Instructor- Kathleen Hammond/ B222
University Academy Upper School
hammondk@universityacademy.org
816-412-5964
AP Studio Art Syllabi: Drawing and 2-D Design
Course Description:
This is a college-level studio art class for students who are willing to attempt
advanced work in high school. Through studio practice, application of design
concepts and informed decision-making, students will assemble a body of
artwork that demonstrates a high level of quality and growth of content,
technique, and process. [C-5] Students will develop mastery in concept,
composition, and execution. The student’s best work will be included in the
Quality section. These will showcase understanding and mastery of concepts,
composition and execution of drawing or design. Constantly reassessing work
through group and self-critiques will help achieve this. [C-2] [C-6] Students will
investigate and address three components in their portfolios: Quality, Breadth,
and Concentration. They will be expected to solve creative problems using their
knowledge of elements of art and principles of design. Students will use a range
of conceptual approaches as well as show technical skill in a variety of media and
familiarity of traditional and contemporary approaches to art. Class assignments
will challenge students to set and achieve creative goals. The expectation is that
the student will be involved in a sustained investigation of all three portfolio
sections. [C-1]
The online AP portfolio examples will be viewed and discussed for ideas and
inspiration. Class demonstrations will be given to introduce new techniques and
artists, or to further explore different media, techniques, or artists already
addressed. [C-4] Students are expected to work on diverse projects to
encourage growth and individuality. The process of developing a portfolio
requires a great deal of time and effort and the scheduled class time is not
adequate to create the amount of work required for the portfolio. Therefore, it
will be necessary to put many hours outside of class into the body of work.
Students will also receive homework assignments that will need to be completed
outside of class. They should be prepared to spend four to eight hours a week
outside of class on their work.
Daily one-on-one critiques/conversations will be held between individual
students and the teacher to help the students further develop their work. Biweekly group critiques will be held with the teacher and AP peers for both
homework and current AP projects. Participation is required and a portion of the
grade will reflect participation. [C-6] During the critiques, the relevant and
applicable art terminology and AP portfolio guidelines and grading criteria will be
analyzed and discussed by both presenter and peers to ensure students are
achieving quality work, exceeding mediocrity and working toward mastery. [C-2]
The vocabulary of elements of art and principles of design are constantly
discussed by the instructor and the students on a regular basis to practice verbal
C5- The course emphasizes art
making as an ongoing process that
involves the student in informed
decision making.
C2- The course enables students to
develop mastery (i.e. “quality”)
in concept, composition, and
execution of drawing or 2-D design.
C-6- The course includes group and
individual student critiques and
instructional conversations with
the teacher, enabling students to
learn to analyze and discuss their
own artworks and those of their
peers.
C1- The course promotes a
sustained investigation of all three
aspects of portfolio developmentquality, concentration, and
breadth- as outlined in the AP
Studio Art Course Description or
AP Studio Art poster throughout
the duration of the course. (Note:
The body of work submitted for the
portfolio can include art created
prior to and outside of the AP
Studio Art course.)
C-4- The course teaches students a
variety of concepts and approaches
in drawing and/or 2-D design so
that the student is able to
demonstrate a range of abilities
and versatility with technique,
problem solving, and ideation (i.e.
breadth). Such conceptual variety
can be demonstrated through
either the use of one or the use of
several media.
