AP Studio Art: Drawing - Syllabus
Course Overview
AP Studio Art: Drawing is designed for students that are highly motivated to do college level
work in studio art while still in high school. AP is also an opportunity for students to qualify for
college credit in a high school environment. AP work is not based on a written exam; instead,
students are required to submit portfolios for College Board evaluation at the end of the school
year. As an AP student, you will develop mastery in concept, composition, and execution of
Drawing and build your portfolio based on three sections; quality, concentration and breadth
[C2]. Students will demonstrate a range of abilities and versatility with technique, problem
solving, and ideation [C4]. AP work does involve significantly more time and commitment than
most high school courses including successful completion of summer assignments.
Students enrolled in the AP Studio Art: Drawing course will:
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Systematically investigate formal and conceptual issues in the Quality,
Concentration, and Breadth sections of the portfolio. [C1]
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Emphasize art making as an ongoing process that involves the student in
informed and critical decision making [C5].
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Develop a body of work investigating a strong underlying visual idea in Drawing
that grows out of a coherent plan of action or investigation (i.e., a
"concentration") [C3].
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Students will use a variety of mediums, techniques, and approaches in drawing to
develop concepts and ideation. [C4]
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Demonstrate a range of abilities and versatility with technique, problem-solving,
and ideation (i.e., "breadth"). Such conceptual variety can be demonstrated
through the use of one or several media. [C4]
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Develop mastery (i.e. quality) in concept, composition, and execution of Drawing
[C2].
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Participate in group and individual student critiques and instructional
conversations with the teacher, enabling them to learn to analyze, discuss, and
write about their own artworks and those of their peers [C6]
Class text:
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Lauer, David A. and Pentak, Stephen. Design Basics. Thomson & Wadsworth, 2007.
(Sixth Edition)
Roukes, Nicholas. Design Synectics: Simulating Creativity in Design. Davis Publications,
1988.
Zelanski, Paul and Fisher, Mary Pat. Design Principles and Problems. Thomson &
Wadsworth, 1996.
(Second Edition)
Wong, Wucius. Principles of Form and Design. Wiley and Sons, Inc., 1993. (First Edition)
AP Studio Art: Drawing Portfolio
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24 - 29 pieces of original art including:
o Breadth - 12 works digitally documented and submitted
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The work submitted should demonstrate mastery and understanding of
fundamental drawing concepts, including drawing from observation, work with
invented or nonobjective forms, effective use of light and shade, line quality,
surface manipulation, composition, various spatial systems, and expressive
mark-making.
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As a whole, the student’s work in this section should demonstrate
exploration, inventiveness, and the expressive manipulation of form, as well
as knowledge of compositional organization.
o Concentration – 12 works digitally documented and submitted
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A body of 12 related works derived from a planned investigation [C3] that
demonstrates growth and discovery; centering on a particular visual concept
that investigates a personal interest to the student. The students are
encouraged to work with the media that best suits their solution.
o Quality – 5 works physically submitted
These 5 works should exemplify the highest level of drawing achievement in
composition, concept, technique, and media [C2]. These excellent and original
artworks may include, but are not limited to the students’ breadth or concentration
selections. Overall these works represent the student’s accomplishments in drawing
and can include works that should be on fl at surfaces, such as paper, cardboard,
canvas board, or un-stretched canvas.
These works should not exceed 18” x 24” including matting. If the works are smaller
than 8” x 10”, then they should be mounted on 8” x 10” board.
Need to Knows*
To do well in this class you must:
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Complete all assignments and build a portfolio that demonstrates academic and artistic growth.
Develop research skills and your ability to find inspiration on your own.
Allow yourself to take risks in an attempt to grow as a student and artist.
Consistently plan, consider, reconsider, and rework assignments as needed.
Participate in daily class activities to the best of your ability.
Go above and beyond the minimum expectations in order to practice using tools and techniques.
Art Computer Lab Policies:
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Actions and interactions should remain strictly professional .
Clean up after yourself.
Be on time and ready to work.
Never vandalize or abuse the equipment in any way.
