Assignment: 
A refined value drawing of a still life, comprised of five objects with local value changes. These objects must have either reflective surfaces (such as metal) or be be transparent or translucent (such glass or clear plastic).

Directions:
Select three - five objects which are metallic, transparent, and/or translucent. Arrange the objects on the surface of a table into some aesthetically pleasing and natural-looking composition. Your view should be looking down and across at the set-up (a ¾ angle). From your view, some of these objects should be overlapping others. Place a single light-source on the set-up. 

This will be either a REFINED full value drawing (graphite) or a full color drawing or painting.

View the work of contemporary painter Janet Fish before beginning.

Medium:
Graphite (Use 2B, 4B, and 6B pencils)
OR
Color drawing materials (such as oil pastel) or paint

Parameters:
At least sketchbook size (11 x 14" or larger)

Objectives: 

• Improve accuracy in capturing contour, proportion, and scale from an observed set-up.
• Indicate how local value affects the value changes of different forms
• Consider how to create three-dimensional form with transparent or reflective objects.
• Create a well-designed composition from an observed arrangement of forms

Remember to:

• Fill the page.
• Consider the entire page as a composition. 
• Consider the relationships of objects re: size and placement.
• Consider the observed relationships between the positive and negative shapes, particularly the spaces between objects.
• Get the lines and shapes right. Your objects should stand straight and tall, not lopsided. If you have round shapes, get the ellipses right.
• Use a full range of tonal value and good contrast. Reserve white for the highlights.
• Use blacks for the very darkest tones.

Grading Criteria:

• Realism of contour, proportion, and scale
• Realism of form and structure
• Realism in rendering of local value changes
• Realism of transparent or reflective surfaces.
• Realism in spatial relationships between objects
• Strength of composition

Using charcoal (and later, chalk for highlights), draw a still life comprised of three to five objects of personal significance.

Objectives:

• Improve observational accuracy
• Build a strong composition
• Notice (and recreate) subtle color changes
• Mix colors with specificity and accuracy
• Establish form via chiaroscuro
• Improve your ability to create a rich range of tonal value
• Become skillful with charcoal

Materials:

• Objects
• Charcoal paper, 18 x 24"
• Charcoal
• Chalk
• (Easel)

Parameters:
At least three objects and a backdrop (cloth).

Grading Criteria:

• Composition
• Accuracy
• Recreation of nuances of value
• "Completeness" - Craftsmanship

To Start:

• View/study examples of still life drawings and paintings by master artists
• Set up still life
• Use viewfinder to establish composition.
• Draw thumbnails and/or rough drafts of the composition, in pencil on paper, blocking out the basic arrangement of lights and darks.
• Measure proportions and distances using your drawing tool (pencil or charcoal stick).

​Assignment:
Three graphite (pencil) contour lines drawings of your hand, in different gestural poses and from different angles.
PLUS
Three graphite (pencil) contour lines drawings of your foot, from different angles.

Entirely from observation (from life; no photographs)
You may of course use mirrors to vary the viewpoints.
DO NOT trace your hand.
Draw large; fill the page of your sketchbook with each drawing (So, 6 pages)

After completing the line drawing, you may add tonal value (shading) to create three-dimensional form if you'd like (as in the examples above).

Recommendation: Carefully draw ONE each day.

Graded on:
Accuracy of proportion
Accuracy of contour line

Assignment:
Create a well-designed multi-figure composition that illustrates your thoughts about your personal future. Include multiple ideas/aspects of your hopes and desires for your life. Apply all your knowledge about good composition to make the artwork as dynamic and visually interesting as possible. Do your best to make this a thoughtful, idea-filled, refined, portfolio-worthy artwork.

Suggestions:
Brainstorm, write thoughtfully, come up with several events and ideas, and develop the composition by drawing a number of thumbnail sketches.

Project Length:
One week

Size:
Any size between 12 x 16” and 18 x 24”

Media:
Ink or color

Style:
Any

Objectives:

• Represent multiple events in a single, strong composition
• Convey mood and meaning
• Show off your strongest skills

Step One:
In your classroom journal, write about your goals, hopes, desires for your future. The more detailed content you develop, the better.

Some things to consider:

• Who do you hope to be? What do you hope to learn? To know? Go into as much detail as you can.
• Where and how will you live?
• What physical/visual details can you envision?
• Describe emotional or dramatic possibilities.
• What important things do you hope will happen; will you work towards?
• In what way(s) do you hope to grow or change?

Grading Criteria

• Creativity
• Content (Development and communication of ideas)
• Design
• Technical Quality (“Finished”)
• Studio Work Habits

This is a pre-assessment to find out what you already know, and I will be observing and taking notes on your work habits and your process, your final work, and your participation in the final critique of student work. By jotting down brief notes on how each of you approaches the project, I will gain a better sense of your strengths and of how you could grow throughout the year.

As the measuring tool, I will be using this rubric:
​
Rubric: Art Studio Habits of Mind
​

Self-Assessment:
Please answer these questions after you've completed your artwork:

1. Remember that the objective was to illustrate multiple ideas/aspects. What multiple concepts did you include and how did you arrange them into a single composition?
2. How detailed and thoughtful was your written journal entry? Did you use it as a method of informing and enriching your visual work?
3. In what ways did you convey feelings/mood in your work? How did you convey drama?
4. What are some of the deeper meanings you've tried to convey in your piece? How is this a thoughtful, idea-filled artwork?
5. One of the objectives of this project was to apply what you know about good composition. How is this a good composition? Which of the principles of design did you consider in developing the composition? How have you used contrast? Emphasis? Balance? Visual movement? Positive and negative space? Implied triangle? Etc.
6. Did you draw thumbnail sketches to test out ideas and develop the composition before you began your larger image?
7. Which of your skills and strengths did you show off in this piece?
8. When did you know this was finished? How does this fit your idea of a high-quality, finished artwork?
9. What do you like best about your final piece?
10. What do you think needs further work?

FOR STUDIO ART HONORS III STUDENTS MOVING INTO THE AP STUDIO ART CLASS.:

DUE the first Friday of the new school year.

Summer Assignments weigh 30% of the Quarter 1 grade.

Art materials are to be returned to school at the beginning of the school year.
____________________________________________________________________

Summer work is an essential part of the AP Studio Art course. Summer assignments help alleviate the pressure during the school year of producing the many quality pieces needed for a successful portfolio. During the summer prior to the AP school year, you are expected to complete twenty sketches and six art assignments (listed below) in the media of your choice, which will all be due on the first day of the school year. Completing more of these pieces than required will only put you that much further ahead when school starts. Consider each piece’s potential for inclusion in your portfolio for the AP exam, and invest the time and effort necessary to produce high quality work. In addition to the sketches and six assignments, you must visit an art museum (online if they are still closed) and document the experience in your sketchbook.

• 20+ sketches/drawings in sketchbook (ongoing throughout summer)
• 1 art museum visit with essays and sketches
• 1 write-up (typed) of at least 10 possibilities for your Sustained Investigation
• 5 high-quality artworks (See list of choices)

SKETCHBOOK (20+ Sketches)

Your sketchbook should be one of your “best friends” this summer. Carry it with you as much as you can, everywhere! Open it up first thing in the morning and last thing at night and many times in between. Draw in it, write in it, scribble in it, paint in it, glue things into it, cut the pages, tear the pages, change the way it looks to make it look like your own book. At the end of the summer it should reflect YOU and your experiences throughout the summer. Work in your sketchbook is an ongoing process that will help you make informed and critical decisions about the progress of your work. Your sketchbook is the perfect place to try a variety of concepts and techniques as you develop your own voice and style.

In addition to using your sketches to plan your projects, you must complete 20 sketches and spend approximately 30 minutes on each. Sketchbooks should display forethought, good composition, good craftsmanship, and have mature subject matter (avoid trite, overused symbols). These sketchbook assignments should be finished drawings (Sometimes pieces for the Breadth section of the AP Exam come from sketchbooks.). Some of your drawings will focus on line quality, while others will focus on a full range of tonal value and good contrast, and still others will concentrate on subtle color shifts.

If there are drawings in your sketchbook that are outstanding, they may be used in your AP Portfolio Exam.

Guidelines for working in your sketchbook:

1. Imperfect drawings are OK; don’t be afraid to make mistakes; make false starts.
2. As much as you can, fill the page you are working on. Go off the edges whenever possible. Draw large. Do not make little drawings floating in the center of the page. Make every square inch count for something. 
3. Return to unfinished drawings. Go back later, change them, and make them into something else. Being able to rescue bad beginnings is the sign of a truly creative mind. 
4. Fill many, many, many pages of your sketchbook before school begins. 
5. Put the date on the corner of every page you finish. 
6. Draw from observation, things you see in the world, NOT from photographs, magazines, etc.  Learn to translate the dynamic three-dimensional world into a two-dimensional world. If you are going to use a photograph, tape/paperclip a copy of it to the page. 
7. Avoid cute, adorable images. This is a college-level art class, so expect your ideas about what makes good art to be challenged by others. 
8. Your sketchbook is a place for risk-taking. Don’t be boring with your work. 

