Welcome to AP Studio Art. We look forward to an exciting, productive, and creative class! Please remember that this is a rigorous college level course, which requires you to commit to creating a college level portfolio of work. Daily attendance is mandatory, as is meeting every deadline established.
Each of you should be a rising senior. You should have successfully completed at the minimum, Studio Art (with a grade of B or higher). You should plan to submit the AP portfolio in May. Also be aware of the portfolio reading fee ($93.00) which is payable in February.If for any reason you do not meet all of the aforementioned criteria, you will not be eligible for the college credit, however I will give you high school credit.
Upon your return to class in August, you need to complete the following:
Part 1: Coming up with 3 sustained investigation themes/proposals via power point. ( 1 week max)
Part 2: Use a sketchbook and develop ideas/design for your sustained investigation artwork; along with annotations to your planning. ( a few weeks on and off)
Part 3:Add a new page in your online portfolio called 'AP Art'. Create three subtitles called, 'Summer work', Quality work, and Sustained Investigation. Upload your power point presentation in the Summer work page. Read below for more details. ( 1 day to finish)
Part 4: Finish 2-3 projects (either quality or sustained investigation worthy) to turn in in August. ( a few weeks to finish on and off)
PART 1: Selecting a Sustained Investigation Theme
DIRECTIONS: Choose a theme and prepare a power point 1. The topic should be something that you are genuinely interested in. The ultimate purpose of your Sustained Investigation is to teach you something: to help you develop as an artist and to strengthen your understanding of artrelated issues. The most successful Sustained Investigation communicate ‘a strong sense of involvement through personal enthusiasm and a commitment to sustain the investigation’. Simply speaking, when you are passionate about a topic, you are more likely to do well. 2. A topic should provide you sufficient material to write about, while not being so vast that your project becomes all-encompassing, disjointed or surface-deep. In order to produce a high quality Sustained Investigation, you need to have a clear, well-articulated focus. This gives you something to organize your projects around and encourages you to write with coherence and structure (a lack direction is a common weakness in low achieving Sustained Investigation). 3. Choose a topic that allows you to view artwork first-hand. This is not a guideline: it is imperative. In my experience, the best Sustained Investigation are produced when students not only view artwork in the flesh (in a gallery or museum exhibition, for example). This gives opportunity for the work to be understood in great detail (seeing true colors, textural surface qualities and the real scale of the piece) and encourages truly personal responses. It also means that students can take beautiful photographs of the artist or designer working in their studio and see all of the processes and various stages of completion. 4. Contrasting and comparing the work of artists can be helpful. Studying the work of a mainstream or critically acclaimed artist alongside a local artist can be beneficial, especially if the local artist is less established. This gives you the best of both worlds (the enthusiasm and first-hand contact from a local artist, plus the insight that comes from studying historical, contemporary and/or international artists who work in another cultural context). You may, for example, choose to focus upon two artists who paint the same subject in a different way, or to discuss the influence of a famous artist upon a local painter. It should be noted that the examiners understand that many students will not be able to see all of the artworks they study in the flesh, so supporting first-hand study with those viewed in reproduction is absolutely acceptable. 5. Select a topic that is supported by quality reference material. While the Sustained Investigation is centered on your own personal responses, drawing on the opinions of educated critics can provide insight and a depth of understanding: grounding, validating and/or challenging your own views. Before finalizing upon a Sustained Investigation topic for AP Studio Art, check to see if there are existing articles, books or online reviews about the artists in question. This also helps to verify that the artist you have selected has some standing in the art community and is thus likely to be an appropriate and valuable person to study. It should be noted, of course, that in many cases, the more well-known an artist is, the less time they have to accommodate visits from eager high school students; sometimes relatively unknown artists can be very skilled and have much to teach a high school art student. 6. Select your Sustained Investigation topic over the summer. The Sustained Investigation is a large and comprehensive project. It is impossible to complete in its entirety (and achieve a good grade) at the last minute. It can be good practice to start thinking about your topic selection at the conclusion of this article and brainstorming. This leaves a strong position to start the AP Studio art year. Regardless of whether the vacation period is utilized, it is essential that the Sustained Investigation receives regular attention (ideally within scheduled class time as well as at home) so that students can plan, research and complete the project in a systematic, organized way.