Summative/ Formative
1. Summative assessments will be worth 80 percent of a student’s grade.
These assessments typically include larger assignments that occur at the end of the learning
process (Tests, Final Projects, Written Reflections, Critiques, 2 major Portfolios etc.)
2. Formative assessments will be worth 20 percent of a student’s grade.
These assessments are designed to be show students how they are progressing toward
learning targets. Typically, formative assessments are smaller assignments, such as quizzes or
homework.
Example of Formative: Research, Preplanning, contact sheets, pre-images, photo-shop
techniques, light room, Camera mechanics and more
Reassessment
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Students will be allowed to complete a reassessment only if they have fulfilled their
teacher’s requirements for this privilege.
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These requirements will be specified for the student for each assignment.
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Requirements may include meeting all deadlines, studying in a different way, meeting
with teacher, working with a tutor, completing additional assignments, etc.
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Students must prove that they are putting forth their best effort to learn the material in
order to retake an assessment.
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Some assignments may not be eligible for reassessment due to scheduling issues and
grading deadlines.
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These assignments may include assignments due at the end of a grading period, lab
assessments scheduled in class, etc.
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The teacher will specify for students which assignments are not eligible for
reassessment.
Reworking Formative Assignments
After receiving feedback, you will have the opportunity to revise some assignment in an
attempt to improve your skills. Revising past work allows you to grow and learn more. The
evidence of your growth will result in a stronger portfolio, and possibly a better grade.
Major and Minor Assignments
Submitted assignments will show up on your online grade book as a checkmark. This
checkmark indicates that you have turned in the assignment. A zero will indicate that the
assignment was not submitted and therefore has received no credit. Turning in assignments
demonstrates your participation in the art-making process. Its shows students are working at
submitting projects, but not at what level the work is.
Extra Practice Assignments
Practice will improve your skills. We do not have a lot of time in class to practice. Extra
credit opportunities are occasionally assigned by the instructor. However, you may choose to
create your own extra credit opportunities. Any evidence of extra practice should be included
in your sketchbook and/or your portfolio. Extra practice will improve your skills and your grade.
Verbal and Written Reflections
You will be asked to participate in several evaluations of your artistic development via
written reflections, and/or verbal conferences. South art department uses a comprehensive set
of 5 criteria to articulate and assess artistic development. You will use these criteria to discuss
your art, your classmate’s art and professional works of art. Each quarter, the student and
teacher will have a conference in which they examine the student’s artwork in visual portfolio,
and discuss evidence of growth and achievement. During these conferences the student will be
asked to reflect upon their artistic growth and use the five criteria to articulate that growth
with the instructor. For more information view 5 criteria on website.
Copyright Issues
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During individual as well as group discussions and critiques, students will develop an
understanding of what constitutes plagiarism and how to maintain their own artistic
integrity. [C7]
Teachers of AP 2-Design will enforce the copyright guidelines as stated on page 19 of the
Studio Art Course Description which reads,
“Any work that makes use of (appropriates) other artist works (including photographs
and/or published images) must show substantial and significant development beyond
duplication. This is demonstrated through manipulation of formal qualities, design, or
concept of the source. The student’s individual ‘voice’ should be clearly evident. It is
unethical, constitutes plagiarism and often violates copyright law simply to copy an image
(even in another medium) that was made by someone else and represent it as one’s own.”
[C7]
Summer Assignments
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Reading assignments: Reading and research are the foundation which an artist uses to
better understand concepts and ideas which translates into stronger projects and clearer
ideas. Students must read and annotate the packet given by the instructor for review and
class discussion. This packet will reinforce material that will be covered throughout the
semester.
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Concentration development: Over the summer, the student is expected to develop ideas
that may work for a possible concentration. See handout for description and possible ideas.
Return with a list of 10 to 20 potential concentration concepts to be discussed with the class
during the second week of school.
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Sketchbook: In the summer the AP drawing class will also be required to be working in a
personal sketchbook/journal/altered book. The sketchbook is a formal assignment that will
be assessed in the fall. See sketchbook section for project information.