Here are some ideas for what to draw in your sketchbook. Choose from this list or create your own ideas for your 20 or more sketches.

• your pet
• squirrels, birds, outdoor animals (from life)
• animals at the zoo, in a natural history museum, in the Science Museum
• pile of pillows
• effect(s) of extreme light source
• shoes
• fabric with pattern
• baseball glove
• sink with dishes in it
• tools (see the work of artist Jim Dine)
• extreme perspective; unusual viewpoint
• yourself in fifteen years
• insects
• proverb
• opposites
• draw on top of an old drawing
• social statement
• conflict of interest
• man-made vs. natural
• park
• anatomy
• close-up of an object making it abstract
• political cartoons
• transformation / morphs
• realistic cloud formations, in full value and texture, or in full color (what colors do you see in the clouds and sky?)
• fill a plastic bag with objects and draw from observation
• a figure drawn from an unusual perspective
• what was for dinner
• forest floor
• look up words you do not know and illustrate them
• an interior (for example, your room, your kitchen)
• how it works -- inner workings of a machine -- mechanics of an object
• negative space only
• glass bottles
• nightmares / other worlds
• outside v. inside
• metallic and/or reflective objects
• ballpoint pen only
• line drawings of organic objects
• ​a parked car, from a ¾ angle
• exaggeration
• the skeleton of a small animal or bird
• accidents -- random acts of art
• home is where the heart is
• grouping of seashells
• portraits of your friends as famous characters from books
• contour drawings of insects
• multiple drawings of the same object, one per night for a week, using different media
• buildings and man-made structures with character -- bridges, interiors of old churches, old theaters, etc.
• landscapes with and without buildings
• botanical drawings
• a single flower with all its petals, leaves, etc., drawn accurately
• a close-up set of 3 - 5 pieces of popped popcorn
• looking from an interior pace to an exterior space (i.e. through a doorway or window)
• a single object drawing from several viewpoints
• fabric with a pattern. hanging or suspended
• a chess set, partially played, or a different childhood game
• your favorite food, or the table setting for a meal
• an opened candy bar or packaged food, with the wrapper

MUSEUM VISIT 

Refer to the list of museums on the Resources page of the Art Department’s website (www.burlingtonhighschoolart.org). Visit one of them. Take your sketchbook.

Visit one of these museums (There are also other museum options on the Collections page of Google Arts & Culture):
Institute of Contemporary Art (ICA Boston)
Harvard Art Museums
Isabella Stewart Gardner Museum
The Metropolitan Museum of Art
Museum of Fine Arts Boston
The Museum of Modern Art
The Smithsonian Museum of American Art

Complete these three activities:

a. In your sketchbook, describe the experience of the museum visit. What are the first things that you notice when you walk in the front doors? What do you notice about the space, the environment? Describe what you see and feel and why that has caught your attention. Be as specific as possible.

b. In your sketchbook, write a full page (in essay form, not notes) about two different artists’ paintings of the same subject matter. Compare and contrast approaches. Use the 4-step critique process when evaluating the works: Describe the work in detail, then Analyze it (i.e. what do you notice about composition, color theory, the use of the principles of design, technique, etc.), Interpret (What does it mean? Why did the artist make the choices he/she did?), and Judge/Evaluate (What works about it? What doesn't?) Write one paragraph for each of those four steps.

c. Draw full-value thumbnail sketches of both artworks. Your thumbnail drawings should indicate dark, middle and light tones to truly capture the basic composition of each, but will not focus on detail. These should be good (but small) compositional drawings.


SUSTAINED INVESTIGATION IDEAS

You are asked to make a commitment to the thoughtful investigation of a specific visual idea.

A sustained investigation is a body of work that:

• Grows out of a coherent plan of action or investigation;
• Is unified by an underlying idea that has a visual and/or conceptual coherence;
• Is based on your individual interest in a particular visual idea;
• Is focused on a process of investigation, growth and discovery; and 
• Shows the development of a visual language appropriate for your subject.

Generate a list of at least ten different GREAT possibilities for your senior-year Sustained Investigation series. Describe each idea in a few sentences (NOT just a few words -- be thoughtful about it.), being clear on what your main objective(s) will be. Each of these ten ideas should really be something you’d love to do for two months or more. Each idea would be for a series of at least fifteen pieces. Do not try to complete the list in one sitting. Think about it over time and develop the ideas, don’t just list them. Turn this in as a TYPED document.

Before beginning:

Look at the work of contemporary artists to get a sense of the wide variety of concepts and approaches being used today. You can find many contemporary artists by going to the PBS website for its Art21 program at http://www.pbs.org/art21/ .

Also, view sample Sustained Investigation portfolios of previous AP students at the following links:

Drawing
Anne Zhang - sustained investigation
Irina Grigoryeva - sustained investigation (2014)
Pablo Aguilar - AP exam (2013)
Jake Ursino - AP Sustained Investigation (2013)
Kevin Buxton - AP Art Show (2020)
Nicole Benjamin - AP Art Show (2020)
Sarah Schissler - AP Art Show (2020)
Martello Cesar - AP portfolio exam (2019)
Marley Gainley - AP exam (2017)

​2D Design
Danielle Spinosa - AP exam (2013)


Sample portfolios are at the BOTTOM of these pages:

Drawing
https://apcentral.collegeboard.org/courses/ap-drawing/portfolio?course=ap-drawing
(Scroll down to Drawing Sustained Investigation Samples and Commentary and Additional Sample Portfolios.)

2D Design
https://apcentral.collegeboard.org/courses/ap-2-d-art-and-design/portfolio?course=ap-2-d-art-and-design
(Scroll down to 2D Design Sustained Investigation Samples and Commentary and Additional Sample Portfolios.)

3D Design
https://apcentral.collegeboard.org/courses/ap-3-d-art-and-design/portfolio?course=ap-3-d-art-and-design
(Scroll down to 3D Design Sustained Investigation Samples and Commentary and Additional Sample Portfolios.)

Here is what your concentration list might look like: Concentration Ideas Samples.


ART PROJECTS

Complete at least 5 of these. You may contact Mr. Ratkevich in advance to discuss possibilities if you would like to do something that is not listed here. The assignments below are mostly Drawing or 2D Art & Design options. If you wish to do 3D Art & Design, we will work out alternatives. All of these are to be NEW works, created from June - August 2021. Each should take several hours to complete to AP Portfolio Quality.:


1. “Café” Drawings – (This is in addition to the sketches/sketchbook assignment listed above.) 

Take your sketchbook to a good location for observing people: the mall, a café, the beach, etc. 

Fill up several pages (at least four) with multiple drawings of people on each page. You should have AT LEAST ten good figure sketches. Try to capture people in their natural habitats and in activities that are relatively stable: reading, eating, waiting in line, etc. (Do not have people knowingly pose for you.). Capture the entire figures as much as possible. Indicate their environments as much as possible.

Some artists to view/study before doing this assignment (Look them up, specifically looking for “figure sketches”:

Honore Daumier
Edgar Degas
examples of cafe sketches
“Cafe” sketches by Martello Cesar, BHS Class of 2019: 
Pages 1 & 2
Pages 3 & 4


2. Multi-Figure Narrative – Make an artwork that tells some type of a “story”, perhaps a moment from a personal memoir; or a scene from a story you’ve previously written; or an episode from history. It should have several human figures interacting with each other and with their surroundings. It may be a drawing, a painting, or a mixed media artwork if you have the materials. It can even be three-dimensional. Focus on pictorial composition, considering the principles of art and art concepts such as the implied triangle. You may make it up entirely, or have people pose for you (recommended), or you may use photographic references (especially if you take the photos yourself.), but it should not be a copy of a single photograph or copy another artwork in any way. The figures may be stylized rather than realistic if you choose.

Some artists to look at before doing the Multi-Figure Narrative (Look them up in Google Arts & Culture: Explore. These are in chronological order.).:

Caravaggio
Francisco Goya (particularly The Caprices and  The Third of May, 1808)
Auguste Renoir (particularly The Boating Party Lunch)
Edgar Degas: The Dance Lesson
Mary Cassatt (particularly The Boating Party)
Max Beckmann
Marc Chagall
Norman Rockwell
Jacob Lawrence
Romare Bearden
Jack Levine
Chris Van Allsburg (children’s book illustrator: Jumangi and The Polar Express)
Jake Ursino, BHS Class of 2013: At the Music Festival
Jake Ursino’s AP Sustained Investigation
Irina Grigoryeva, BHS Class of 2014: Save Our Oceans
Multi-figure narrative by Martello Cesar, BHS Class of 2019: My Future
Multi-figure narrative by Martello Cesar, BHS Class of 2019: Chess


3. Abstract Painting – Create a painting that utilizes the principles of art to maximize visual impact. Consider color theory (In fact, study the color relationships in the paintings of the artists below, and use their color palettes or some thoughtful variation.). This is an abstract or non-objective artwork. If you are not satisfied with your first attempt, keep trying until you’ve created something you want to hang on your wall. Work until you impress yourself.

