AP Breadth Portfolio
“The greater the investment the greater the reward”, Thomas Bentley
-Creative choice is the key to student investment
-Doing something different or challenging perpetuates independent thinking
-Creative imagery exercises promote trial and error approaches to discovering a problematic solution
In the Drawing Portfolio, mastery of drawing can be demonstrated through a wide range of approaches and media. Light and shade, line quality, rendering of form, composition, surface manipulation, and illusion of depth are drawing issues that can be addressed through a variety of means, which could include painting, printmaking, mixed media, etc. Abstract, observational, and inventive works may be submitted. The range of marks used to make drawings, the arrangement of the marks, and the materials used to create the marks are endless.
Art-Think: Ways of Working
1. Identify: Set the problem or task, identify the subject.
2. Analyze:Examine the subject; break it down, classify it.
3. Ideate:Think, fantasize, produce ideas. Generate options towards a creative solution. Relate, rearrange, reconstruct.
4. Select:Choose your best option.
5. Implement:Put your ideas into action. Realize It. Transform imagination and fantasy into tangible form.
6. Evaluate:Judge the result. Think about new options and possibilities that have emerged.
Go back to Step #1.
Assignment 1 Pull three Words:
Objectives: Students will improve design skills, students will learn photo transfer techniques. Students will explore ways to formulate concentration ideas.
Each student creates a list of 4 verbs on four small pieces of paper to drop into a bag.
-Draw 3 possible Verbs and create a piece of art using drawing or mark making tools (ink, paint, collage...)
-Create layers using Latex paint and acetone
Drawing is a process of making marks; yet the nature of these marks and their relationship to one another determine their impact. Lines, dots, even scribbles can be applied with a sensitive hand and eye to create a rich, personal statement.
Whether these marks read as a childish scrawl or an eloquent, convincing image depends to a certain extent on the artist’s intention and his or her ability to carry out that intention.
Assignment 2 Make a list.
Personal Strength Square
The advantage of list-making is that one idea naturally leads to another. Afterward you have a written record that can be reviewed by you or others. Perhaps the second or third time through the list a word or phrase will suddenly spark your thinking in a new direction. Create a piece involving 2 combinations from your list. Your drawing may be composed of emotions, objects, places, people...
Four traits you like in yourself
Four things your friends like about you
Four accomplishments you are proud of
Four things you can do that you feel good about
Create a Drawing by selecting 1 word from each list below
Complete your drawing by following the 6 steps below.
l.Subtract. Simplify. Omit. Remove certain parts or elements. Take something away from your subject. Compress it or make it smaller. Think: What can be eliminated, reduced, disposed of? What rules can you break? How can you simplify, abstract, stylize or abbreviate?
–“Our life is frittered away by detail... Simplify, simplify!”
-Henry David Thoreau
“Less is more.”
Arni Ratia, Swiss designer
2 Repeat. Repeat a shape, color, forth, image or idea. Reiterate, echo, restate or duplicate your reference subject in sonic way. Think: How can you control the factors of occurrence, repercussion, sequence and progression?
“Every feeling tends to a certain extent to become deeper by repetition.”
3.Combine. Bring things together. Connect, arrange, link, unify, mix, merge, wed, rearrange. Combine Ideas, materials and techniques. Bring together dissimilar things to produce synergistic integrations. Ask: What else can you connect to your subject? What kind of connections can you make from different sensory modes, frames of reference or subject disciplines?
“All art, and most knowledge, entails either seeing connections or making them. Until it is hooked up with what you already know, nothing can ever be learned or assimilated.”
4.Add. Extend, expand, or otherwise develop your reference subject. Augment it, supplement, advance or annex it. Magnify it. Make it bigger. Think: What else can be added to your idea, Image, object, or material?
5.Transfer. Move your subject into a new situation, environment or context. Adapt, transpose, relocate, dislocate. Adapt the subject to a new and different frame of reference. Move the subject out of its normal environment; transpose it to a different historical, social, geographical or political setting or time. Look at it from a different point of view.
–Adapt an engineering principle, design quality, or other special quality of your subject to that of another. (The structure of a bird’s wing, for example, has served as a model for designing bridges).
–Transfer can also denote transformation. Think: How can your subject be converted, translated, or transfigured? (See also MEFAMORPHOSE and HYBRIDIZE.)
6.Empathize. Sympathize. Relate to your subject; put yourself in its “shoes.” If the subject is inorganic or inanimate, think of it as having human qualities. How can you relate to it emotionally or subjectively?