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Projects: The student must complete at least three of the following four assignments over
the summer. These summer pieces will be due at the beginning of the second week of first
quarter. The projects count for a major part of the first quarter grade so failure to complete
assignments will result in the possible failure of the first quarter.
Summer Project Possibilities
These projects are designed to improve the students understanding of drawing concepts
and to possibly be used in the breadth section. Each of the artworks needs to be done in the
size range of 5 x 7 to 18 x 24 inches to meet AP portfolio requirements. The students should
contact instructor if they decide to deviate.
1. Create two self–portrait still life projects using a media of your choice. Each project will
contain a rendering of your image reflected on or in one of the following three reflective
surfaces: flat, concave or convex. You must choose two to render. See handout with
examples.
2. Using the same three objects, create a still life set-up that emphasizes light source and
shadows. Render three compositions of the still life to account for the following three
different light sources:
1. flashlight (single direct)
2. window / ambient light (dark room)
3. multiple light source (window plus overhead light)
Focus on depicting different tonal values and contrast levels within the pieces to
bring out the depth of the compositions and the light source direction. Make sure you
touch 3 sides within the compositions.
3. Develop a series of five (5 x 5) compositions that show progressive magnifications of a
single subject. Using a view finder, focus on an object which contains multiple textures.
Create 5 individual 5 x 5 compositions of the same object that moves in progressively
closer to the subject each time. Individual compositions need to focus on mark making,
line quality and line direction to bring out the textures of the object. The project should
reflect the idea of less is more by the fifth composition and start to form a non-object
piece of artwork.
4. Using an image or idea from your sketchbook, examine how different color harmonies
(monochromatic, triad, complementary, analogues) reflect or enforce the specific
moods or emotions of a piece. Create duplicate images (Xerox, digital, scan, and or film)
that can be colored using two different color harmonies. Focus on using light with the
color to enhance the psychological atmosphere.
Sketchbook:
The sketchbook is a tool artists use to keep records of their observations, ideas,
research, and thought processes. It is also a process which should reflect you and document
your journey through this class. The sketchbook can contain any items that will help create
a solid base of research for ideas which may include but is not limited to the following:
images, drawings, magazine/newspaper clippings, song lyrics, poems, museum handouts,
and photos. The sketchbook is also the place to try a variety of concepts and ideas on a
smaller scale so that you can make critical decisions about their feasibility and merit.
Rules for working in your sketchbook:
1. DO NOT make “perfect” drawings. Make imperfect drawings; make mistakes; make false
starts. Let your hand follow your feelings, not what your brain is telling you to do.
2. Use pencils, pens, crayons, sticks, charcoal, burnt matches, pastel, watercolor, acrylic,
pine straw, fingers, basically anything that will make a mark. You have the power to
make a mark.
3. Draw, draw, draw, draw, draw, paint, paint, paint, draw, paint, draw, collage, etc.
4. Make every square inch count for something. Go off the edges whenever possible. Do
not make dinky little drawings in the center of the page.
5. Do not start something and abandon it. Go back later, change it, and make it into
something else. Being able to rescue bad beginnings is the sign of a truly creative mind.
Always finish what you start no matter how much you don’t like it.
6. Put the date on every page.
7. DO NOT DRAW FROM PHOTOGRAPHS, magazines, etc. The use of published
photographs or the work of other artists for duplication is plagiarism. [C7] Draw from
observation, things you see in the world. Learn to translate the dynamic threedimensional world into a two-dimensional world.
8. NO CUTE, PRETTY, PRECIOUS, ADORABLE, or TRITE images. This is a college-level art
class, not a recreation program to make pretty pictures to hang in your house. Expect
your ideas about what makes good art to be challenged.
9. Don’t be boring with your work. Challenge yourself and common ideas!
10. This is a place for risk taking. Don’t invite criticism unless you are confident that it won’t
derail your creative spirit. You don’t need negative feedback when you are trying out
new ideas or experimenting. Avoid showing your work to others unless you know they
are going to understand what you are trying to do in your sketchbook.
