AP 3D-Design

Unit #:2 Developing Personal Voice

Essential Questions:

How can an artist's personal voice speak through his/her artworks?
How do artists use the elements of art and principles of design to communicate their ideas?
How do artists develop new ways of interpreting the world around them through art?

Priority Standards:

AP College Board: Disciplinary Practices and Habits of Mind

Each AP Studio Art course and portfolio assessment focuses on students developing these practices and habits of mind through work with 3-dimensional design, media and approaches, including the following:

Critical analysis
Evidence -based decision-making
Innovative thinking
Articulation of design elements and principles
Systematic investigation of formal and conceptual aspects of art making
Technical competence with materials and processes to communicate ideas
Incorporation of expressive qualities in art making
demonstration of artistic intention
creation of a body of work unified by a visual or conceptual theme

National Core Arts Standards

Visual Arts: Creating, Presenting, Responding, Connecting

Creating

#VA: Cr1.1 Generate and conceptualize artistic ideas and work: Use multiple approaches to begin creative endeavors.

#VA: Cr1.2 Generate and conceptualize artistic ideas and work: Shape an artistic investigation of an aspect of present-day life using a contemporary practice of art or design.

#VA: Cr2.1 Organize and develop artistic ideas and work: Engage in making a work of art or design without having a preconceived plan.

#VA: Cr2.2 Organize and develop artistic ideas and work: Explain how traditional and non-traditional materials may impact human health and the environment and demonstrate safe handling of materials, tools, and equipment.

#VA: Cr2.3 Organize and develop artistic ideas and work: Collaboratively develop a proposal for an installation, artwork, or space design that transforms the perception and experience of a particular place.

#VA: Cr3.1 Refine and complete artistic work. Apply relevant criteria from traditional and contemporary cultural contexts to examine, reflect on, and plan revisions for works of art and design in progress.

Presenting

#VA: Pr.4.1 Select, analyze and interpret artistic work for presentation. Analyze, select, and curate artifacts and/or artworks for presentation and preservation.

#VA: Pr5.1 Develop and refine artistic techniques and work for presentation: Analyze and evaluate the reasons and ways an exhibition is presented.

#VA: Pr6.1 Convey meaning through the presentation of artistic work: Analyze and describe the impact that an exhibition or collection has on personal awareness of social, cultural, or political beliefs and understandings.

Responding

#VA: Re7.1 Perceive and analyze artistic work: Hypothesize ways in which art influences perception and understanding of human experiences.

#VA: Re7.2 Perceive and analyze artistic work: Analyze how one’s understanding of the world is affected by experiencing visual imagery.

#VA: Re8.1 Interpret intent and meaning in artistic work: Interpret an artwork or collection of works, supported by relevant and sufficient evidence found in the work and its various contexts.

#VA: Re9.1 Apply criteria to evaluate artistic work: Establish relevant criteria in order to evaluate a work of art or collection of works.

Connecting

#VA: Cn10.1 Synthesize and relate knowledge and personal experiences to make art.

#VA: Cn11.1 Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding

http://www.nationalartsstandards.org/

Supporting Standards:

Reading Literature and Informational Texts:

RL.11-12.1 – Using evidence to support ideas and determining where matters are uncertain

RI.11-12.7 – Integrate and evaluate multiple sources of information presented in different formats

Writing:

W.11-12.1 – Writing arguments to support claims using valid reasoning and sufficient evidence

W.11-12.2 – Writing informative and explanatory texts to convey complex ideas

W.11-12.4 – Producing clear and coherent writing appropriate to audience(s

W.11-12.7 – Conducting short and sustained research projects

W.11-12.8 – Gathering relevant information from multiple media

Speaking and Listening:

SL.11-12.4 – Presenting information logically and clearly using appropriate presentation skills

SL.11-12.5 – Making strategic use of digital media and visual displays

L.1 11-12.-Demonstrate command of standard English grammar and usage

L.2 11-12.-Demonstrate command of standard English including spelling, capitalization, and punctuation

PHS Learning Expectations:

(Keep only the expectations covered in this unit.)

Access and critically analyze information to answer questions and explore ideas
Solve problems through prioritizing and planning for results
Write proficiently for a variety of purposes
Communicate effectively in a variety of formats
Interpret and design visual messages for specific purposes
Engage in work with integrity, both independently and collaboratively
Demonstrate knowledge and skills through the use of technology

Concepts & Skills:

Students will develop a thesis or concentration idea by the identification of a specific, personal interest and the investigation of visual resources.
Students will document their ideas using thumbnail sketches and personal reflections.
As the concentration section of the portfolio develops, this process will be used again and again to develop a body of work that grows from this consistent submitted and approved plan of action and plan of investigation and reflection.
Students will develop mastery in concept, composition, and execution of drawing in a portfolio of related communicative artworks.
Students will establish and maintain a clear visual focus/purpose within their artworks in pursuit of their personal voice.
Students will document and reflect on their concentration process in their journals.
They will chart their personal progress through the use of written reflections.

Artistic Integrity:

Students are expected to develop all artwork from their personal vision.
Students may only use photographs, other artists’ work, and published images as a reference in creating their own imagery.
When using others’ images and resources, students must show and explain how their own idea is central to the piece.
Class discussion explores the role of visual derivation, influence, and references during creative processes.
Academic honesty and ethical considerations are discussed in the context of contemporary art practices and the age of internet re-appropriation.
When learning from art history, we discuss the difference between paying homage and ripping off or disrespecting artistic/cultural traditions.
When students choose to draw from photographs, they must take the photographs themselves and set up the lighting, point of view, etc.

Instructional Strategies:

Guided notes
Graphic Organizers
Student-developed glossary of big ideas
Independent, Small Group, and Whole group collaborative learning
Working Critique
Formative Assessments
Student Portfolio
Workshop model
Additional differentiated instructional strategies

Assessments:

vocabulary quizzes, sketchbook, working critiques, studio projects, rubrics, students written reflections & self assessments, CCA's and end of course exam.

Resources:

Artistic Anatomy, Paul Richer, Watson Guptill, 1971.
Contemporary Art and Multicultural Education, Susan Cahan and Zoya Kocur, Routledge, 1996.
Design Synectics, Nicholas Roukes, Davis, 1988.
Discovering Drawing, Ted Rose, Davis, 2000.
Drawing on the Right Side of the Brain, Betty Edwards, J.P. Tarcher, Inc., 1979.
Engaging the Adolescent Mind through Visual Problem Solving, Ken Vieth, Davis, 2005.
Great Masters of American Art, Jordi Vigue, Watson Guptill, 2004
Post Secret: Extraordinary Confessions from Ordinary Lives, Frank Warren, Harper Collins, 2005.
How to Think like Leonardo da Vinci: Seven Steps to Genius Every Day, Jorge Martinez, Dell, 1998.
Sara Midda’s South of France, A Sketch Book, Sara Midda, Workman Publishing, 1990.
Spilling Open, Sabrina Ward Harrison, New World Library,1999.
The Complete Printmaker, John Ross, Clare Romano and Tim Ross, The Free Press, 1972.
The Grammar of Architecture, Emily Cole, Barnes and Knoble Books, 2002.
he Diary of Frida Kahlo: An Intimate Self Portrait, Sarah M. Lowe and Claudia Madrazo, Harry N. Abrams, Inc., 1995.
The Visual Experience, Jack Hobbs and Richard Salome, Davis, 1995.

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