THEME/SUSTAINED INVESTIGATION IDEAS:
7. Submit an Outline Proposal Form to your instructor in the form of a power point: When you return from summer break I do expect you to present your proposal ideas to me in front of your classmates. You can do this in the form of a power point, prexi, video, etc..
What needs to be included in your power point? Slide 1. Title page that says, "Sustained Investigation Proposal". Your first and last name and interesting background Slide 2. List your 3 ideas, Plan A: What is your first choice Plan A theme/sustained investigation proposal? Plan B: What is your plan B idea. What is your second theme? Plan C: What is your Plan C idea? What is the theme? Slide 3: Elaborate Plan A. What is the central idea of your sustained investigation? What will your investigation focused on? What are you interested in learning? Slide 4: Create a mind map of your your Plan A ideas. (What is a Mind Map?) Slide 5: Insert 3 thumbnail sketches of possible ideas for Plan A and upload them on this slide. Slide 6: Photo References: Insert 3 photo references that can help you develop ideas. Slide 7 and 8: Artistic Aspirations: Find 3 artists who's artwork matches your theme. Explain their technique and style. Find one artwork, from each artist, who's artwork matches your theme and insert it into this slide. Include the title and medium of artwork. Slide 9: Explain Plan B. What is the central idea of your sustained investigation? What will your investigation focus on? What are you interested in learning? What will you focus on? Slide 10: Create a mind map of your your Plan B ideas Slide 11: Insert 3 sketches of possible ideas for Plan A and upload them on this slide. Slide 12: Photo References: Insert 3 photo references that can help you develop ideas. Slide 13-14: Artistic Aspirations: Find 3 artists who's artwork matches your theme. Explain their technique and style. Find one artwork that matches your theme and insert it into this slide. Include the title and medium. Slide 15: Explain Plan C. What is the central idea of your sustained investigation? What will your investigation focus on? What are you interested in learning? Slide 16: Create a mind map of your your Plan C ideas Slide 17: Insert 3 sketches of possible ideas for Plan C and upload them on this slide. Slide 18: Photo References: Insert 3 photo references that can help you develop ideas. Slide 19-20: Artistic Aspirations: Find 3 artists who's artwork matches your theme. Explain their technique and style. Find one artwork that matches your theme and insert it into this slide. Include the title and medium. Slide 21: Explain what theme you plan on doing and list some possible artwork designs.
After you have selected a one theme you need to research, plan, and develop ideas in your sketchbook.
PART 2: Use a sketchbook and develop ideas/design for your sustained investigation artwork; along with annotations to your planning
What should a sketchbook contain? Exploration of composition, visual elements, and design principles: An important role of the sketchbook is to aid the planning and refining of larger artworks. This might involve: composition studies, thumbnail sketches or layout drawings (exploring format, scale, enlargement, cropping, proportion, viewpoint, perspective, texture, surface, color, line, shape, form, space and so on); design ideas; photographs of conceptual models or mock-ups; storyboards; photographic contact sheets; analysis of accompanying portfolio work; and many other forms of visual thinking. Original drawings, paintings, prints, photographs, or designs: Fill the sketchbook with your own visual material – particularly that which is exploratory, incomplete and experimental (as opposed to finished illustrations). Images should support the theme of the project and should not depict a random collection of unrelated subject matter. A wide range of mediums and materials: The sketchbook should contain a range of mediums and materials, as appropriate for the project and area of specialty. A broad list of possibilities appears below (this list is not prescriptive or restrictive) Drawing and painting surfaces: colored and textured paper of varying weights, such as tissue paper, watercolor paper, newsprint, and cartridge; transparent sheets, plastic overlays or tracing paper; discarded wallpaper, patterned paper and printed pages; matt and gloss photographic paper and other specialized printing paper; cardboard; painted and prepared grounds; masking tape; collaged surfaces; dried textures created with acrylic pastes; canvas sheets, hessian and other fabrics; other appropriated materials. Drawing and painting mediums: graphite pencil; colored pencil; ballpoint pen; ink pen; calligraphy pen; marker