Some artists to view/study before doing this assignment:

Wassily Kandinsky
Kazimir Malevich
Paul Klee
Franz Marc
Pablo Picasso
Joan Miro
Jackson Pollock
Jasper Johns
Frank Stella
Sonia Delauney
Miriam Schapiro


4. Landscape – This is observational (from life, not a photo). Make a painting of an interesting place other than your home; a vacation spot would be a good choice. The illusion of three-dimensional space should be a major concern. Consider atmospheric (aerial) perspective and, if relevant, linear perspective. If you choose a location far from home, watercolor may be a good medium to use because of its portability, but the medium is up to you. Suggestion: Do a series of thumbnail sketches to work out the composition. Work from life, not from photographs. Make every effort to work plein air – meaning drawing or painting outdoors. You will have better light and will be able to focus on the color you actually see.

Some artists to view/study before doing this assignment (Look them up, specifically looking for “landscape painting”):

J.M.W. Turner
Claude Monet
Vincent Van Gogh
Paul Gauguin

​
5. Still Life  – Using the color medium of your choice, paint a still life comprised of at least three visually interesting objects. Work large (at least 18 x 24”). Build a strong composition. Observational accuracy is key; notice the relationships between shapes, both positive and negative. Notice subtle color changes. Mix colors with specificity and accuracy. Establish form via chiaroscuro and color changes. Demonstrate your ability to create a rich range of tonal value.

Helpful Resources: Before doing the assignment, look at / study as many still lifes by master paintings as you can, and apply what you know about placement, composition, lighting, form, texture, etc. If there are complex surfaces, inscribed of printed patterns, textures, etc., all the better.

Some artists to view/study before doing this assignment (Look them up, specifically looking for “still life”):

Paul Cezanne
William Harnett
Vincent Van Gogh
Wayne Thiebaud
Ralph Goings
Rebecca Scott
Janet Fish
Dik F. Liu

Here are a few painters to look at to inform your still life work. If working in color, pay attention to the nuances/shifts in color even within the same surfaces/planes. Also remember that every change in direction (every plane) will have a shift in value and in color temperature. Typically, shadows will be cooler in color (bluer) and where the light hits will be warmer (more yellow, orange, or red), but not always.
 
Dik Liu
https://www.dikliu.com/food
https://www.dikliu.com/trolls
 
Catherine Kehoe (teaches at the Massachusetts College of Art and Design)
https://catherinekehoe.com/still-life/1
 
The packaged still lifes of Janet Fish will give you some ideas of how to paint transparent plastic.
 
Look at some of the work of Wayne Thiebaud, especially the slot machines, cash register, paint buckets, and gumball machine paintings he has done.
 
Still life paintings of Paul Cezanne, who painted in the 19th century. Pay particular attention to how he addresses the wall and cloth around the still life; how color and value change.
 
For a more emotionally expressive way of painting, and more playful brushwork, look at the still life paintings of Vincent Van Gogh. Color is amped up in these.
 
Also, explore the work of Luis Melendez, a fantastic still life painter from 18th Century Spain. The link will bring you to the collection of his work at the Prado museum in Spain, but you can also see more of his work if you look him up in sites for our National Gallery in DC, at Boston's MFA, and probably in the Google Arts & Culture site that I've been plugging for the past several weeks.


6. After developing your ten ideas for a potential Sustained Investigation (See assignment above.), complete one or two Sustained Investigation “Try-Outs” to AP Portfolio quality.


7. Dissection -- A drawing study of an object that you have taken apart. Arrange the parts on a surface with other objects related or not related and study the TEXTURAL qualities. Arrange them to make a strong composition: design the page. Some ideas would be a mechanical object, a child’s toy, a makeup bag, your bin of art supplies, ingredients for a cooking recipe, a few apples or other fruit cut apart…anything where you are creating a still composition out of something that has been dissected or disassembled.


8. A self portrait expressing a mood. How can you use value, color, style, and design to express mood? What style will work best for you in this work? This can be observational, but it doesn’t have to be. You might create a composition with multiple self-portraits with different expressions and/or from different angles. Do some research online (Google Arts and Culture, for example) to see how different artists create what might be considered self portraits and what techniques and media they use. Use an odd/extreme angle and consider strong light/dark contrast. The idea is to create a deeply personal artwork that reflects feeling.

Some artists to look at: 

• Frida Kahlo
• Robert Arneson
• Pablo Picasso
• Vincent Van Gogh

Unusual Self Portraits (Pinterest)


9. Still life arrangement of three or more reflective objects. Your goal is to convey convincing representation. Sketch and shade for contrast and drama. Consider doing this as a self portrait – draw yourself distorted in a shiny object. 


10. A drawing of an unusual interior – for example, look inside a closet or cabinet, in the refrigerator, under the car’s hood or inside the medicine cabinet. 


11. A still life arrangement of objects representing members of your family. You must have at least three objects and use an unusual viewpoint or angle. Put the objects on the floor and stand up looking down at them, or on a table surface and look down and across at them  (Include a photographic snapshot of your set-up when you turn in your final piece.).


12. A close up of a bicycle/tricycle from an unusual angle with strong light/shadow. Don’t draw the bicycle from the side view. 


13. Shoes -- Create a still life arrangement consisting of your family members’ shoes: more than a single pair; at least two or three pairs. Arrange them to overlap each other and to fill the picture plane. Try to convey the different personalities of your family members through the rendering of the shoes. Be creative and have fun! This assignment can be done in monochrome (black, white, gray) and/or in color using any medium, technique and style you desire.


14. Create an artwork regarding a political or social issue you feel strongly about. There are many different ways to protest, to reach an audience, to make a difference. Before you begin the art, write a statement out in detail to develop your ideas. Spend some time on this; get to the heart of how you feel and what you believe. Draw thumbnail sketches to compose your image before beginning the final artwork. Use content, color, design, and style to maximize the emotional expressiveness of your piece. CLARITY in your visual statement is essential.

Before beginning, view this Mural slideshow originally made for the Tenacity Challenge. It includes masterworks, student examples, and tips to get started.


15. Using the media of your choice, design a CD cover for an imaginary musician or group, or for a local band that you might even know personally. It must be totally original (No copies of someone else’s photographs). It should include the band’s name and an album title in addition to the artwork.


16. Create a fully-realized artwork that illustrates a scene from a book (a novel or children’s story). Research contemporary artist Kehinde Wiley’s work, Rembrandt’s many biblical scenes, and the work of children’s book illustrators Maurice Sendak and Jan Brett.


17. You may try your hand at one of these Concentration Ideas Samples.


18. Take on one of the more unusual challenges from the TV show Project Runway.


19. Create an article of clothing/fashion that is also a sculpture.


20. Steam Punk​

Due: One week

Create an artwork based on one of your concepts from your list of Sustained Investigation ideas.

This is to be a FINISHED, REFINED, PORTFOLIO-QUALITY artwork. Refer to the College Board's Student Samples for expectations on QUALITY. 
​

Here are samples of student work from AP portfolios. The scores of 4 and 5 show the quality to shoot for in your own Sustained Investigation pieces.

• AP Drawing Samples 2020
• AP Drawing Samples Archive
• AP 2D Design Samples 2020
• AP 2D Design Samples Archive
• AP 3D Design Samples 2020
• AP 3D Design Samples Archive
• AP Art & Design 2020 Digital Exhibit

More AP Portfolio Samples from BHS Students
​
Drawing
This portfolio is designated for work that focuses on the use of mark-making, line, surface, space, light and shade, and composition. Students should consider marks that can be used to make drawings, the arrangement of marks, the materials and processes used to make marks, and relationships of marks and ideas. Students can work with any materials, processes, and ideas. Drawing (analog and digital), painting, printmaking, and mixed media work are among the possibilities for submission.