communication about the students’ own artworks as well as that of their peers, and
should be foremost in the creative process. [C-5]
The first semester will address the Breadth section of the portfolio while considering
possibilities for the Concentration section. The Breadth section should address
mastery of various media and/or techniques. The course will provide experiences in
a variety of media and approaches to problem solving to express concepts and
ideas. [C-2] Problem solving is an important component of this course. Students will
use their sketchbooks to brainstorm ideas for artworks and build on and improve
their work by reflecting on ongoing work. They will learn to use previously learned
information in new and innovative ways to solve problems by exposure to various
genres, artists, media, and techniques that will be introduced or reviewed through
art history sessions of class time. They will break down observations and works into
their component parts, examining and trying to understand the organizational
structure and develop divergent conclusions. They will creatively apply prior
knowledge and skills to produce new and original works. These discoveries and
syntheses will be communicated and expressed through the use of a variety of
concepts and approaches (ideation) in drawing, design, art media and techniques, as
explored in their artworks. [C-4]
The second term will be used to complete work on the Breadth while
simultaneously working on the Concentration section. The Concentration section of
the portfolio should demonstrate an investigation of a theme or an idea that is well
planned and has personal interest to the student. Each student will present a
written outline of their specific coherent plan of action or investigation, growth, and
discovery involved with their compelling visual concept to the class. [C-3] [C-1]
An after-hours Open Studio is designed to provide concentrated work time in the
studio with a teacher. Open studio is required at least twice per month for a
successful portfolio and attendance will be part of the final grade. In addition,
frequent visits to museums and galleries are strongly encouraged. The teacher will
be available to accompany students on Saturdays or Sundays upon request. This will
help build a better understanding of concentrations, breadths, quality, as well as
historical and contemporary approaches to art.
Students are expected to use artistic integrity throughout the course. Work that is
based on published photographs or the work of other artists must move beyond
duplication to illustrate an original idea. If the student submits work that makes use
of photographs, published images, and/or other artists’ works, substantial and
significant development beyond duplication to ensure personal artistic ownership in
the work must be shown. Plagiarism, using an image (even in another medium) that
was made by someone else, is unethical and will not be allowed in this course. [C-7]
Students will submit their required body of work along with their concentration
essay to the College Board for grading and possible college credit. The deadline for
submission is Friday, May 4, 2012. College credit is possible at many colleges and
universities across the United States and in more than 60 other countries, in credit
hours, advanced placement, or both. A list of facilities that accept AP exam scores is
available at http://collegesearch.collegeboard.com/apcreditpolicy .
C5- The course emphasizes art
making as an ongoing process
that involves the student in
informed decision making.
C2- The course enables
students to develop mastery
(i.e. “quality”)
in concept,
composition, and execution of
drawing or 2-D design.
C-4- The course teaches
students a variety of concepts
and approaches in drawing
and/or 2-D design so that the
student is able to demonstrate
a range
of abilities
andstudents a
C-4The course
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C-3- The course enables
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C-7- The course teaches
students to understand artistic
integrity as well as what
constitutes plagiarism. If
students produce work that
makes use of photographs,
published images, and/or other
artists’ works, the course
teaches them how to develop
Drawing Portfolio:
The Drawing Portfolio is intended to address a very broad interpretation of drawing
issues and media. Line quality, light and shade, rendering of form, composition,
surface manipulation, the illusion of depth and mark- making are drawing issues
that can be addressed through a variety of means, which could include painting,
printmaking, mixed media, etc.
Abstract and observational references 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.
Students will expand their drawing and two-dimensional design skills and advance
their visual communication skills by exploring a variety of design processes and
techniques, and compositional and aesthetic concepts. [C-4] [C-2]
Students will produce a minimum of 24 works that satisfy the requirements of
Quality, Concentration, and Breadth sections of the AP Studio Art Drawing
portfolio. Consideration of the five quality pieces should be an ongoing process
throughout the 2nd semester, and should be selected no later than April 19, so they
can be prepared for submission. [C-1]
2-D Design Portfolio:
This portfolio is intended to address two-dimensional design issues. Design involves
purposeful decision making about how to use the elements of art and principles of
design in an integrative way.
The principles of design (unity/variety, balance, emphasis, contrast, rhythm,
repetition, proportion/scale, figure/ground relationships) can be articulated
through the visual elements (line, shape, color, form, value, texture, and space).
They help guide artists in making decisions about how to organize an image on a
picture plane in order to communicate content. Effective design is possible
whether one uses representational or abstract approaches to art.