pen; chalk; charcoal; pastel; crayon; drawing ink; printing ink; natural and man-made dye, such as from commercial pigments, walnut skins, coffee stains and food dye; gouache; watercolor; acrylic paint; oil paint; spray paint; house paint; shellac/varnish; fixative; wax; painting mediums, such as thinners, gel/gloss, glazes, drying retarders, textural pastes/modelling compounds. Threads and textiles: natural fibers, such as cotton, wool, silk, flax and raffia; synthetic threads, such as nylon, acrylic and polyester; textiles of different weights, weaves, patterns, prints and colors; up-cycled fabric, including those from non-traditional sources, such re-purposed woven plastic bags; elastic; sewing threads; embroidery threads; string; rope; beads; foam; furs and leather. Sculptural materials: clay; cane; wire; wood; stone; plaster; plastic; fiberglass; metal; water/ice; other organic and man-made found materials. Tools and technology: brushes; sponges; scissors; paint rollers; palette knives; craft knives; engravers; chisels, woodworking tools; metal working tools; traditional and digital cameras; video cameras; darkroom equipment; photocopiers; scanners; paper trimmers; needles, sewing machines; overlockers; looms; printing presses; computer-aided design (CAD) software, such as Adobe Photoshop, InDesign and SketchUp Pro; computer-aided manufacture (CAM), such as 2D and 3D printers, laser cutters / CNC paper cutters.
A wide range of art-making techniques, processes, and practices: The techniques, processes, and practices explored within a sketchbook should be appropriate for the project and area of specialty. Both traditional and contemporary approaches are encouraged. These should be informed by the study of relevant artists and first-hand practical experimentation. Complex processes may be recorded and documented within the sketchbook, for example, diagrams outlining construction processes; annotated computer screenshots; or photographs of sculptural work in progress (this can help to prove the authenticity of your work). Avoid indiscriminate documentation of every technique at every stage of production, as this becomes a space-filling device that pushes out more relevant content. How to annotate a sketchbook: Aim to record personal reflections, evaluations, judgments, and responses (rather than regurgitating facts or the views of others), providing insight into your thinking and decision-making processes. Art examiners do not want to read lists of facts or chronological sequences of events. They do not want long-winded descriptions of technical processes, extensive artist biographies, or the inclusion of broad periods of art history. Cut-and-pasting or transcribing information from other sources is not acceptable (small portions may be quoted and referenced, as appropriate). Communicate with clarity: A sketchbook should not contain endless pages of writing; this wastes the examiner’s time, as well as your own. Communicate in a succinct and clear manner. Thoughts may be recorded in any legible format: mind maps, scrawled questions, bulleted summaries or complete sentences and paragraphs. In most cases, a variety of approaches is appropriate. Whichever format you choose, avoid ‘txt’ speak and spelling errors; these indicate sloppiness and suggest that the work belongs to lower caliber student. Demonstrate subject-specific knowledge: Aim to communicate informed and knowledgeable responses, using a range of art-related vocabulary and terminology. This learning may be the result of formal classroom lessons, individual research or personal art-making experience. Critically analyze artwork: Art analysis is an integral component of most high school art programs. Aim to analyze work by a range of historical and contemporary artists, from a range of different cultures. Artist work should be relevant to your project and offer valuable learning opportunities, whether in approach to subject-matter, composition, technique or medium. You should also analyze your own artwork within the sketchbook, measuring success against original intentions and assessment objectives specified within the mark scheme. This allows you to gain helpful insights that inform and influence subsequent work. Communicate intentions: It is usually helpful to begin a sketchbook by discussing intentions, starting points and design briefs, including any requirements and restrictions set for the project. Avoid the obvious: Self-explanatory statements, such as “I drew this using pencil” or “this is a shoe” are unnecessary; they communicate no new information to the examiner. Reference all images, text, and ideas from others: Any content created by others should be formally credited and acknowledged, even when this has