• AP Drawing Samples 2020
• AP Drawing Samples Archive
• Jack Giles (BHS 2021)
• Michela Giordano (BHS 2021)
• Kevin Buxton - AP Art Show (2020)
• Nicole Benjamin - AP Art Show (2020)
• Sarah Schissler - AP Art Show (2020)
• Martello Cesar - AP portfolio exam (2019)
• Marley Gainley - AP exam (2017)
• Anne Zhang - sustained investigation
• Irina Grigoryeva - sustained investigation
• Pablo Aguilar - AP exam
• Jake Ursino - Sustained Investigation

​
2D Art & Design
This portfolio is designated for work that focuses on the use of two-dimensional (2-D) elements and principles of art and design, including point, line, shape, plane, layer, form, space, texture, color, value, opacity, transparency, time, unity, variety, rhythm, movement, proportion, scale, balance, emphasis, contrast, repetition, figure/ ground relationship, connection, juxtaposition, and hierarchy. Students should consider how materials, processes, and ideas can be used to make work that exists on a flat surface. Students can work with any materials, processes, and ideas. Graphic design, digital imaging, photography, collage, fabric design, weaving, fashion design, fashion illustration, painting, and printmaking are among the possibilities for submission.
The Principles of Art (slideshow)
Elements and Principles of Art (glossary)
Color Theory
​

• AP 2D Design Samples 2020
• AP 2D Design Samples Archive
• Paul Fauller (BHS 2021 - Photography)
• ​Danielle Spinosa - AP exam

​
3D Art & Design
This portfolio is designated for work that focuses on the use of three-dimensional (3-D) elements and principles of art and design, including point, line, shape, plane, layer, form, volume, mass, occupied/unoccupied space, texture, color, value, opacity, transparency, time, unity, variety, rhythm, movement, proportion, scale, balance, emphasis, contrast, repetition, connection, juxtaposition, and hierarchy. Students should consider how materials, processes, and ideas can be used to make work that involves space and form. Students can work with any materials, processes, and ideas. Figurative or non-figurative sculpture, architectural models, metal work, ceramics, glasswork, installation, performance, assemblage, and 3-D fabric/fiber arts are among the possibilities for submission.
​The Principles of Art (slideshow)
​Elements and Principles of Art (glossary)

• AP 3D Design Samples 2020
• AP 3D Design Samples Archive
• Kevin Mudoola (BHS 2021)
• A Pinterest collection
• Example AP 3D Design portfolio with fashion emphasis - score 5
• Youtube introduction from an AP 3D class

Make each drawing, design, or sculpture portfolio-worthy. Concentrate on design principles and good composition, mark-making, technique, and expression. 

As is always expected, spend AT LEAST 3 - 5 hours on your project each week. It may require much more time than that, especially if you typically work slowly.

​AP STUDIO ART EXAM DESCRIPTION (PDF)

For the AP exam, you must demonstrate your understanding and skills in the following.:

• Investigating the materials, processes, and ideas that artists and designers use
• Practicing, experimenting, and revising as you create your own work
• Communicating your ideas about works of art and design

THE EXAM PORTFOLIO

The AP® Art and Design portfolio requirements for 2021-22 are available for students at apstudents.org/artdesign.

For 2021-22

• Physical portfolio:
  • 2-D Art and Design and Drawing students will prepare physical portfolios (to be mailed) and also submit images of their work through the AP Art and Design digital submission web application.
  • For 3-D Art and Design, students will submit all work through the digital submission web application.

• AP Art and Design digital submission web application opens in November. I will notify you as soon as it's open.

• May 6 is the deadline for AP coordinators to submit students' portfolios to the AP Program, BUT teachers set earlier deadlines for students to complete their work, so they'll have time to send it to the AP coordinator ahead of the submission deadline.

Portfolio Requirements in 2021-22

• Sustained Investigation (60% of total score): 15 digital images

• Selected Works (40% of total score): 5 works
  • 2-D Art and Design and Drawing: Students mail 5 physical works to the AP Program and submit 5 digital backup images.
  • 3-D Art and Design: Students submit 2 views of each work, for a total of 10 digital images.

OVERVIEW: SUSTAINED INVESTIGATION

The Sustained Investigation section shows the student's in-depth exploration of a particular design concern. It is presented as 15 images, some of which may be details of work or documentation of process. Students will submit images and writing to document their inquiry-guided investigation through practice, experimentation, and revision. The emphasis is on a coherent development of an idea through a body of work, in addition to the artistic success of the work.

By December 9, you will turn in a short essay (2 paragraphs) describing your Sustained Investigation idea and how you plan on exploring that idea. You will need to upload your Selected Works section to the digital submission website. From mid-December until April 6, you will be completing at least one Sustained Investigation artwork per week. In addition, you will be experimenting with materials and techniques and developing additional work or refining existing work for your Selected Works section of the AP exam. There will be mini-lessons and exercises to complete as well. You will also be photographing/scanning your work, documenting your process, writing about your process, and writing essays regarding your work.


PREPARATORY STEPS

STEP I. Create a College Board Account

You should receive notice from Guidance to register and pay for the AP exam. Taking the exam is a required part of this course. The forms that our Guidance Dept. send you should be filled out and the check for the exam given to Mr. Attubato, who is our AP Coordinator.

• If you haven't already done so, please create a College Board account. Click here for directions. You may need the school code for Burlington High School. Create your College Board account before creating your Digital Submission Account (Your College Board account and Digital Submission account will be different.).

https://apstudents.collegeboard.org/access-your-ap-resources/sign-in-to-college-board-account

STEP II. Create a Digital Submission Account

• If you haven’t already done so, create an AP Digital Submission account. (This is separate from your My AP account for which you previously registered. Usernames and passwords for My AP or other College Board websites will not work on this site. Create a separate username and password to access the AP Art and Design Digital Submission web application.

You should use a personal email address, not the bps121 email address.

https://apstudio.ets.org/apstudioart/

https://apstudio.ets.org/apstudioart/document/HelpText.pdf

You will need two numbers. See me for the school code and the teacher key


STEP III. Understand the Focus of Your Exam & Study the Work of Others: What does QUALITY look like?

• View/study AP student samples for the exam for which you registered.
• Study the work of master artists from the past and from the contemporary art world.
• Dig into the books and magazines on art history and contemporary art that are available in the Studio Art Honors classroom.

Below are samples of student work from AP portfolios. Selected works are scored from 1 - 5,  with scores of 4 and 5 show the quality to shoot for in your own individual works. The Sustained Investigation is scored from 1 - 3. When working on pieces for homework and for your own Sustained Investigation, look to these examples and resources for the quality of work to which to aspire.
​
The DRAWING portfolio is designated for work that focuses on the use of mark-making, line, surface, space, light and shade, and composition. Students should consider marks that can be used to make drawings, the arrangement of marks, the materials and processes used to make marks, and relationships of marks and ideas. Students can work with any materials, processes, and ideas. Drawing (analog and digital), painting, printmaking, and mixed media work are among the possibilities for submission.

• AP Drawing Samples 2020
• AP Drawing Samples Archive
• Jack Giles (BHS 2021)
• Michela Giordano (BHS 2021)
• Kevin Buxton - AP Art Show (BHS 2020)
• Nicole Benjamin - AP Art Show (BHS 2020)
• Sarah Schissler - AP Art Show (BHS 2020)
• Martello Cesar - AP portfolio exam (BHS 2019)
• Marley Gainley - AP exam (BHS 2017)
• Anne Zhang - BHS sustained investigation
• Irina Grigoryeva - BHS sustained investigation
• Pablo Aguilar - BHS AP exam
• Jake Ursino - BHS Sustained Investigation
• ​Toula Papadopoulos - BHS Sustained Investigation

The 2D ART & DESIGN portfolio is designated for work that focuses on the use of two-dimensional (2-D) elements and principles of art and design, including point, line, shape, plane, layer, form, space, texture, color, value, opacity, transparency, time, unity, variety, rhythm, movement, proportion, scale, balance, emphasis, contrast, repetition, figure/ ground relationship, connection, juxtaposition, and hierarchy. Students should consider how materials, processes, and ideas can be used to make work that exists on a flat surface. Students can work with any materials, processes, and ideas. Graphic design, digital imaging, photography, collage, fabric design, weaving, fashion design, fashion illustration, painting, and printmaking are among the possibilities for submission.
The Principles of Art (slideshow)
Elements and Principles of Art (glossary)
Color Theory

• AP 2D Design Samples 2020
• AP 2D Design Samples Archive
• Paul Fauller (BHS 2021 - Photography)
• Danielle Spinosa - AP exam (BHS)

​
The 3D ART & DESIGN portfolio is designated for work that focuses on the use of three-dimensional (3-D) elements and principles of art and design, including point, line, shape, plane, layer, form, volume, mass, occupied/unoccupied space, texture, color, value, opacity, transparency, time, unity, variety, rhythm, movement, proportion, scale, balance, emphasis, contrast, repetition, connection, juxtaposition, and hierarchy. Students should consider how materials, processes, and ideas can be used to make work that involves space and form. Students can work with any materials, processes, and ideas. Figurative or non-figurative sculpture, architectural models, metal work, ceramics, glasswork, installation, performance, assemblage, and 3-D fabric/fiber arts are among the possibilities for submission.
The Principles of Art (slideshow)
Elements and Principles of Art (glossary)

• AP 3D Design Samples 2020
• AP 3D Design Samples Archive
• Kevin Mudoola (BHS 2021)
• A Pinterest collection
• Example AP 3D Design portfolio with fashion emphasis - score 5
• Youtube introduction from an AP 3D class

Other examples of high quality high school work:

• The AP College Board’s  2020 AP Art and Design Digital Exhibit showcases outstanding artwork created by students who submitted portfolios for the May 2020 exam. Amid a global pandemic, AP Art and Design students worked with diverse ideas, materials, and processes to create incredible, impactful art. The exhibit features student and teacher reflections on these works, providing compelling insights into how artists make choices and approach art making.

