Art III: Portfolio Development –

Advanced Placement G/T

604M(1 credit) 605M(2credit)
(AP Studio Art: Drawing, 2-D Design, and 3-D Design)
Course Description
This course begins the development of a body of work leading to the Advanced Placement
Examination. It is recommended for students who have demonstrated an ability to complete
challenging work successfully at a demanding pace. Emphasis is placed on creative problem
solving, independent research and learning, task commitment and special topics.

Students are required to investigate all three aspects of the portfolio that includes Quality,
Concentration, and Breadth. Students begin the course the first semester by working on their
Breadth section to allow them to experiment with media and concepts (see attached Breadth
section suggestions). Students are expected to develop mastery in concept, composition, and
execution of ideas. They are shown examples of past AP portfolios for ideas and inspiration.
Contemporary and master artists are used as catalysts for ideas and imagery.

Students choose what and how they wish to work. Students need to work on many diverse
problems to encourage and ensure portfolio individuality. In the Breadth section students
explore a variety of concepts and approaches in order to demonstrate their abilities and versatility
with problem solving, ideas, and techniques. These experiences are also used to develop an
approach for their concentration.

Students are also given homework assignments due several weeks out, and we will have class
critiques on the due date of the homework. Critiques are required part of class participation.
Students are expected to discuss their own work, the work of their peers, and the work of master
artists in written and verbal form.

In the second semester, students develop and choose an idea to explore in depth for their
Concentration section. In the Concentration section, students are expected to develop a body of
work that is an investigation of a theme or an idea. The body of work should be well planned
and investigate an idea that is of personal interest to the student.

Students are encouraged to develop verbal and written literacy about their works (see attached
grading rubric), and we use the AP scoring rubric for individual and group evaluation. Students
are encouraged to examine their work and discuss how to move it from a middle-range piece to a
high-level piece of artwork.

Content of the Class:

The course includes the following three components:
A. Study of master artists and contemporary artists and trends. In addition to class work,
students are expected to visit galleries and local museums in Baltimore and
Washington on their own.
 B. A sketchbook/journal to be composed of visual ideas, notes, photos, plans, short
assignments, quick drawings, and practice of various techniques. Colleges like to see
a students’ sketchbook to see how ideas are generated.
C. Development of the student’s submitted portfolio for AP 2-D Design, AP 3-D Design
or AP Drawing which has three parts:

Quality (Original Works)

Five matted works for Drawing or 2-D Design, Five actual works/10 slides/two views
of each for 3-D Design

Concentration
This should include 12 slides exploring a single visual concern in depth. It is
something like a visual term paper and is an important part of the class. When a
subject is settle on, the student should spend considerable time developing the
concentration. It should show investigation, growth, and discovery involved with a
compelling visual concept. The Concentration is usually complete in the second
semester.

Breadth
This is a set of works showing mastery of varied media, techniques, and subject
matter.

2-D Design, 3-D Design, and Drawing Portfolio Sections:

Breadth, Concentration, Quality

2-D Design Portfolio 3-D Design Portfolio Drawing Portfolio

Section I – Quality (one-third total score)
5 actual works that 10 slides consisting of 2 5 actual works that
demonstrate mastery of views each of 5 works that demonstrate mastery of
design in concept, demonstrate mastery of drawing in concept,
composition, and execution three-dimensional design in composition, and execution
concept, composition, and
execution
Section II – Concentration (one third of total score)
12 slides: some may be 12 slides: some may be 12 slides: some may be
details details or second views details
A body of work investigating A body of work investigating A body of work investigating
a strong underlying visual a strong underlying visual a strong underlying visual
idea in 2-D design idea in 3-D design idea in drawing
Section III – Breadth (one third of total score)
12 slides: 1 slide each of 12 16 slides: 2 slides each of 8 12 slides: 1 slide each of 12
different works different works different works
Works that demonstrate a Works that demonstrate a Works that demonstrate a
variety of concepts and variety of concepts and variety of concepts and
approaches in 2-D design approaches in 3-D design approaches to drawing
Breadth
Examples of Drawing Breadth problems:
• The use of various spatial systems, such as linear perspective, the illusion of three-dimensional
forms, aerial views, and other ways of creating and organizing space
• The use of various subjects, such as the human figure, landscape, and still-life objects
• The use of various kinds of content, such as that derived from observation, and expressionistic
viewpoint, imaginary or psychological imagery, social commentary, political statements; and
other personal interests
• Arrangement of forms in a complex visual space
• The use of different approaches to represent form and space, such as rendered, gestural,
painterly, expressionist, stylized, or abstract forms
• The investigation of mark-making

Examples of 3-D Breadth problems:

• Work that embodies line, plane, mass, or volume to activate form in space
• Work that suggests rhythm through structure
• Work that uses light or shadow to determine form, with particular attention to surface and
interior space
• Work that demonstrates an understanding of symmetry/asymmetry, balance, anomaly, and
implied motion
• Assemblage or constructive work that transforms materials or an objects identity through the
manipulation of proportion/scale
• Work in which the color and texture unify and balance the overall composition of the piece
• Work that explores the concept of emphasis/subordination through a transition from organic to
mechanical form

Examples of 2-D Breadth problems;

