Q1 Checklist - Arts-in-Company

AP Studio Art‐‐‐Quarter 1‐‐ BREADTHC:\Users\Lacourbe\Documents\arts‐in‐company\00‐art\00‐ap\Q1\Q1‐checklist.doc1 | P ageQ1: WEEK ONE: AUGUST 13‐17AP DRAWING: PROJECT: Movement through Markmaking: Experiment with a variety of mark‐making tools and techniques to establish a sense ofrhythm and movement in a nonobjective drawingOptional: SKETCH: Scribble randomly over your page. Sit back and let your imagination run free‐looking for shapes and patterns that may appear.Be aware of images that appear and disappear as you stare at the page. If one image is persistent, rework the drawing to bring that imageout. Create areas of light and dark to define space and form. Add details to create a composition. Don’t be afraid to overdo itAP DESIGN PROJECT: Figure/Ground Relationships Project: INITIALS ‐‐‐or‐‐‐NOTANOptional: NOTAN SKETCH: Scribble randomly over your page. Sit back and let your imagination run free‐looking for shapes and patterns that may appear.Be aware of images that appear and disappear as you stare at the page. If one image is persistent, rework the drawing to bring that imageout. Create areas of light and dark to define space and form. Add details to create a composition. Don’t be afraid to overdo itSKETCHBOOK CHECK – AUGUST 26AP PHOTO: PROJECT: Figure/Ground Relationships Positive/Negative Space StudyCreate a composition with a visually interesting and balanced use of positive & negative space SKETCH: Photographing a Tree as a Multi Print Vertical PanoramaOptional:SKETCHBOOK CHECK – FRIDAY SEPTEMBER 10Q1: WEEK TWO: AUGUST 20‐24AP DRAWING: PROJECT: Movement through Markmaking, Experiment with a variety of mark‐making tools and techniques to establish a sense ofrhythm and movement in a nonobjective drawingOptional: SKETCH: Draw an arrangement of objects from your kitchen. (Use Ball point pen)AP DESIGN PROJECT: Figure/Ground Relationships. INITIALS – or ‐‐‐ NOTAN. (see assignment sheet for details)SKETCH:Optional:Graphic VectorsUse line to move the eye through the composition. Compositions often use implied lines to move the eye through thecomposition and lead you to the center of interest.Graphic relationships in a series:Create a series of four images that clearly show graphic relationships with one another. Use implied line to make a graphicconnection between four images arranged in a grid.SKETCHBOOK CHECK – FRIDAY SEPTEMBER 10AP PHOTO: PROJECT: Figure/Ground Relationships. Positive/Negative Space Study.ISOLATING THE CENTER OF INTEREST:Optional:SKETCH:GRAPHIC VECTORSUse line to move the eye through the composition. Compositions often use implied lines to move the eye through thecomposition and lead you to the center of interest. Graphic relationships in a series:Create a series of four images that clearly show graphic relationships with one another. Use implied line to make a graphicconnection between four images arranged in a grid.SKETCHBOOK CHECK – FRIDAY SEPTEMBER 10