11. Express yourself! Work to develop mastery in concept, composition, and execution of
your ideas. [C2]
12. Write about your work. Write about what you like about a drawing, what you don’t like
about it. Write about your hopes for your artwork. Write about why you like to make
art.
13. Write about how your artwork could impact another’s thinking or feeling. Write about
what you want to say with your artwork, and what it means to you in the larger sense.
14. Lastly, this experience should be for your growth as an art student, as a person who
values art as a means of expression. Keep it for yourself so that you will feel free to work
without judgment. Remember this is an ongoing process that uses informed and critical
decision making to develop ideas. [C5]
Summer sketchbook/journal Projects
1. Create 10 pages of your journal/reflection/research/doodling/sketching
2. Research 10 artists
3. Create min 8 – 10 projects from the Project list
School Year Sketchbook/ Journal Projects
1. Create 10 pages of your journal/reflection/research/doodling/sketching
2. Research 5 artists per quarter
3. Create min 4-6 projects from the Project list
Project List
1. Glue stuff into your sketchbook, i.e., ticket stubs, gum wrappers, tin foil, lace, lists,
receipts, sand, leaves, twigs, pebbles, shells, earrings, shoelaces, whatever. Make a
collage with the stuff. Add these things to pages that you started but don’t like. Let
your imagination go wild. Then choose three of the objects and arrange a still life
and draw in sketchbook the compositions.
2. Build the pages up by layering things, paint on top of collage, newspaper, and
drawing. Attach pieces of fabric and photographs and paint over parts of them. What
did you do? What are you trying to say?
3. Take a news story and interpret it visually, use abstraction to express an idea.
4. Play around with geometric and organic forms, interlocking and overlapping to
create an interesting composition. Use color to finish the work.
5. Create a self-portrait based of Modern art movement and incorporate in distortion,
or Cubism, or Impressionism, or Minimalism, or Pop.
6. Create a drawing of the interior of your room but add collage elements for the
lamps, and furniture. Glue sheer fabric over the collage. Draw an image on the sheer
fabric of yourself moving around the room.
7. Make at least 100 gesture drawings from observation of the figure.
8. Make at least 25 contour drawings from observation • of anything around you.
Remember to use the whole page! Fill the space behind the objects you draw. Make
it count for something.
9. Make a simple contour drawing of an arrangement of objects. Repeat the drawing
four times. Explore different color schemes in each of the four drawings. Write
about how the color changes the feeling in each image.
10. Choose one subject to reflect with numerous (50 or more) visual interpretations.
(ongoing)
11. Explain one word (ex. Defense) or sentence (ex. All societies are connected.) In
numerous interpretations (30 or more) in one small sketchbook. Here is an
example….Build a small sketchbook (3”x3”) that contains 50 pages hinged to one
another in some way. Content is based on a concept.
12. Use a children’s book as the basis for a sketchbook. Gesso the pages and draw over
the ghosts.
13. Illustrate a concept such as war or congestion in 30 small drawings. The sketchbook
form must reflect the content
14. Use an unusual material as a starting point.
15. Dedicate a small sketchbook to self portraits that include studies of the features and
the body. Record written explanations of each portrait.
16. Use the sketchbook as a daily record of activities or feelings. Explain activities or
feelings with text.
17. Dedicate a sketchbook to cutting and folding so that no two pages are alike in form
but the visual topic unites it.
18. Select a piece of music and illustrate it in the sketchbook. Use the sketchbook to
record 25 variations of this illustration.
19. Trace and overlap two unrelated drawings into the sketchbook. Record 20
variations of the composition in mixed media.
20. Pierce the pages of a sketchbook and add pop-ups. Each page must contain one
element from the previous page.
21. Create an imaginary world in sketchbook form.
22. Create overlaps and pockets that contain secrets.
23. Select two words that are unrelated and develop a sketchbook that explains those
two words.
24. Divide each page of a small sketchbook into three parts. Each part must relate to the
one that it is next to as pages are folded.
