Summer Work for AP Studio Art: 2D Design

GRADING CRITERIA

5 Complete Compositions

  • AP QUALITY WORK 
  • SIZE: 7" X 7" min, 18" x 24" max
  • TWO DIMENSIONAL WORKS ONLY
  • NO PHOTO REFERENCES YOU DON'T OWN YOURSELF!

Sketchbook

  • 5 DAYS A WEEK, ALL SUMMER
  • 50 TOTAL PAGES - 30 mins min per day
  • EXCERCISES FOR COMPOSITION

Idea book

  • COLLECTION OF VISUAL IDEAS
  • 100 TWO-DIMENSIONAL WORKS OF ART
  • CAN BE DIGITAL (google drive/slides) or PHYSICAL (binder/sketchbook full of printouts)

5 COMPLETE COMPOSITIONS

Choose from five of the following prompts to create your AP quality compositions:
MIXED MEDIA
  • Composition in which you use at least three different media (such as a wet medium, dry medium, and some collage elements) while focusing on one element and one principle of design.
COLOR SCHEME
  • Create a portrait, still life, or landscape using either a complementary, analogous, or split-complementary color scheme in any 2D medium making color the subject matter.
SINGLE SOURCE COLLAGE
  • Photocopy or print multiple times one type of object. Use those copies as the source material for a collage.
DIGITAL DRAWING & PHOTOGRAPHY
  • Digitally add your own drawing/artwork into photographs you have taken (and manipulated). 
PHOTOGRAPHIC COLLAGE
  • Re-edit photographs you have taken to place you or a friend into a new environment (also a photo you took) or create a new reality. Be sure to pay attention to lighting and shadows.
MYTHOLOGICAL EVENT
  • Create a mythological event. Think up a story involving the imaginary revolt of one of the following: domestic animals, computers, machines, kitchen appliances, elevators, flowers, etc. Visualize your idea by making a convincing illustration of the event.
CONSTRUCTIVISM
  • Research Russian Constructivism and / or Dadaism. Create a composition using a limited color palette, text, and imagery with strong contrast and bold negative space.
CUT PAPER PORTRAIT
  • Create a cut paper portrait. A portrait can include a body, but that is not necessary for an image to work as a portrait. Focus on how compositional space it used.
GRAPHIC ILLUSTRATION
  • Multi-color digital or analog printmaking uses a small number (3-5) of single colored layers to build up the image. Notice this is not a black outline drawing, but a fill-only situation.
NON FINITO
  • Drawing or painting composition that alternates from a simple contour to a fully rendered form at chosen focal points.
DEEP SPACE
  • Create a composition creating the illusion of deep space. Do not include any heads of people.
QUIRKY ILLUSTRATIONS
  • Create an illustration by combining the contents of two reference images. Be sure the reference images are your photos, not someone else's.
SPRAY PAINT STENCIL PORTRAIT
  • Use spray paint and a stencil you cut yourself to create a portrait. Cut out 3 color layers, so that the colors overlap to create the illusion of a form with depth. No black outlines. Be creative with how you crop your image. Not all portraits are straight ahead pictures of faces. Stencil the image on three different kinds of surfaces.
ANALOG PHOTOGRAPHY
  • Make a pinhole camera and take pictures on film. Get an old polaroid camera and take pictures. Using a manual 35mm film camera, take pictures. (Look up photography rules: focal point, leading lines, angle of view, off-center subjects, rule of thirds, etc.) 
NEGATIVE SPACE WITH FORMS
  • Draw multiple versions of a three-dimensional object from multiple angles. Negative space and rhythm are important visual concerns.
NEGATIVE SPACE
  • Create a work of art where negative space is a significant feature of the composition.
TEXT
  • Display your graphic design abilities with a composition involving text. Use typography as a design element. 
PLACE
  • Create a composition that reflects on a place, can hold figures or objects in space, and shows volume. Think through color and negative space.

Sketchbook

  • ONE PAGE, 5 DAYS A WEEK, MINIMUM. Filled image area should be at least 5" x 7" every day.
  • CROP AND FILL. Do not make dinky little drawing in the center. Go off edges whenever possible. Fill the page.
  • MIXED MEDIUM. Draw, write, scribble, paint, glue, cut, tear, re-do, cover over, work the surface.
  • VISUAL CONFIDENCE. No cute, pretty, precious, adorable images. Challenge yourself visually.
  • VOLUME. Use light and depth in at least ten images.
  • OBSERVATION. Make at least 20 contour drawings from the world around you. Remember to use the whole page. Look up Felix Scheinberger.
  • TYPOGRAPHY. Practice recreating different fonts and typography you see in the world. Incorporate the text into a composition.
  • WRITE. Write about what you think is working in your sketchbook and what you think needs work or is weak in some area. Use the elements of art and principles of design to be specific in your criticism or praise.
  • EXPERIMENTATION. Your sketchbook should have evidence of trial and error, learning, and growth. Here are some examples of ways to show growth and experimentation: Compose a scene multiple times choosing different framing each time. Rework a composition multiple times using different color palettes. Produce several drawings of one object from different angles to find the best negative space around the figure.
IF YOU DRAW FACES OF PEOPLE OR ANIMALS, DRAW IN 3/4 PERSPECTIVE - NO PROFILES, NO STRAIGHT ON.
You will turn this in as original artwork, not digital copies of original artwork.
Your sketchbook can be a bound book, or a collection of pieces of paper that you keep together.
​It is up to you to decide what shape and style sketchbook to keep.

Ideabook

  • 100 WORKS OF ART THAT YOU LIKE. Collect visual ideas that you feel represent strong design; good use of compositional space, excellent use of color, innovative use of line, etc. 
  • QUALITY WORK. Don't just pick the first 100 things google told you were art. You will use this as a style reference pool for your own work throughout the year. If you were to emulate the work you selected, you would want it to be an AP 5 score.
  • ORGANIZATION. You should organize the images so that they are more useful to you. You can choose to organize them by style, content, theme, or on their technical merits (Elements of Art, Principles of Design). It is more likely technical merits will be useful than by medium, theme, or content.
  • GOOD SOURCES. Google may not be the best collator of great artwork. Try websites that do that work for you. For instance; museums, galleries, thisiscolossal.com, thingsorganizedneatly.com, art slant. Or, go to museums and galleries and take pictures of artwork that interests you.
  • FORMAT. You can turn the images in digitally or in paper format. Each image should have the artists name connected to it. The DIGITAL format could look like one of two things: a Google Drive folder filled with 100 images, each with the artist's name as the file name; or, a Google Slides presentation with an image and artist name on each slide, plus a google folder with the images unorganized. The ANALOG format could look like a binder, book, or portfolio of 100 images printed out with Artist Names written on each page.
​​
THE IDEABOOK IS USED BY YOU FOR YOUR GREAT IDEAS.
​IT IS USED BY YOUR TEACHER TO GET A SENSE OF YOUR ARTISTIC STYLE AND GIVE YOU BETTER ADVICE AND FEEDBACK.