AP Studio Art‐‐‐Quarter 1‐‐ BREADTHPage | 2Q1: WEEK THREE: AUGUST 27‐ 31AP DRAWING: PROJECT: Markmaking Study / Observational Drawingsin Progress…Optional: SKETCH: Draw your foot with a marker. Experiment with different widths and take advantage of the strength and rich textures thesepens permit.AP DESIGN PROJECT: Figure/Ground Relationships. Positive/Negative Space Study using “Contrasto”Optional: SKETCH: Mixed media layered landscape or still life with a minimum of 3 layers of different media.Examples of the exploration might include the use of newspaper over painted surface, found objects glued over newsprint, torn paper,string, oil pastel over construction paper, etc. Try not to be too literal (For example, twigs used to represent tree branches might not beparticularly creative) Do not leave elements “stranded”. You may use paper, wood, canvas, or your choice of appropriate support.AP PHOTO: PROJECT: Cyanotypes use found objects to create an interesting composition on photosensitized paper and place in the sun to achieve a print(resource: Breaking the Rules: A Photo Media Cookbook by Bea Nettles).‐‐‐‐‐‐‐‐ OPTIONAL ‐‐‐‐‐‐‐‐‐‐‐: GRAPHIC VECTORS – Class choiceUse line to move the eye through the composition. Compositions often use implied lines to move the eye through thecomposition and lead you to the center of interest. Graphic relationships in a series:Create a series of four images that clearly show graphic relationships with one another. Use implied line to make a graphicconnection between four images arranged in a grid SKETCH: White on White – The Aesthetic Control of light.Photograph white objects on a white background. Use two or more light sources to control shadows. Explore tonal range of amonochromatic image. Supplemental sketchbook assignment: sketch white cloth – look for subtle gradations in light and shadow.SKETCHBOOK CHECK – FRIDAY SEPTEMBER 10Q1: WEEK FOUR: SEPTEMBER 3‐7 (NO SCHOOL MONDAY SEPTEMBER 3)AP DRAWING: PROJECT: Still Life with Studio Lights SKETCH: Practice drawing with graphite.Draw a bowl of fruit. Use the whole page. Do not leave any white showing. Experiment with line and valueAP DESIGN PROJECT: Cyanotypes ‐ use found objects to create an interesting composition on photosensitized paper and place in the sun to achieve aprint (resource: Breaking the Rules: A Photo Media Cookbook by Bea Nettles).‐‐‐‐‐‐‐‐ OPTIONAL ‐‐‐‐‐‐‐‐‐‐‐: GRAPHIC VECTORS – Class choiceAP photo:CyanotypesUse line to move the eye through the composition. Compositions often use implied lines to move the eye through thecomposition and lead you to the center of interest. Graphic relationships in a series:Create a series of four images that clearly show graphic relationships with one another. Use implied line to make a graphicconnection between four images arranged in a grid SKETCH: Practice drawing with graphite.Draw a bowl of fruit. Use the whole page. Do not leave any white showing. Experiment with line and valuePROJECT: GRAPHIC VECTORS – Class choiceUse line to move the eye through the composition. Compositions often use implied lines to move the eye through the compositionand lead you to the center of interest. Graphic relationships in a series:Create a series of four images that clearly show graphic relationships with one another. Use implied line to make a graphicconnection between four images arranged in a grid). SKETCH: Digital CollageCreate a collage of photo images using Photoshop that show our relationship to our environment. Questions:How do humans effect the environment?What is natural and what is syntheticSKETCHBOOK CHECK – FRIDAY SEPTEMBER 10

AP Studio Art‐‐‐Quarter 1‐‐ BREADTHC:\Users\Lacourbe\Documents\arts‐in‐company\00‐art\00‐ap\Q1\Q1‐checklist.doc3 | P ageQ1: WEEK FIVE: SEPTEMBER 10‐14AP DRAWING: PROJECT: Subtractive Charcoal Self‐Portrait: using a combination of vine and compressed charcoal, use the dark field method to create aself‐portrait (lay a field of charcoal over the entire surface of the page and use an eraser to create a range of values)Optional:SKETCH:Cover at least 4 pages with charcoal. Make a variety of marks; smudge charcoal, experiment with erasure.Draw a favorite object in your house.In either of these, the focus should be on Unity: (harmony, variety, emphasis, rhythm, movement, proportion, balance(symmetry, asymmetryAP DESIGN PROJECT: Nonobjective/ Shallow space using collage‐‐‐or ‐‐‐ Fractured Reality:SKETCH:Optional:AP PHOTO: PROJECT:2‐ 3 finished works due 9/14SKETCH:The Visual Cliche:‐‐‐ and‐‐‐REVISIT Cubism Photomontage HOCKNEY KnockoffOptional:The Visual Metaphor:Find objects that have meaning beyond what is apparent. Look for combinations of objects that could make a visual sentence.How do artists use symbolism to represent a feeling, an emotion or an idea. Everyday language is filled with metaphor. There ismetaphor in the visual language of art. How do artists express feelings and emotions using metaphor?Optional:SKETCHBOOK CHECK – FRIDAY SEPTEMBER 23SKETCHBOOK CHECK – FRIDAY SEPTEMBER 21Q1: WEEK SIX: SEPTEMBER 17‐21AP DRAWING: PROJECT: Charcoal Self‐Portrait (in progress…)Optional: SKETCH:AP DESIGN PROJECT: Fractured Reality (Cubism based) Still Life with Collage Elements: (continued)Optional: SKETCH: Select a work by a famous artist. Paste a copy of the work in your sketchbook. Make three studies of the work. a drawing using only line. one showing only the values (no line). showing only the colors (crayon, colored pencil, marker).AP PHOTO: PROJECT: Text and Image Collage2‐ 3 finished works due 9/14SKETCH:Optional:Personal Environment Portraits:: Enlist a friend to pose for photos that reveal their personal environment. Use at least one rollof film. Use different photographic angles to present dramatic and static angles. How do objects in the photo reveal the subjectspersonality? ‐‐‐‐ OR ‐‐‐‐‐Supplemental Reading and Research:Compare the work of Annie Liebowitz with Dorothea Lange. What is the emotional tone of their individual work? How does theartists’ aesthetic approach differ?SKETCHBOOK CHECK – FRIDAY SEPTEMBERSKETCHBOOK CHECK – FRIDAY SEPTEMBER 21