been appropriated or reinterpreted, rather than directly copied. It is helpful to cite artists directly underneath the appropriate image (artist name, artwork title, medium, date and image source), along with brief details about any gallery, museum and artist visits. You may also benefit from labeling original photographs, so that is clear to an examiner which work is your own. Sketchbook presentation tips Keep it simple: A high school sketchbook should be reminiscent of what an artist or designer might create. It does not need to be over-worked, ‘perfect’ or polished. Write legibly and small (so that spelling or grammatical errors are not glaring) and in graphite pencil or black, white or grey pen. Avoid intrusive lettering; elaborate front covers; decorative borders; fold-out tabs (these add an interactive element to the pages, but risk examiners missing the work); over-the-top backgrounds; or any unnecessary framing or mounting. Do not spend weeks dreaming up inventive layouts or desperately Googling phrases such as ‘sketchbook background ideas.’ Presentation decisions should be limited to the sketchbook format (size, shape, and orientation), as described above. Decide upon the sketchbook format and then focus on what matters: producing quality art and design work. Use a consistent style of presentation: Some students favor hard-edged, cleaner presentation methods; others prefer a messier, gestural style. Neither is better than the other: both can be executed well. Inconsistency, however (jumping from one presentation style to the next) may result in a submission that is distracting and in-cohesive. Order work so that it shows the development of ideas: Although a sketchbook is usually an informal, free-flowing document, it is important to remember that an examiner will pick it up and ‘read’ it in a short length of time. Rather than a pile of disconnected visual exploration, structure the sketchbook in a way that reflects the overall development of your project. This occurs naturally as the year unfolds for most students, however, this issue may arise if you attempt to cobble a sketchbook together immediately before the due date. More does not mean better: Bulking up a sketchbook (or series of sketchbooks) with poor work is not recommended. Weak work sets off alarm bells for an examiner, alerting them to be on the lookout for weaknesses elsewhere. This does not mean that anything ‘less than perfect’ should be discarded (mistakes provide valuable learning opportunities and cues for how subsequent learning occurred), but you must discriminate. If an image is glaringly worse than your others, consider improving it or distracting from this with the addition of higher quality surrounding work (seek teacher guidance before removal of any artwork; improving existing work is often faster than starting afresh). Craft the sketchbook with care: The sketchbook offers an opportunity to remind the examiner that you are a hardworking, dedicated student, who cares about the subject. This doesn’t mean you must cram your sketchbook with intense, labored work (sometimes an expressive, two-minute charcoal drawing is all that is needed) but that the sketchbook speaks of your effort, commitment, and passion.
In short my 8+ pages for the sustained investigation should contain: 1. Used visual references labeled internet image, magazine, or my own photograph. 2. Sketches of how I want the final artwork to look with use of the mediums going to be used in the final composition. Exception to sculpture, use mediums that will reflect color and texture in final artwork. 3. Annotation: Personal responses (reflection, evaluation, judgement), communicate with clarity, subject matter knowledge, analyze your sketch for (changes, improvement, change of direction), communicate intentions and avoid the obvious.
EXAMPLES OF SKETCHBOOK IDEAS:
Part 3: Upload your presentation to your Online Portfolio.
Create a page in your online portfolio and label it "AP ART". Create 3 sub-pages under AP art called, "Summer Work", "Sustained AP Artwork" and, "Quality Artwork." Upload your power point on that page called 'Summer Art. Take 4 images of your best ideas in your sketchbook ideas and upload them them on the same page.
Part 4: Work on a Quality artwork or a Sustained Investigation artwork to be turned in in August.
You will be required to turn in 2-3 new artworks that are AP 'worthy' to be turned in the first week of school. These artworks need to show your absolutely best technique, skill, and talent. They can be any size and in any medium. Choose your theme and subjects carefully. Review the AP Scores and Sustained Investigation ideas to help guide you. Also feel free to email me or text me if you have any questions.