Offering helpful insight to an student, the eighteenth century German painter Henry Fuseli once advised, “Transpose yourself into your subject”
“I imagine myself as a rider of a beam of light.”
Assignment 4: The 2 Sides of me-One you see and one you don’t!
-Create a drawing containing boxes drawn from 2 point perspective. Arrange them exploring composition and design.
On different sides of the box draw a reflection of how you believe people see you & the inside of the box as the person they don’t. Your inner self.
-Set up a mirror or tape two mirrors together to form a tent & have students work on each side. Be sure to observe yourself as a reference for your creation
Assignment 5: Create a Drawing focussed on line quality from a childhood memory
1.Select a topic to explore visually from the bucket of ideas ex. Pathway, dancing, solitude, alive, hug....
2.Using only non-objective and/or non-universal shapes & symbols, create 5 thumbnail sketches that will visually describe or communicate the word you selected.
3.Select your best option & draw a childhood toy (single line-no shading) onto the board with the vine charcoal. Paint a clear coating over the surface and let it dry.
Assignment 6: Light and shade still life composition
Choose 4 random still life objects and create a drawing.
Choose medium from the list below.
Assignmnet 7: Collaborative Drawing
Compose a drawing that demonstrated a strong compositon
using media of choice
Assignnet 8: Create a drawing involving surface manipulation
1.Make xerox copies of photos and/or drawings
2.When copies are fresh, (no more than 5-10 minutes old) tape the top of the xerox face down onto a drawing surface.
3.Coat back of xerox with acetone.
4.Rub vigorously with wooden spoon.
5.Check transfer clarity by lifting the xerox copy. Continue rubbing until you have achieved the desired results.
6.Continue to develop composition by drawing into, overlapping, adding additional transfers, etc.
Assignmnet 9: Patterning
Gustav Klimt Water Serpents, 1904—07.
Mixed technique on parchment.
Concept: The use of contrasting patterns tends to disguise images and flatten pictorial space.
Key Synectic Trigger Mechanisms: Repeat, Combine, Disguise, Mythologize
Studio Action: From a selected theme, make a line drawing of a figurative subject. Divide the background space and parts of the image into smaller increments. Fill up to ninety percent of the shapes with different decorative patterns and textures but allow some shapes to remain un-textured. Emphasize decorative pattern as seen in the work by Gustav Klimt.
§Materials: Drawing paper, pen and ink, watercolor or colored pencils.
Assignment 10: DESIGN PROBLEMS
DESIGN PROBLEM # 1 - Compose a mixed media drawing using the three types of implied line, cross-hatch, doodle and pointillism, showing three different values and a non-objective subject matter. Show strong contrast between the positive and negative space in the composition.
DESIGN PROBLEM # 2- Compose a mono-chromatic still life drawing using cool colors, creating three different values, and showing a painterly quality of the refraction of an object. The drawing should reflect the use of asymmetrical balance.
DESIGN PROBLEM # 3- Compose a portrait contour drawing using three types of line to develop and add mass to the figure. Show strong contrast between the positive and negative space in the composition.
DESIGN PBOBLEM # 4- Compose an abstract drawing using shapes and by using a combination of two color complements in a radial balance design.
DESIGN PROBLEM # 5- Compose an interesting one-point perspective drawing, developing both the positive and negative parts to the drawing. This drawing should be representational of the expressionism style.
DESIGN PROBLEM #6- Compose a drawing using simple forms to create depth, a three-dimensional quality of the forms, and a feeling of rhythm and movement throughout the piece. Use the scraffito technique to develop the forms and to create three types of value.
Choose a Drawing
1. Inspiration and source from the history of ceramics.
–Choose an historical ceramic form (Greek, Oriental, Persian, etc.) and consider making a copy as closely as possible. Make three (3) variations by changing handles, or feet, or rims, or turning it upside down, etc. Make a minimum of three pieces.
2. Inspiration from geometric forms.
–Choose a geometric form (cone, cube, pyramid, ball) and make a series of three (3) pieces that demonstrate your choice of geometric form. Add handles, spout, feet, etc.
3. Form source from the household.
–Explore your kitchen and garage and find an item that could be made in clay (old iron, shoe, lantern). Make one to three pieces changing the relationship of the parts in size or placement, and add appropriate handles, feet, rim, etc.
4. Organic source.