AP Studio Art‐‐‐Quarter 1‐‐ BREADTHPage | 4Q1: WEEK SEVEN: SEPTEMBER 24‐28AP DRAWING: PROJECT: Still Life That is Alive3.4 Expressive Lines (Personalities) ‐‐‐Oil Pastel Technique Warm/Cool:Optional: SKETCH: Using India ink and a brush, practice making graduated lines. Be aware of how you can change the expression of the line bychanging the pressure on the brush. Make a variety of lines exploring the expressive character of the medium. Do a self‐portrait with athick brush. Don’t try to be realistic. Make more than one attempt.AP DESIGN PROJECT:SKETCH:Photocopy Transfer Collage: Using black/white imagery and text to create a composition with a range of value and aninteresting narrative (safety glasses when using essential oils).Deconstruction/ Reconstruction: collage with Dada influence.Optional:Create a drawing that uses a “paper bag” to represent your attitude, opinion, and/or feelings on a specific topic of personalconcern.The paper bag is the subject, not the content. . Brainstorm ideas in your sketchbook/visual journal. Write them, sketch‐doodlethem. Do some idea sketches before you draw your final piece sketchbook piece . You may alter the bag any way you want to.You may repeat the bag many times or it may stand alone.Repeat it; create layers, change scale/proportion, as you need to communicate your ideaAP PHOTO: PROJECT:Photocopy Transfer Collage :Using black/white imagery and text to create a composition with a range of value and aninteresting narrative (safety glasses when using essential oils). Deconstruction/ Reconstruction: collage with Dada influence.Optional: SKETCH: Narrative, Images That Tell Stories:Using a story of your choice, create a story board (sketchbook assignment). Use the story board as a guide to a more completephotographic sequence. Research the work of Duane Michals for narrative in artSKETCHBOOK CHECK – FRIDAY SEPTEMBER 122‐ 3 finished works due Monday October 10SKETCHBOOK CHECK – FRIDAY OCTOBER 5Q1: WEEK EIGHT: OCTOBER 1‐5AP DRAWING: PROJECT: Warm/Cool: Still Life That is Alive3.4 Expressive Lines (Personalities). Oil Pastel Technique. Weighted line.Optional: SKETCH: Look at the bark of trees, rock formations, leaf shapes, and objects in nature to find images. Create a pattern with an imagefrom nature. Use lights and darks to create emphasisAP DESIGN PROJECT: Photocopy Transfer Collage (in progress… )Optional: SKETCH: Look at the bark of trees, rock formations, leaf shapes, and objects in nature to find images. Create a pattern with an imagefrom nature. Use lights and darks to create emphasisAP PHOTO: PROJECT: Photocopy Transfer Collage (in progress… )Optional: SKETCH: Textures: 25 images each a separate layer in a PhotoShop file. 4 interesting compositions with a focus on textureSKETCHBOOK CHECK – FRIDAY SEPTEMBER 102‐ 3 finished works due October 10SKETCHBOOK CHECK – THURSDAY OCTOBER 7

AP Studio Art‐‐‐Quarter 1‐‐ BREADTHC:\Users\Lacourbe\Documents\arts‐in‐company\00‐art\00‐ap\Q1\Q1‐checklist.doc5 | P ageQ1: WEEK NINE: OCTOBER 8‐12AP DRAWING: PROJECT: GESTURE : create a pen drawing of a person in his or her environment demonstrating your ability to capture reality andmovement with relative speed and accuracy.–AND—Digital Anti‐Self‐Portrait using a digital photo of yourself and Adobe Photoshop, portray yourself as a stereotype.‐‐‐OR‐‐‐‐Figure in Watercolor WashOptional: SKETCH: Drop some ink on a page. While the ink is still wet, fold another page over the one with ink, letting the ink make an impression.Open both pages. Look hard at the spots. What do they suggest? Think about composition and create something incorporating the blots.Be imaginative.AP DESIGN PROJECT: Digital Anti‐Self‐Portrait: using a digital photo of yourself and Adobe Photoshop, portray yourself as a stereotype.Optional: SKETCH: Map to Get Lost: Collage using a map as a primary componentAP PHOTO: PROJECT: Anti‐Self‐Portrait: using a digital photo of yourself and Adobe Photoshop, portray yourself as a stereotype.Optional: SKETCH: Using texture as background. Use Photoshop or negatives to create dual image using a texture as background and portrait asforeground. How do we separate foreground from background? What are the perceptual influences that allow us to make this separation.What happens when they blend together?SKETCHBOOK CHECK – FRIDAY OCTOBER 21