 

• The National Scholastic Art & Writing Awards is the nation’s longest-running, most prestigious recognition program for creative teens. Entries are judged on: ORIGINALITY; TECHNICAL SKILL; and EMERGENCE OF A PERSONAL VOICE OR VISION, characteristics similar to what the AP College Board is judging in the exams.

Learn from Master Artists

For the AP exam, you are required to demonstrate your understanding of the materials, processes, and ideas that artists and designers use. Studying the masters of art history and contemporary art will also enrich your own art-making.

Engage with a wide variety of potential sources of inspiration. In the art room, you can access an extensive collection of art magazines going back decades, as well as a small but rich library of books on art history, contemporary art, illustration and other applied arts. Engage with a wide variety of potential sources of inspiration, including:

Visit the websites of or about particular artists and designers to get an in-depth understanding of influences, inspiration, and process.

Start with this Artist List and this folder of masterworks (chronologically arranged.).

Explore Google Arts & Culture. You can use the Art Camera to zoom into famous master paintings, experience culture in 360 degrees, and tour the world’s greatest museums and other landmarks using “Street View”. Or choose categories to discover the most well-known artists and masterworks in history.

Explore these websites:        

• Art 21: Art in the 21st Century (PBS) - video series on working artists. Art21 is a nonprofit organization dedicated to inspiring a more creative world through the works and words of contemporary artists. Click the Artists tab to learn about individual contemporary artists, and the Watch tab to explore by theme:
• Art School: PBS Learning Media - a web video series that introduces contemporary artists who discuss their careers and intentions, then demonstrate hands-on techniques or concepts. Art School provides resources for learning how to draw comic strips, create animations, and much more. Engage with contemporary art and discover new ideas for creativity from a variety of professional artists through this fun and engaging series.
• The Art Assignment (PBS) - A weekly PBS Digital Studios production that takes you around the U.S. to meet working artists and solicit assignments from them that we can all complete. For more, subscribe to The Art Assignment on YouTube: youtube.com/theartassignment.

• TED.com: Visual Art
• PBS Learning Media: Visual Art
• Abstract: The Art of Design (2 seasons on Netflix)

Explore art museums from home:

• Boston Sculptors Gallery
• DeCordova Art Museum and Sculpture Park
• Eric Carle Museum of Picture Book Art
• Harvard Art Museums
• The Institute of Contemporary Art Boston
• Isabella Stewart Gardner Museum
• The Massachusetts Museum of Contemporary Art (MassMOCA)
• The Metropolitan Museum of Art
• Museum of Fine Arts Boston
• The Museum of Modern Art
• Peabody Essex Museum
• The Smithsonian Museum of American Art

Find more resources on our own websites’ Resources Pages at:

• https://studioarthonorsivap.weebly.com/resources.html and
• https://bpsk12art.weebly.com/remote-learning--enrichment.html

STEP IV. Set High Expectations for Yourself

Each artwork you turn in for homework and for the Sustained Investigation is to be a FINISHED, PORTFOLIO-QUALITY artwork. Refer to the College Board's Student Samples for expectations on QUALITY. Make each drawing, design, or sculpture portfolio-worthy. Concentrate on design principles and good composition, mark-making, technique, and expression. 

As is always expected, spend AT LEAST 3 - 5 hours on your projects (outside of regular class sessions) each week.

1. Visit and explore the College Board's AP Art & Design Program website. Refer to it regularly. From the Main/Overview Page you'll be able to find a lot of helpful resources. Devote time to exploring the pages of the exam to which you registered:

• AP Drawing Homepage
• AP 2D Design Homepage
• AP 3D Design Homepage

2. Read for understanding the AP Scoring Guidelines at the end of this AP Portfolio Exam Description (pages 42 and 45): Selected Works are scored from 1 - 5; Sustained Investigation from 1 - 3. For the BHS course, the pieces for your Selected Works and your Sustained Investigation will be graded according to the rigorous standards set by the AP College Board, including:

• Clarity of your INQUIRY and cohesiveness of your series. Are you truly challenging yourself, and are you clear on what you're trying to achieve?
• Your dedication and degree to which you PRACTICED techniques (For example, before applying them to your final pieces; or using techniques repeatedly throughout your works.).
• Your dedication and degree to which you EXPERIMENTED with those materials, processes, and/or ideas; to EXPLORE, to see what they are capable of and how far you can go with them; to try out NEW things, materials, techniques, and/or ideas in inventive, creative, thoughtful ways.
• Your dedication and degree to which you REVISED your work, particularly after receiving feedback, to make purposeful change, correction, and improvement.
• Your SKILL in the following:
  • 2D & 3D DESIGN: Use of ELEMENTS & PRINCIPLES - point, line, shape, plane, layer, form, space, texture, color relationships, value, opacity, transparency, time; unity, variety, rhythm, movement, proportion, scale, balance, emphasis, contrast, repetition, figure/ground relationship, connection, juxtaposition, hierarchy
  • DRAWING: Use of mark-making, line, surface, space, light and shade, composition

3. Visit the following pages to view/read Student Samples and Scoring Commentary:

• AP Drawing Samples 2021
• AP Drawing Samples Archive
• AP 2D Design Samples 2021
• AP 2D Design Samples Archive
• AP 3D Design Samples 2021
• AP 3D Design Samples Archive

4. Read the artist statements by students explaining their Sustained Investigations, and the rationales/explanations by the judges for the scores that students received.

5. Begin thinking about the possibilities for your own Sustained Investigation by answering the following questions (These will later be put in essay form.):

• What inquiry or question(s) will guide your sustained investigation?
• How do you plan to explore that question/idea?

STEP V. Upload Selected Works by December 9, 2021

• Scan or photograph all your best work.
• Upload images of your five Selected Works to your Digital Submission account and include your written text.

Read the instructions for uploading your images. 
https://apstudents.collegeboard.org/digital-submission/submit-ap-art-design-work

Format your JPG images to be just under 5 MB in file size, and RGB color mode. To do this, reduce the resolution to approximately 1400-1500 pixels/inch for the longest side. If needed, I can help you format images to the appropriate file size and upload them into a shared GoogleDrive folder of your full portfolio.

Let me know if you have any problems in accessing and uploading work to the site. Upload your five Selected Works images (Your five highest quality works so far, showing a range of subject matter, materials and techniques, and styles). Input the appropriate information for each selection (You can always “swap out” your selections for other work later.).

----------------------

In addition to the assignments indicated below, you will also be participating in other in-class activities, lessons, and projects with the Studio Art Honors students.


AP STUDIO ART CALENDAR

TERM 2 

Early November
    2 New Encaustic Paintings ( in addition to “landscape” from Term 1): 
          Any 2 of the following:
               Alphabet Illustration, Facade, Collage into encaustic, &/or Photo Transfer

November 12 (Friday)

• DUE: Homework: BHS Art Museum: Research and “Museum Label” Essay

November 17 (Wednesday)

• DUE: Homework: Second Sustained Investigation Try-Out (Major Progress for presentation - ½ completed)
  • Consider an Inventive Use of Materials / Exploration
  • Create an artwork based on one of your concepts from your list of Sustained Investigation ideas (If you don't end up going in this direction for your actual Sustained Investigation series, this should be fine enough for your Selected Works section.).
  • The expectation for this first date is an artwork that's half completed (Not just an idea/plan, loose sketch, or rough draft.). Be ready to present your work for a progress critique.
  • The final, refined version will be due the following Monday.

November 22 (Monday)

• DUE: Homework: Second Sustained Investigation Try-Out (Completed)
  • Create an artwork based on one of your concepts from your list of Sustained Investigation ideas (If you don't end up going in this direction for your actual Sustained Investigation series, this should be fine enough for your Selected Works section.). This is to be a FINISHED, REFINED, PORTFOLIO-QUALITY artwork. Refer to the College Board's Student Samples for expectations on QUALITY.

December 1 (Wednesday)

• DUE: Homework: Register individual entries and portfolio(s) on the Scholastic Art and Writing Awards Online Registration System (ORS), which is accessible via www.artandwriting.org.
  • Scholastic Arts has a later deadline, but you'll need to submit your work by this earlier date in order for us to arrange payment by BPS.
  • You cannot enter individual entries of work you’ve already entered.
• DUE: Read, review, and complete Steps I - IV above to prepare for your Sustained Investigation

December 9 (Thursday) – 

• DUE: Complete Step V above to prepare for your Sustained Investigation
  
  • Read these instructions for uploading your images.
  • Scan/photograph all your best work.
  • Format your JPG images to be just under 5 MB in file size, and RGB color mode. To do this, reduce the resolution to approximately 1400-1500 pixels/inch for the longest side. If needed, I can help you format images to the appropriate file size and upload them into a shared GoogleDrive folder of your full portfolio.
  • Upload images of your five Selected Works to your Digital Submission account and include your written text. Let me know if you have any problems in accessing and uploading work to the site. Upload your five Selected Works images (Your five highest quality works so far). Input the appropriate information for each selection. You can always “swap out” your selections for other work later.
• DUE: Written Sustained Investigation proposal (typed) and begin Sustained Investigation – Answer the following:

                    What is the central idea of your Sustained Investigation
                    How do you plan to explore that idea?