25. Use the sketchbook to record class notes and information/research for assignments.
26. Use the sketchbook as a major grade or as the final exam.
Assessment:
Classes meet every day for 45 minutes, the course focuses on both sections of the portfolio
(Breadth and Concentration) throughout the year, with the best art work selected for use in the
Quality section of the AP Studio Art portfolio. [C1]
Assignments that are open-ended in nature and explore a variety of approaches to design
are made during the first semester. Assignments have end dates. Students should make every
effort to complete work by the end date, however, there may be circumstances that cause an
assignment to be delayed. It is important that students have a discussion with the instructor if
work is going to be turned in late or they will miss a critique.
The Breadth work is generally teacher driven. Assignments vary from year to year;
individuals are encouraged to have unique responses to all work.
The students have specific in-class and out-of-class assignments; they also are expected to
complete some in-class work out of class, depending on the schedule of assignments. The
students are encouraged from the beginning of the class to formulate ideas for their
Concentrations and, where allowable, to start working on those ideas in class and out.
Work is evaluated in progress and in the finished state through critiques with teacher and
peers. The AP Studio Art rubric, which is distributed separately, provides the grading criteria.
Assessment of student work is based on original compositions and artistic integrity. The teacher
will conduct discussions and assign readings that reflect what constitutes ethical behavior in the
making of art.
Critiques
Critiques are an integral part of all classes in the department. All students are brought
together for critiques at regular intervals—generally when they have major assignments due on
a biweekly manner. Each student must show his her work and briefly discuss his or her intent.
The class is then expected to provide positive feedback and offer suggestions for improvement.
All students participate.
Class critiques are on the day work is due and then students are given the option to make
changes or improvements to their pieces. These generally take the entire class to complete,
sometimes more than one class period. Additionally, there is ongoing dialogue with students on
an individual basis during class time. The students dialogue with each other about their work
enabling students to learn to analyze and discuss their own artworks and those of their peers.
Exhibitions/Competitions
AP Studio Art students are encouraged to participate in exhibitions and competitions.
At the end of the school year, students will organize an exhibition of their work in the Spring
Visual Art Show. Details about this exhibition will be provided toward the end of the second
quarter.
Semester I Plan (16 weeks)
Breadth portfolio development
Week 1 Aug. 26
 Intention sheets – outside assignment – development of Breadth
 Showcase Requirements
 All work is collected – Graded and reworks assigned
 Themes discussed
Week 2 Sept. 2
 Pre-work for nonobjective drawing – Bones/skull/sea shells/etc. –Shape and Form!
 Needs to be macro – zoom in Macro
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Step One– Charcoal study’s see Mrs. Kidd
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1 piece representing Movement through Mark-Making—experiment with a variety
of mark-making tools and techniques to establish a sense of rhythm and movement
in a nonobjective drawing
Written reflection about process with discussion
Week 3 Sept. 11
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Sketchbook check and review from the summer
Continual of progress of nonobjective drawing
Homework – charcoal practice assignment
Week 4 Sept. 18
 Pre-work
 Subtractive Charcoal Self-Portrait—with a combination of vine and compressed
charcoal, use the dark field method to create a self-portrait (lay a field of charcoal over
the entire surface of the page and use an eraser to create a range of values). Qty 2
 Nonobjective drawing works due Qty 1
 Informal group critique
 Written reflection
Week 5 Sept. 25
 Sketchbook check and progress review of project
 Homework – Pen studies of still life objects
Week 6 Oct. 2
 Pre-work
 Gesture Drawing—create a 1 pen/ink drawing of a person in his or her environment
demonstrating your ability to capture reality and movement with relative speed and
accuracy with creating a multimedia backgrounds. A second piece using pen and
watercolor should be created using the same concepts. Qty 2
 2 finished work due
 Critiques Group discussion
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Week 7 Oct. 9
 Sketchbook check and review
 Homework cross-contour practice
Week 8 Oct. 16
 Cross-Contour Drawing—experiment with cross-contour drawing using a variety of
subjects including still-life objects as well as the human form. Qty 2-3 projects: Use of
multiple types of paper and form of abstraction background media should be
considered
 2 finished work due
 Individual discussion about process
Week 9 Oct. 23
 Overall review and individual conference with each student and their portfolio’s
Week 10 Oct. 30
 2 to 3 finished works due
Week 11 Nov. 6
 Deconstruction of traditional drawing techniques with manipulation; reconstruction
using mixed media techniques
 2 finished works due
 Informal individual discussion
Week 12 Nov. 13 –
 Series Creation
o Create a series of drawings using colored pencils that capture the progression of
object or objects in varying stages. Example could be fruits in ripeness to
rottenness (or begin with the whole fruit and draw various stages of it being
eaten). Series should include 3 -5 pieces
 Discussions on Artist and readings
Week 13 Nov. 20 – Break – work on outside assignments
(2 days only)
Week 14 Nov. 27
 Perspective - Figure drawing emphasizing with space and form
 Perspective – looking at Architecture aspects with space and form
 2 to 4 finished works due
 Short group discussion in progress
Week 15 Dec.4
 Homework: Figure Drawing Unit—make a series of drawings utilizing a variety of tools
and techniques.