For this portfolio, students are asked to demonstrate mastery of 2-D design
through any two-dimensional medium or process, including, but not limited to,
graphic design, digital imaging, photography, collage, fabric design, weaving,
fashion design, fashion illustration, painting and printmaking.
Students will expand their two-dimensional design skills and advance their visual
communication skills by exploring a variety of design processes and techniques,
and compositional and aesthetic concepts.
[C-4] [C-2]
Students will produce a minimum of 24 works that satisfy the requirements of
Quality, Concentration, and Breadth sections of the AP Studio Art 2-D Design
portfolio. Consideration of the five quality pieces should be an ongoing process
throughout the 2nd semester, and should be selected no later than April 19, so they
can be prepared for submission. [C-1]
C-4- The course teaches students
a variety of concepts and
approaches in drawing and/or
2-D design so that the student is
able to demonstrate a range of
abilities and versatility with
technique, problem solving, and
ideation (i.e. breadth). Such
conceptual variety can be
demonstrated through either
the use of one or the use of
several media.
C2- The course enables students
to develop mastery (i.e.
“quality”)
in concept,
composition, and execution of
drawing or 2-D design.
C1- The course promotes a
sustained investigation of all
three aspects of portfolio
development-quality,
concentration, and breadth- as
outlined in the AP Studio Art
Course Description or AP
Studio Art poster throughout
the duration of the course.
(Note: The body of work
submitted for the portfolio can
include art created prior to and
outside of the AP Studio Art
course.)
C-6- The course includes group
and individual student critiques
and instructional conversations
with the teacher, enabling
students to learn to analyze and
discuss their own artworks and
those of their peers.
Both Drawing and 2D Design:
Student Objectives:








Maintain a strong work ethic.
Work through and solve visual problems effectively and independently.
Refine the ability to draw/render what you see.
Understand how art elements and design principles communicate content.
Increase awareness of the creative process as being investigative and
continuous.
Increase knowledge of art tools and materials.
Pursue the art making process with passion and fervor.
Create a portfolio that showcases mastery, quality, and growth as an artist.
C-6- The course includes group and
individual student critiques and
instructional conversations with
the teacher, enabling students to
learn to analyze and discuss their
own artworks and those of their
peers.
C-7- The course teaches students to
understand artistic integrity as
well as what constitutes
plagiarism. If students produce
work that makes use of
photographs, published images,
and/or other artists’ works, the
course teaches them how to
develop their own work so that it
moves beyond duplication.
Grading:
Class participation (Staying on task, using every minute wisely, portfolio completion)
Artwork Grades
Meeting Project Deadlines with written assessments
Monthly Class Critique participation (Prepared for presentation and offer constructive critique of peers)
Open Studio Participation
Consistent use of sketchbook – checked bi-weekly (Fill the pages and experiment!)
20%
40%
10%
20%
5%
5%
Assessments:
The students will discuss with the teacher and examine, analyze and integrate the elements of art through the principles
of design in each of their artworks. Emphasis will be placed on discovering strengths and projects needing additional
work as well as compositions or works that are formally strong. [C-6} Throughout the student’s work and upon
completion of the work, the appropriate AP Studio Art Scoring Guideline (Drawing or 2D) should be visited and assessed
in relation to the work. Both the Quality and Breadth or Concentration sections should be addressed. A written
assessment addressing these scoring guidelines should be turned in with each artwork on the due date and will be
discussed during critiques. (Guideline sheets attached.) [C-7]
Reassessment:
If an assignment is determined to need reworking for improvement, the student may continue to work on that artwork.
The given score will remain until the work is turned in again. The score earned after improvement will replace the
original score if completed that quarter. The reworked project must be turned in with the instructor’s original remarks
for eligibility of reassessment.