Media could include graphic design, typography, digital imaging, photography, fabric design,
weaving, illustration, painting, or printmaking.
• Work that employs line, shape, or color to create unity or variety in a composition
• Work that demonstrates symmetry/asymmetry, balance, or anomaly
• Work that explores figure/ground relationships
• Development of a modular or repeat pattern to create rhythm
• Color organization using primary, secondary, tertiary, analogous, or other color relationships for
emphasis or contrast in composition
• Work that investigates or exaggerates proportion/scale

Concentration
Examples of 2-D Concentration problems:
• Design and execute a children’s book
• A series of identity products for imaginary business
• Political cartoons using current events and images
• Series of works starting with representational interpretations and evolving into abstraction.
• Exploration of pattern and design found in nature and/or culture
• Abstractions developed from cells and other microscopic images
• A personal family history communicated through symbols and imagery
• A series of fabric designs, apparel designs, or weavings on a theme
• Use of multiple modules to create compositions that reflect narrative or psychological events
• Series of landscapes that use color and composition to intensify artistic expression

Examples of 3-D Concentration problems;

• A series of three-dimensional works that begins with representational interpretations and
evolves into abstractions
• A series of site-specific works that affect existing form or space
• Abstractions developed from natural or mechanical objects
• Figurative studies that emphasize expression and abstraction
• Wheel-thrown and hand-built clay objects that allude to human, animal, or manufactured forms
• The use of multiples/modules to create and disrupt three-dimensional space
• A series of sculptures that explores the relationship between interior and exterior space

Examples of Drawing Concentration problems:

• A series of expressive landscapes based upon personal experience of a particular piece
• A personal or family history communicated through the content and style of still-life images
• Abstractions from mechanical objects that explore mark-making
• Interpretive self-portraiture and figure studies that emphasize exaggeration and distortion
• A project that explores interior or exterior architectural space, emphasizing principles of
perspective, structure, ambiance created by light, etc.
• A figurative project combining animal and human subjects – drawings, studies, and completed
works
• An interpretive study of literary characters in which mixed media, color, and form are explored
• The use of multiple images to create works that reflect psychological or narrative events

Quality

Assess your selected portfolio work and score it on the following criteria:

Poor Moderate Good Strong Excellent

Materials well used; 1 2 3 4 5
Technique is excellent
Inventive/Imaginative 1 2 3 4 5
Evidence of thinking; 1 2 3 4 5
Clear visual intent
Purposeful composition 1 2 3 4 5
Awareness of style and 1 2 3 4 5
Format
Sensitive/evocative 1 2 3 4 5
If you have not scored your work consistently in the 4 or 5 range, now assess what the strengths
and weaknesses are, and how to rework the piece so it will score a 5. Explain your rationale in a
paragraph below, considering:

1. Have you done anything special with the use of the art elements (line, color, shape,
texture, value)?
 2. What are some of the dominant shapes, expressive forms, color scheme, and textures that
carry significance in this artwork?
3. Is the work ordered/balanced? Or chaotic/disturbing? What makes for the order of
chaos? Would you use words such as unity, variety, contrast, balance, movement, and
rhythm to describe formal characteristics of this work?
4. Describe the quality of execution and technique. What gives the work its uniqueness?
5. Does the work evoke any feeling? To what do you ascribe your feelings – the use of
color, shape, technique, theme?
6. Is there symbolism used in the work to convey meaning other than what you want the
viewer to think about? Did you successfully get your message across?
7. What is your general impression of the work? What did you want the viewer to think
about? Did you successfully get your message across?

Discuss if the work is a significant success, why or why not, and support your judgment with
evidence.

Copyright
Students are not allowed to work from published photographs or other copyrighted work. Many
students will come into the program with the idea that there is nothing wrong with drawing from
photographs, and many of them are quite accomplished at it. Nonetheless, it a practice that we
do not allow in any class and strongly discourage out of class. Even if students take their own
photographs, the resultant image has a distinctly flat and stiff look about it. Copyright issues
tends to be an issue in the drawing a 2D classes, admittedly, there are specific things that students
could only reference through a photograph (such as certain animals). In these instances, students
thoroughly understand that the image is merely for reference and must be transformed through
their individual expression in a three-dimensional media.

Student Self-Critique

Upon completion of your work, fill out the following self-critique to be submitted with each
assignment. Be sure to complete both the rubric section and the explanation section below.

Excellent Average Needs Work

Design Quality – The Uniquely utilizes Utilizes given design Insufficiently utilizes
elements of art (line, color given design concepts concepts some design concepts
shape, texture, shape, form,
space, and value) and the
principles of design (rhythm
and movement, balance,
proportion, variety and
emphasis, harmony and
unity) are utilized
successfully; there is strong
evidence of the artist’s plan
or organization of thought,
and the basic assignment
criteria are met or exceeded.
Creativity – The work is Work is distinctly Work demonstrates Work is clichéd,
conceptually innovative, the original in terms of some originality of basic, or does not
materials used or the process
the concept, process, concept, process, or demonstrate
of creating the work are
inventive, or the work is or materials used materials used inventiveness from
simply quite original. the artist

Craftsmanship – Time Extraordinary or Sufficient level of Mediocre or inferior

and care are taken to create a proficient level of craftsmanship level of craftsmanship
piece that feels finished and
craftsmanship
is well made – it doesn’t
seem to the viewer that the
work was “slapped together
in a hurry.”

Self Evaluation
Mark one box under each category above to describe the level of success in your own work. For
example, next to Design Quality, do you believe your work is excellent, average, or needs work?
Then, in the space provided, describe why your rated your work as you did in each category.