not Successful Moderately Successful Very Effective /10 pts
Artistic Voice Not Developed Attempted but Not Successful Moderately Successful Very Effective /10 pts
Completed on time (-10 pts/each day late)
__days late On Time /20 pts
TOTAL /100 pts
Definition of Terms
Composition: masterful use of design elements + principles
Texture: effective use of texture to enhance form
Depth of Space: effective use of space and form
Skill with Media: excellent technique, mature use of materials
Color Usage: masterful use of glaze or other decoration
Subject Matter: the subject matter is clear and harmonious with the concept of the work
Visual Impact: all artistic choices and execution are unified and essential
Artistic Voice: the work is highly original and harmonious with the student’s body of work
Completed on time: complete and presented at critique for the class to discuss in depth
Quality Standard Setting Presentation and discussion in class reinforces a student’s understanding and calibrates their expectations for the course rigor. AP Portfolio exemplars with a range of scores are presented from College Board instructional materials. Students predict scores and discuss their reasoning. Students read and discuss the standards for college-level quality from College Board instructional materials.
Copyright Issues + PlagiarismStudents are not permitted to work from published images or copyrighted works in order to ensure personal artistic ownership. They view slides exemplifying plagiarism and compare those to highly original works that move substantially beyond duplication. They understand that, should they reference published images, no duplication of that published work may be evident. During ongoing individual conferences as well as group discussions and critiques, students will develop a comprehensive understanding of what constitutes plagiarism and how to maintain their own voice and artistic integrity.
CritiquesInformal critiques occur among students and with the teacher during the development of an assignment while formal critique sessions are scheduled at the end of every project assignment.
The assignment criteria are reviewed and students are asked to evaluate the quality and success of their work and others’ work. Each critique serves as a valuable instructional opportunity to reinforce successful use of the elements of art and principles of design to achieve unity in concept and artistic expression. Technical execution is also evaluated and discussed.
Assessment and Evaluation
Grades are assessed from finished works in the grading term, participation in critiques and other assignments.
Criteria in the grading rubric are established by College Board evaluation standards.
Students may submit improved artwork for reassessment and additional points may be added to a project grade within the quarter grading period.
Sketchbook JournalStudents are responsible to maintain a sketchbook journal to stimulate creativity and record and develop conceptual and compositional ideas. They also continue to utilize it for in and out of class assignments.
Technology + Materials This course is taught in the context of a digitally integrated classroom and school. Every student has a laptop or tablet. Instruction in using the school’s learning management system is necessary to complete online assignments such as journal entries, online critiques, discussion forums and more.
Students photograph artwork and store images on Google Drive to create a digital portfolio shared with the teacher.
Space is provided for students to create, store and maintain their artwork in the classroom. They understand that they must provide consumable materials that they will be using in considerable amounts, but they are permitted to use tools or small amounts of materials from the classroom.
Teacher References + Resources AP Central. apcentral.collegeboard.com.
Hopper, Robin. Functional Pottery: Form and Aesthetic in Pots of Purpose. The American Ceramic Society; Reprint edition, 2008.
Rubino, Peter, and Dave Brubeck. Sculpting the Figure in Clay: An Artistic and Technical Journey to Understanding the Creative and Dynamic Forces in Figurative Sculpture. 1st ed., Watson-Guptill; 2010.
Taylor, Brian, and Kate Doody. Glaze: The Ultimate Ceramic Artist's Guide to Glaze and Color. Barron's Educational Series, 2014.