2D Design Issues- Track each artwork with this guide
Balance
Emphasis/
Contrast
Harmony/
Unity
Variation/
Complexity
Gradation
Movement/
Rhythm
Repetition
Figure/
Ground
Relationship
Proportion/
Scale
Color
Value
Line
Texture
Shape/Form
Space
Drawing- Score the following from 1-6 or NA if not applicable
Line Quality
Light and shade
Rendering of form
Composition
Surface
Manipulation
Illusion of Depth
Mark Making
In addition to using these charts to monitor your work, constantly refer to the AP Scoring Guidelines for the applicable
artwork.
Bibliography:
Arnason, H.H. History of Modern Art: Painting, Sculpture, Architecture,
Photography. 4th ed. New York: Harry N. Abrams, 1998. Print.
Borgeson, Bet. The Colored Pencil, Key Concepts for Handling the Medium.
Revised Edition. Watson-Guptill Publications, 1995. Print.
Brooke, Sandy. Hooked On Drawing! Paramus, NJ: Prentice Hall, 1996. Print.
Cole, Alison. Perspective. London: DK Ltd., 1992. Print.
Dodson, Bert. Keys to Drawing. Cincinnati: North Light, 1990. Print.
Field, Richard S. Jasper Johns Prints 1960-1970. Philadelphia: Philadelphia
Museum of Art, 1970. Print.
Fleming, William. Arts & Ideas, Eighth Edition. Fort Worth: Holt, Rinehart
and Winston, Inc., 1991. Print.
Hale, Robert Beverly and Terence Coyle. Anatomy Lessons From the Great
Masters. New York: Watson-Guptill, 2000. Print.
Janson, H.W. and Anthony F. Janson. History of Art, Sixth Edition. New York:
Harry N. Abrams, Inc., 2001. Print.
Keller, Horst. The Great Book of French Impressionism. Netherlands:
Greenwich House, 1982. Print.
Kendall, Richard. Van Gogh’s Van Gogh’s, Masterpieces from the Van Gogh Museum Amsterdam.
Washington: National Gallery of Art, 1998. Print.
Mittler, Gene A., Ph.D. and James D. Howze. Creating and Understanding Drawings, Fourth Edition. The
McGraw-Hill Companies, Inc., 2006. Print.
Okamoto, Naomi. Japanese Ink Painting, The Art of Sumi-E. New York: Sterling Publishing Co. Inc., 1996.
Print
Lucie-Smith, Edward. The Thames and Hudson Dictionary of Art Terms. London: Thames and Hudson,
Ltd, 1996. Print.
Nice, Claudia. Creating Textures in Pen & Ink with Watercolor. Cincinnati: North Light Books, 1995. Print.
Roy Lichtenstein, Landscapes in Chinese Style. Hong Kong: Hong Kong Museum of Art, 1998. Print.
Smith, Ray and Michael Wright and James Horton. An Introduction to Art Techniques. New York: DK
Publishing, 1999. Print.
Stark, Freddy, Ph.D. Original illustrations by Henry Gray, adapted by Helen I. Driggs. Philadelphia:
Running Press, 1991. Print.
Strickland, Carol Ph.D and John Boswell. The Annotated Mona Lisa, A Crash Course in Art History From
Prehistoric to Post-Modern. Kansas City: Andrews and McMeel, 1992. Print.
The 20th Century Art Book. London: Phaidon Press Ltd., 2000. Print.
The American Art Book. London: Phaidon Press Ltd., 1999. Print.
The Complete Cartoons of The New Yorker. Mankoff, Robert, Ed. New York: Black Dog & Leventhal
Publishers, 2006. Print.
The Essential series. New York: Wonderland Press, 2001. Print.
Werner, Alfred. Degas Pastels. . Watson-Guptill Publications, 1978. Print.
Zollner, Frank. Leonardo daVinci. New York: Barnes and Noble, Inc., 2004.
Print.
Art Magazines:
Art in America, ArtNews, Artists in Their Time, Scholastic Art
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