December 15 (Wednesday) – 

• DUE: At least one new fully-realized, exam-worthy piece for the Sustained Investigation, for a total of at least 1 finished piece in your series.

December 21 (Tuesday) – 

• DUE: At least one new fully-realized, exam-worthy piece for the Sustained Investigation, for a total of at least 2 finished pieces in your series.

December Vacation  December 24 - January 2


January 6 (Thursday) --

• DUE: At least one new fully-realized, exam-worthy piece for the Sustained Investigation, for a total of at least 3 finished pieces in your series.

Jan. 13 (Thursday) – 

• DUE: At least one new fully-realized, exam-worthy piece for the Sustained Investigation, for a total of at least 4 finished pieces in your series.

January 19 (Wednesday) --

• DUE: At least one new fully-realized, exam-worthy piece for the Sustained Investigation, for a total of at least 5 finished pieces in your series.

January 21 (Friday)

• Quarter 2 Ends

TERM 3 

January 27 (Thursday) -- 

• DUE: At least one new fully-realized, exam-worthy piece for the Sustained Investigation, for a total of at least 6 finished pieces in your series.

February 3 (Thursday) -- 

• DUE: At least one new fully-realized, exam-worthy piece for the Sustained Investigation, for a total of at least 7 finished pieces in your series.

February 9 (Wednesday) -- 

• DUE: At least TWO new fully-realized, exam-worthy pieces for the Sustained Investigation, for a total of at least 8 finished pieces in your series.

February 16 (Wednesday) -- 

• DUE: At least one new fully-realized, exam-worthy piece for the Sustained Investigation, for a total of at least 9 finished pieces in your series.

February Vacation February 19 - 27

March 2 (Wednesday) – 

• DUE: At least one new fully-realized, exam-worthy piece for the Sustained Investigation, for a total of at least 10 finished pieces in your series.

March 10 (Thursday) – 

• DUE: At least one new fully-realized, exam-worthy piece for the Sustained Investigation, for a total of at least 11 finished pieces in your series.

March 16 (Wednesday) – 

• DUE: At least one new fully-realized, exam-worthy piece for the Sustained Investigation, for a total of at least 12 finished pieces in your series.

March 23 (Wednesday) – 

• DUE: At least one new fully-realized, exam-worthy piece for the Sustained Investigation, for a total of at least 13 finished pieces in your series.

March 31 (Thursday) – 

• DUE: At least one new fully-realized, exam-worthy piece for the Sustained Investigation, for a total of at least 14 finished pieces in your series.

April 1 (Friday)

• Term 3 Ends

TERM 4 

April 6 (Wednesday)

• DUE: At least one new fully-realized, exam-worthy piece for the Sustained Investigation, for a total of 15 finished pieces in your series.

April 8 (Friday)

• DUE: Essay about Sustained Investigation (First draft) - Typed and shared via Google Drive with Mr. Ratkevich.

• Answer the following:
  • Identify the inquiry or question(s) that guided your sustained investigation.
  • Describe how your sustained investigation shows evidence of practice, experimentation, and revision guided by your inquiry or question(s) (1200 characters maximum, including spaces, for response to both prompts) 

See bottom of this document for examples.

NOW:

• Make any final changes to your work for digital submission: new work for either your Sustained Investigation or your Selected Works, or revisions/reworking/replacements of any pieces in your portfolio. Refine your weaker submissions. Fill in gaps. Create new work as necessary.
• Photograph or scan your remaining work.
• Format and upload all new work to the Digital Submission website 
  • (Instructions at https://apstudents.collegeboard.org/digital-submission/submit-ap-art-design-work)

DUE April 6 (Wednesday)

• DUE: Final essay about Sustained Investigation, revised after feedback. Email to Mr. Ratkevich and upload to the Sustained Investigation section of your digital submission account.

 

• DUE: Complete digital submission of AP exam portfolio (Selected Works and Sustained Investigation) and “Forward to Teacher” for Mr. Ratkevich’s review.

April 13 (Wednesday)

• DUE: FINAL deadline to Mr. Ratkevich for AP exam digital submission (Press “Forward to Teacher”) after addressing Mr. Ratkevich’s feedback.

As soon as you have forwarded your final portfolio exam, we will begin preparation for an online AP Portfolio exhibition of all your best work, including all of your AP Portfolio Exam. It will be an online exhibition, for which you will make a slideshow of your portfolio.


Spring Vacation  April 16 - 24


April 29 (Friday)

• Mr. Ratkevich forwards your portfolio to Mr. Attubato.

May 5 (Thursday)

• DUE: Name design/sign for Portfolio Exhibition (name, college, major; done artistically)

Create an artwork/design that emphasizes your full name and includes the college you will be attending and your intended major. This is to be a well-designed and well-crafted artwork with high visual impact that profiles your artistic strengths. It can be done in any medium or combination of media. It may reflect the work you have been doing with your Sustained Investigation, but it doesn't have to. This will be used to promote your work and will also serve as the first slide in your Google slideshow, which you will create the following week. 

May 6 (Friday) 

• This is the last day that Mr. Attubato can submit AP Art and Design digital portfolios to the College Board.

May 11 (Wednesday)

• DUE: Creative Invitation to Online AP Studio Art Exhibition (Send out invitations with Google Meet code via email)

Design a creative invitation (using whatever materials and techniques you choose) to "The Third Online BHS AP Studio Art Exhibition 2022". Share your invitation with me and email it to friends and family. Your artwork invitation must include:

• The Third Online BHS AP Studio Art Exhibition 2022
• The time and date of the event (Tuesday, May ____, _____ am - ______ pm):
• The Hangout code: "Join us at ____am using this Google Hangout code: ____________"
• Creative visuals

May 19 (Thursday)

• DUE: Google  slideshow presentation, with titles, sizes, and very brief descriptions of all pieces included. 

Arrange a Google Slides presentation of your portfolio of your best work from the past two years, with large images, titles, dimensions, and very brief descriptions of all pieces (You may use all the same text as in your AP Digital Submission.). The slideshow must include your name design from this past week as its first slide, all pieces from your AP exam Selected Works and Sustained Investigation, your essay for your Sustained Investigation (This slide should be placed before the slides for the Sustained Investigation artwork.), and any other of your strongest works. Share the link to your slideshow with me, and I will share it with the world (or at least the Burlington school community) (See examples here)

May 23 (Monday)  

• AP Portfolio Exhibition - HOST (online or in person) art exhibition (during class or early afternoon) - attend and present your work to friends, family, and teachers

May 25 (Wednesday) - Deadline to return all supplies, equipment, and books, and clean out studio spaces.

May 26 (Thursday) - Last class for seniors; end of Term 4 for seniors

June 5? (Sunday)

• Graduation

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​
SUSTAINED INVESTIGATION PLANNING (OUTLINE)

Here is the Sustained Investigation Proposal sheet we have used in the AP class during the last several years. Write it and refer to it to keep your eyes on the prize.

Project Description: 
Write a one-page outline for your Sustained Investigation, a personalized focus of artistic study on which you will be working for several weeks.

Objectives:

• Think about your artistic interests and passions.
• Notice what’s being done in the contemporary art world.
• View books and magazines on art history and contemporary art (Many are available in the art room.).
• Brainstorm possibilities.
• Be clear on what you will be learning, how you will be growing as an artist.
• Foresee and plan for problems/challenges.
• Be clear on how you will know when/if you are successful.
• Be prepared to discuss your plans and be challenged by your peers.

Parameters:
The Sustained Investigation must be a series of 15 artworks that can be displayed together.
The proposal must include:

• Title of Project
• Project Description (Intentions)
• Purpose (What excites you about this project)
• Media
• Content
• Timeline for completion of parts
• Work schedule on project outside of class (The Sustained Investigation will not be your only homework during the full span of time, but you will be expected to work on it regularly outside of class.)
• Learning Objectives!
• Other explanatory information as necessary

-----------------------

EXAMPLE OF SUSTAINED INVESTIGATION OUTLINE

TItle/Description:
Observational Painting (Self Portraits)

Media:

• At home – water soluble oils on canvas
• In class – oils on canvas or panel; acrylic on canvas

Content:
Portraits (self and family members) from ID photographs (driver’s license, old and new passports, school and work IDs)

Quantity:

• Six paintings completed in class
• Six larger paintings at home

Primary Objectives:

• Commit to a regular painting schedule to be continued after completion of this course.
• Be a conscious, thoughtful, focused painter.
• Recognize and be willing to work against my default methods and prejudices.
• Work big.
• Work with photographs.
• Work with different techniques and different palettes.
• Complete a cohesive series of paintings.
• Be open to new directions (media, style, content). Be willing to experiment and explore.
• Study techniques of master painters. Try out some of those techniques.
• Discover new artists – gain awareness of what raises these artists to a higher level.
• Experiment with different palettes – a different palette for each painting.
• Experiment with different ways of working – a different method for each painting.
• Be aware of the importance and effect of each brush stroke.
• Develop a refined awareness and use of color.
• Develop a more refined sensitivity towards formal issues.
• Have a better idea of what direction I want to go in as an artist.
• Gain awareness of what I have to offer as a painter.
• Gain awareness of my weaknesses as a painter, and strengthen those areas.