 Open week for completing all work and preparing portfolio for review.
 (10 to 15 works with reflection statement) - Check
Week 16 Dec. 11
 Exam week - Breadth portfolio review
 Assessment Sketchbook
Semester II Plan (18 weeks)
Concentration Development
Week 1 Jan. 3
 Review peer portfolio
 Review expectation; guidelines and dates
 Addressing the Assessment of the Sketchbook
Week 2 Jan. 8
 Discussion of concentration topics and review of initial ideas
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2 works due
Resources: varied and based on individual needs Individual discussions and group
critique
Check
Week 3 Jan. 16
 Ongoing individual development of concentrations emphasizing process and materials
Week 4 Jan. 22
 Ongoing individual development of concentrations emphasizing process and materials
 2 works
 Resources: varied and based on individual needs Individual discussions and group
critique
Week 5 Jan. 29
 Ongoing individual development of concentrations emphasizing process and materials
Week 6 Feb.
 2 works
 Resources: varied and based on individual needs Individual discussions and group
critique
Week 7 Feb. 12
 Ongoing individual development of concentrations emphasizing process and materials
Week 8 Feb. 19
 Ongoing individual development of concentrations emphasizing process and materials
 2 works
 Individual discussions and group critique based on individual needs
Week 9 Feb. 26
 Ongoing individual development of concentrations emphasizing process and materials
 Individual discussions and group critique based on individual needs
Week 10 Mar. 12
 Ongoing individual development of concentrations emphasizing process and materials
 Individual discussions and group critique based on individual needs
 Documentation of work
 Assessment of Sketchbook
Week 11 Mar. 19
 Ongoing individual development of concentrations emphasizing process and materials
 Individual discussions and group critique based on individual needs
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Documentation of work
Week 12 Mar. 2
 Ongoing individual development of concentrations emphasizing process and materials
 Individual discussions and group critique based on individual needs
 Documentation of work
 2 works
Week 13 Apr.3
 Ongoing individual development of concentrations emphasizing process and materials
 Individual discussions and group critique based on individual needs
 Documentation of work
Week 14 Apr. 10
 Ongoing individual development of concentrations emphasizing process and materials
 Individual discussions and group critique based on individual needs
 Documentation of work
 2 works
Week 15 Apr. 16
 Ongoing individual development of concentrations emphasizing process and materials
 Individual discussions and group critique based on individual needs
 Documentation of work
Week 16 Apr. 23
 Ongoing individual development of concentrations emphasizing process and materials
 Individual discussions and group critique based on individual needs
 Documentation of work
 2 works
 Selection and preparation of works for Breath and Concentration portfolio’s of works.
Week 17 May
 AP portfolio materials assembled
 Continuation of editing final portfolio
 Revising of final statement
 Individual discussions and group critique based on individual needs
Week 18
 AP portfolio materials assembled and delivered.
 PDF presentations of complete portfolio with statements submitted on Jump Drive and
placed in the Drop Box’s for final grade.