-------------------------------------

SUSTAINED INVESTIGATION ESSAY (EXAMPLES)

Example of Sustained Investigation essay and scoring rationale on an AP exam that scored 6.

What is the central idea of your Sustained Investigation?

My Sustained Investigation explores the symbolism in flowers. For decades, many people have associated flowers with emotions, abstract ideas (innocence), and even religious figures. I have always been interested in the different symbols and associations carried with these delicate yet robust works of nature. Through this exploration, I hope to mature in my thinking process as well as my methods of creating these pieces, just as a little sprout goes through the metamorphosis of a bud to a blooming flower.

How does the work in your Sustained Investigation demonstrate the exploration of your idea? You may refer to specific images as examples. When referencing specific images, please indicate the image numbers.

In my pieces I chose to juxtapose different people with different flowers. Sometimes these human subjects elicit a certain emotion that corresponds with the symbolism carried with the flower (Image 6) while other times they have a gesture that may hint at what the flower symbolize. Image 5 is an example of the latter explanation. Forget-Me-Nots primarily symbolize eternal love, and I chose a "protective" stance of a young girl covering the flowers with both hands. However, she does not keep these flowers to herself, rather, she allows them to drop and grow on their own, preventing this to be a dangerous obsessive love. Image 9 is an example of how a flower, the white lily, can symbolize a religious figure, in this case the Virgin Mary. My pieces also begin to slightly change in media and style, although not so obvious, mimicking the growth of a flower. I think it was important to incorporate this aspect because it is not only relevant to my Sustained Investigation's concept, but it also allows me to grow as an artist by exposing me to different ways of approaching my artwork.

Rationale for Score

*

• This student takes an often conventional and trite subject, flowers, and instead handles the theme with complexity and sophistication.
  
  
  
• The student uses flowers as an effective design motif with compelling symbolic significance.
  
  
  

*

• Although the commentary is not scored, it provides a particularly important insight, and a useful point of entry to the student's thought process.

*

• The student has approached the Sustained Investigation as a clearly focused exploration of moods and psychological states, investigated effectively using a wide range of materials and techniques.

*

• An innovative application of the principles of design, particularly unity/variety, rhythm, emphasis, and balance, is used to create decorative themes that simultaneously reinforce symbolic content.
  
  
  

*

• The three image details provide useful information about content, surface, and mark making.
  
  
  

*

• Overall, the work constitutes a rich exploration of a coherent and poetic theme.
  
  
  
• The work is of excellent quality.

____________________________________________________________________________________


What is the central idea of your Sustained Investigation?
I explored the idea of illustrating for a written narrative. In this case, the narrative is my own. I enjoy the concept of combining creative writing with the visual arts, and focused on the narrative and schematic aspect of the works: how it characterizes and tells a story. The artworks are arranged in the order that they would appear in the book.

How does the work in your Sustained Investigation demonstrate the exploration of your idea? You may refer to specific images as examples. When referencing specific images, please indicate the image numbers.
I took inspiration from common visual elements of fantasy novels. For example, image 1 is of a map, a tool utilized by many famous fantasy works (like the Lord of the Rings). Image 2 is a chapter title artwork, which is used on a smaller scale in books such as Harry Potter or Fablehaven. Images 3, 4, and 12 share a common format: that of a book illustration, which works as a "snapshot" of the story's events. As I continued, I began to experiment with other ways of telling a story through visualization. For example, I tried a few graphic novel segments that could be inserted into the story (images 7 and 9). Although these are obviously polarized approaches, I attempted to unify the work through style, repeating characters, and a similar, muted color scheme (looking at the work as a whole, one might notice that the basic color composition changes as the main character moves to a new environment; it goes from green-brown, to purple, to red).
For reference, here is a short summary of the story's events: it revolves around a young girl growing up in 1940s England. When her widowed father is forced to join the army, she is suddenly transported to a strange world (this transition happens between images 4 and 5), where she must come to grips with the idea that she is unable to get back.

Rationale for Score:

• This work presents an imaginative, original and coherently integrated narrative.
• The student's voice is evocative and confident and expresses a distinct measure of success.
• The work reaches a level of excellence in quality through the use of rhythm and movement as well as unity and variety.
• Technical excellence and a refined use of media are evident throughout this Sustained Investigation.
• Overall the work is of excellent quality.

What is the central idea of your Sustained Investigation?
The central idea of my Sustained Investigation is Incognito. Humans utilize metaphoric masks to hide our true identity. Because of this, our city becomes artificial and fake. We feel naked without them, so we have become "incognito addicts."

How does the work in your Sustained Investigation demonstrate the exploration of your idea? You may refer to specific slides as examples.
We are surrounded by illusions and the things around us are not always what they seem to be. We use masks as a tool to become incognito, but in the process of wearing these masks, our identity could be lost. I wanted to capture in my pieces the idea that human beings rely on objects or ideas to deceive either themselves or others in order to put on another identity more suited for the world that thrives on superficial impressions. I began to first take a self-exploration and depicted how people can use the internet (Image 4) to mask themselves or my awareness of my own identity (Image 6). I then turned towards the media because the media itself is very incognito for the news that they broadcast are often opinionated and biased though we as the viewers take it in as fact. Many truths are masked by the media through reports such as those on celebrities (Image 8) and current events such as the Haiti and Chile earthquakes (Image 10). People are eager to seek acceptances of themselves, so in their attempts to blend in, they tend to conform to the group (Image 11) they want to belong to, so in that process, they lose their identity. Their individualism becomes incognito.







What is the central idea of your Sustained Investigation?
In my Sustained Investigation I employ emphasis to show the struggle for identity that is an inherent part of the human condition. My use of self portraiture, the changes in settings and lighting, the simple, straightforward poses, and the consistent subject matter only changed by a physical obscurant, all lend to the concept that individual identity in an image-imposing world is difficult to unearth. The photographer Eleanor Antin inspired me through her own use of self-portraiture and role-playing.

How does the work in your Sustained Investigation demonstrate the exploration of your idea? You may refer to specific images as examples.
As the masks begin to relate more closely to my surroundings, the commentary in individual pictures becomes increasingly stronger. In slides 1 through 3 the emphasis is placed solely on the masks and not the masks in relation to the wearer’s environment. The masks are not connected to their surroundings in a completely cohesive way. In slides 4 and 5 the transition into a visible relationship between the masks and the environment begins. In slides 6 through 9 the growth toward this concept continues as I explore using different objects in various settings to mask myself. In slides 10 through 12 the correlation of mask and setting reaches its height and the theme of identity is seen in its fullness.






What is the central idea of your Sustained Investigation?
My Sustained Investigation is centered around the number 13, as a carrier of many ideas. First of all, I started this exploration with a piece of artwork that represented Friday the thirteenth. With additional research I found that the number thirteen was far more than a date on a calendar. I also discovered that thirteen can be a part of a number base, has historic roots in architecture, time, and United States history, and is the basis of some pretty impressive words.

How does the work in your Sustained Investigation demonstrate the exploration of your idea? You may refer to specific slides as examples.
My artistic talents include more than pieces of artwork on paper; I have previously completed classes in graphic design which I really enjoyed. So, I decided to present my 2-D exploration of 13 in a magazine format. This allowed me to work with the art as well as the design element of art. I developed the exploration as a series of illustrations inside of magazine departments and feature stories. The department titles (i.e. “Letters to the Editor,” “Tales in Travel,” “Flicks Reviewed,” …) gave me a jumping off point for my research. The ideas behind the features in the magazine were more of the abstract way of looking at the number. They included the idea of a number system involving letters (image 1), the number 13 as an important figure in American history (image 5), and even the number as a coveted jersey number for professional athletes (image 7). I decided that, finally, 13 didn’t have to be researched anymore. The last image shows more of my 2-D design background by using a series of 1’s and 3’s in a type manipulation that forms a butterfly. Oh, by the way, the Monarch butterfly is the state butterfly of Rhode Island … the thirteenth state.






What is the central idea of your Sustained Investigation?
Natural light coming through windows into an indoor space was the central idea of my Sustained Investigation. I was inspired by the paintings of John Register and I was generally drawn to the light itself and how it hits the surface of different parts of the space.

How does the work in your Sustained Investigation demonstrate the exploration of your idea? You may refer to specific images as examples. When referencing specific images, please indicate the image numbers.
Throughout the whole process of building my portfolio, I tried to bring the focus to the light itself and the shadows formed by the light, instead of the object being hit by the light. Some of my work includes strong diagonals that lead to the focus of the scene as in images 1 and 4. As my portfolio progressed, the architectural shapes and perspective played a larger role in constructing the scenes, as in image 6. Image 9 ("Window"), which was painted with a palette knife in a relatively short period of time, is an experiment with the painted surface in order to convey the translucency of the curtain through which the light shines.




What is the central idea of your Sustained Investigation?


The central idea for my Sustained Investigation is to do intricate studies of fruits and vegetables. 



How does the work in your Sustained Investigation demonstrate the exploration of your idea? You may refer to specific images as examples.

My Sustained Investigation was inspired by the many colors, shapes and unique textures I saw in the produce section of the grocery store. My goal was to create drawings that emphasized color and detailed texture in a photo realistic style. I purposely cropped the images so that the viewer felt as if they were viewing the detail of the produce through a magnifying glass. As my Sustained Investigation progressed, I developed a heightened awareness of value and contrast. Beginning with image 5, I utilized deep shadows and extreme highlights to emphasize the form of the produce. I also became more and more detailed with the drawings, paying attention to fine line work such as in images 10 and 11. By the end of the Sustained Investigation, I feel that my drawings had become confident, bold expressions of the fruits and vegetables that inspired me.







What is the central idea of your Sustained Investigation?

This Sustained Investigation "Animalocalypse" is a narrative series that resembles an alternate universe where the roles of animals and humans are switched. Several are based from famous paintings (the first, fifth and last images), but the majority of the watercolors are done from my imagination. As they progress from the first to the last, the message grows more suggestive to the viewer. Some paintings have a more light hearted mood, and all provoke a story. 



How does the work in your Sustained Investigation demonstrate the exploration of your idea? You may refer to specific images as examples.

There were many ideas I originally had that I never ended up making, because the other ideas were either stronger, or easier for the viewer to be able to understand. I really enjoyed this Sustained Investigation, because there were many things I could do that could represent the idea of animals and people switching places. Before I began working on them, I listed the best ideas, and put them in a specific order so I would be able to easily transition from one painting to the next. Some of my work, like image 11, titled "Fair Game," has a much darker context than some of its earlier cousins. I did this on purpose; once the viewer was pulled in, they would notice that the revolution of the animals became more serious as the sequence continued.

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Create an artwork that addresses the theme "Order/Chaos".

Your finished drawing, design, or sculpture should be "portfolio-worthy". Concentrate on design principles and good composition, mark-making, technique, and expression.

The manner in which you approach this creative challenge should meet the requirements of your chosen AP Art & Design exam: either Drawing, 2D Design, or 3D Design. Below are explanations of the differences between those exams.

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Drawing
This portfolio is designated for work that focuses on the use of mark-making, line, surface, space, light and shade, and composition. Students should consider marks that can be used to make drawings, the arrangement of marks, the materials and processes used to make marks, and relationships of marks and ideas. Students can work with any materials, processes, and ideas. Drawing (analog and digital), painting, printmaking, and mixed media work are among the possibilities for submission.

• Kevin Buxton - AP Art Show (2020)
• Nicole Benjamin - AP Art Show (2020)
• Sarah Schissler - AP Art Show (2020)
• Martello Cesar - AP portfolio exam (2019)
• Marley Gainley - AP exam (2017)
• Anne Zhang - sustained investigation
• Irina Grigoryeva - sustained investigation
• Pablo Aguilar - AP exam
• Jake Ursino - Sustained Investigation

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2D Art & Design
This portfolio is designated for work that focuses on the use of two-dimensional (2-D) elements and principles of art and design, including point, line, shape, plane, layer, form, space, texture, color, value, opacity, transparency, time, unity, variety, rhythm, movement, proportion, scale, balance, emphasis, contrast, repetition, figure/ ground relationship, connection, juxtaposition, and hierarchy. Students should consider how materials, processes, and ideas can be used to make work that exists on a flat surface. Students can work with any materials, processes, and ideas. Graphic design, digital imaging, photography, collage, fabric design, weaving, fashion design, fashion illustration, painting, and printmaking are among the possibilities for submission.

•     Danielle Spinosa - AP exam

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3D Art & Design
This portfolio is designated for work that focuses on the use of three-dimensional (3-D) elements and principles of art and design, including point, line, shape, plane, layer, form, volume, mass, occupied/unoccupied space, texture, color, value, opacity, transparency, time, unity, variety, rhythm, movement, proportion, scale, balance, emphasis, contrast, repetition, connection, juxtaposition, and hierarchy. Students should consider how materials, processes, and ideas can be used to make work that involves space and form. Students can work with any materials, processes, and ideas. Figurative or non-figurative sculpture, architectural models, metal work, ceramics, glasswork, installation, performance, assemblage, and 3-D fabric/fiber arts are among the possibilities for submission.

• A Pinterest collection
• Example AP 3D Design portfolio with fashion emphasis - score 5
• Youtube introduction from an AP 3D class

 

Sustained Investigation 

Over the next several weeks, some of your homework assignments will be to try out different ideas from your list of ideas for your upcoming Sustained Investigation. 

Each artwork is to be a FINISHED, REFINED, PORTFOLIO-QUALITY artwork. Refer to the College Board's Student Samples for expectations on QUALITY. 

Here are samples of student work from AP portfolios. The scores of 4 and 5 show the quality to shoot for in your own Sustained Investigation Try-Outs as as well as all your other work.

• AP Drawing Samples 2020
• AP Drawing Samples Archive
• AP 2D Design Samples 2020
• AP 2D Design Samples Archive
• AP 3D Design Samples 2020
• AP 3D Design Samples Archive
• AP Art & Design 2020 Digital Exhibit

More AP Portfolio Samples from BHS Students
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Drawing
This portfolio is designated for work that focuses on the use of mark-making, line, surface, space, light and shade, and composition. Students should consider marks that can be used to make drawings, the arrangement of marks, the materials and processes used to make marks, and relationships of marks and ideas. Students can work with any materials, processes, and ideas. Drawing (analog and digital), painting, printmaking, and mixed media work are among the possibilities for submission.

• Kevin Buxton - AP Art Show (2020)
• Nicole Benjamin - AP Art Show (2020)
• Sarah Schissler - AP Art Show (2020)
• Martello Cesar - AP portfolio exam (2019)
• Marley Gainley - AP exam (2017)
• Anne Zhang - sustained investigation
• Irina Grigoryeva - sustained investigation
• Pablo Aguilar - AP exam
• Jake Ursino - Sustained Investigation

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2D Art & Design
This portfolio is designated for work that focuses on the use of two-dimensional (2-D) elements and principles of art and design, including point, line, shape, plane, layer, form, space, texture, color, value, opacity, transparency, time, unity, variety, rhythm, movement, proportion, scale, balance, emphasis, contrast, repetition, figure/ ground relationship, connection, juxtaposition, and hierarchy. Students should consider how materials, processes, and ideas can be used to make work that exists on a flat surface. Students can work with any materials, processes, and ideas. Graphic design, digital imaging, photography, collage, fabric design, weaving, fashion design, fashion illustration, painting, and printmaking are among the possibilities for submission.

•     Danielle Spinosa - AP exam

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3D Art & Design
This portfolio is designated for work that focuses on the use of three-dimensional (3-D) elements and principles of art and design, including point, line, shape, plane, layer, form, volume, mass, occupied/unoccupied space, texture, color, value, opacity, transparency, time, unity, variety, rhythm, movement, proportion, scale, balance, emphasis, contrast, repetition, connection, juxtaposition, and hierarchy. Students should consider how materials, processes, and ideas can be used to make work that involves space and form. Students can work with any materials, processes, and ideas. Figurative or non-figurative sculpture, architectural models, metal work, ceramics, glasswork, installation, performance, assemblage, and 3-D fabric/fiber arts are among the possibilities for submission.

• A Pinterest collection
• Example AP 3D Design portfolio with fashion emphasis - score 5
• Youtube introduction from an AP 3D class

Make each drawing, design, or sculpture portfolio-worthy. Concentrate on design principles and good composition, mark-making, technique, and expression. 

As is always expected, spend AT LEAST 3 - 5 hours on your project each week.

Create a landscape with unusual materials.

• Start from direct observation of the world immediately around you, but it may change as you work.
• It must show a sense of depth, with foreground, middle-ground, and background. 
• Consider atmospheric perspective.
• Strive for a strong composition; well-designed.

Sarah Schissler:

​Kevin Buxton:
Click here for a video of the development of Kevin's VR landscape created with Oculus Rift.