1
AP
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Studio Art: 3-D Design: Syllabus 1
Syllabus 1058795v1
Scoring Components Page(s)
SC1 The course promotes a sustained investigation of all three aspects of portfolio development—
quality, concentration, and breadth—as outlined in the Course Description and Poster throughout
the duration of the course.
4
SC2 The course enables students to develop mastery (i.e., “quality”) in concept, composition, and
execution of 3-D design.
2, 4
SC3 The course enables students to develop a cohesive body of work investigating a strong underlying
visual idea in 3-D design that grows out of a coherent plan of action or investigation (i.e., a
“concentration”).
3, 5
SC4 The course teaches students a variety of concepts and approaches in 3-D design so that the student is
able to demonstrate a range of abilities and versatility with technique. Such conceptual variety can be
demonstrated through either the use of one or the use of several media.
2
SC5 The course teaches students a variety of concepts and approaches in 3-D design so that the student
is able to demonstrate a range of abilities and versatility with problem-solving. Such conceptual
variety can be demonstrated through either the use of one or the use of several media.
2
SC6 The course teaches students a variety of concepts and approaches so that the student is able to
demonstrate a range of abilities and versatility with ideation (i.e. “breadth”). Such conceptual
variety can be demonstrated through either the use of one or the use of several media.
6
SC7 The course emphasizes making art as an ongoing process that involves the student in informed and
critical decision making.
5, 8
SC8 The course includes group critiques, with the teacher, enabling students to learn to analyze and
discuss their own artworks as well as artworks of their peers.
5, 9
SC9 The course includes individual student critiques and or instructional conversations with the teacher,
enabling students to learn to analyze and discuss their own artworks and better critique artworks of
their peers.
9
SC10 The course teaches students to understand artistic integrity as well as what constitutes plagiarism.
If students produce work that makes use of photographs, published images, and/or other artists’
works, the course teaches students how to develop their own work so that it moves beyond
duplication.
3, 9
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Studio Art: 3-D Design: Syllabus 1 Syllabus 1058795v1
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Course Description
“This portfolio is intended to address sculptural issues. Design involves purposeful de-
cision making about using the elements of art principles in an integrative way. In the
3-D design portfolio, students should demonstrate their understanding of the Elements
of Art and Design Principles as they relate to depth and space. The Principles of Design
(unity/variety, balance, emphasis, contrast, rhythm, repetition, proportion/scale,
and gure/ground relationship) can be articulated through the visual Elements of Art
(mass, volume, color/light, form, plane, line, texture).” — from the AP Studio Art: 3-D
Design Course Description, available on AP Central.
These issues can be explored through additive, subtractive, and/or fabrication process-
es, gurative or nongurative sculpture, architectural models, site-specic work, use of
multiples, casting, assemblage and construction, jewelry, etc. Almost any material can
be used in almost any combination: wood, paper, metals, rubber, Styrofoam, plaster,
fabric, rope, acrylic, found objects, wax, clay, stone, earth, and concrete, among oth-
ers. Critical to 3-D production, students must consider presentation: Will it stand on
the oor, be suspended, mounted on the wall or shelf, be placed on a pedestal or base
— or where is its place in the environment?
The instructional goals of the AP Studio Art: 3-D Design program are emphasized
during a sustained course of study over several years. The program culminates as the
mature student becomes an independent art maker who actively seeks the criticism of
teachers, students, and other art professionals he or she may encounter.
AP Studio Art: 3-D Design course instructional goals:
• Encourage creative and systematic investigation of formal and conceptual issues in
3-D design; demonstrate abilities and versatility with techniques, problem solving,
and ideation. It is important for the student to review the Breadth Assignments
and Examples of Breadth Assignments included in the syllabus for possible art
media, problem-solving ideas, and subject matter to be explored. For content
and/or ideation, the examples of concentrations can be used as inspiration for a
single 3-D Design project. Three-dimensional media listed above, as well as those
included in the sample assignments, can be used to develop individual works
exploring depth and space. [SC4 & SC5]
• Develop quality and mastery in concept, composition, and execution of 3-D Design.
[SC2]
• Emphasize art making as an ongoing process that involves the student in informed
and critical decision making.
• Help students develop technical skills and familiarize them with the functions of
the visual elements.
• Encourage students to become independent thinkers who will contribute
inventively and critically to their culture.
The AP Studio Art: 3-D Design course is for highly motivated students seriously inter-
ested in art. All students who want to pursue the AP Studio Art: 3-D Design portfolio
are encouraged to do so. Systems are in place to support struggling students. Time
before and after school, during lunch, and several evenings and Saturdays during the
SC4—The course teaches
students a variety of
concepts and approaches
in 3-D design so that
the student is able to
demonstrate a range of
abilities and versatility
with technique. Such
conceptual variety can
be demonstrated through
either the use of one or
the use of several media.
SC5—The course teaches
students a variety of
concepts and approaches
in 3-D design so that
the student is able to
demonstrate a range of
abilities and versatility
with problem-solving. Such
conceptual variety can
be demonstrated through
either the use of one or
the use of several media.
SC2—The course enables
students to develop
mastery (i.e., “quality”) in
concept, composition, and
execution of 3-D design.
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Studio Art: 3-D Design: Syllabus 1 Syllabus 1058795v1
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school year will be made available for conversations with the teacher and for an op-
portunity to identify problems, seek solutions in sketchbooks and journals, and com-
plete homework assignments and other work outside of the scheduled class time. There
is a commitment to provide many diverse opportunities for AP Studio Art: 3-D Design
students to be successful in their work.
Students choosing to complete the AP Studio Art: 3-D Design portfolio will be familiar
with the ongoing group critique process. AP Studio Art: 3-D Design students will regularly
engage in one-on-one critiques and conversations with teachers and other AP students and
will exhibit a developed practice of writing about their work in their journals. Also, stu-
dents will have a thorough understanding that copying other artists’ work is not permitted
and that only original work will be used in portfolios. [SC10] Appropriation, referencing,
and extension of ideas will be addressed throughout the course in ongoing activities as
well as individual and group discussions with peers and the teacher at each level of instruc-
tion. All artwork must be original. Activities will aid each student in understanding how
artistic integrity, plagiarism, and moving beyond duplication are incorporated into every
part of the course. Students are not to copy the work of someone else. This includes work
from books, the Internet, and other sources. Students may work from photographs they
take of their life events, family, friends, landscapes, and so forth. If a student uses another
person’s work as a basis for his or her own three-dimensional pieces, there must be signi-
cant change/alterations, so that the work moves way beyond duplication. Original voice
and original thought are essential to the work created in AP Studio Art courses.
Research is integral to the 3-D design work. Students are expected to research artists
in whom they are interested, movements in design and sculpture that have historically
impacted contemporary work, unfamiliar 3-D techniques and materials, and how global
artists and cultures have approached 3-D work throughout the history of art making.
Research is integral in developing a strong concentration. Students should research
and collect information from a variety of sources in order to inform and clarify their
work for the concentration section of the portfolio. By the time students are working
on their AP portfolios, a strong practice of research and investigation should be part of
the art-making process in response to the assignments. A variety of assignments will
follow that will be helpful as students explore the concentration section of the port-
folio. Students will choose an idea to explore, in depth. They are expected to develop
this body of work investigating a specic idea or theme, using any three-dimensional
art medium or combination of three-dimensional media. During ongoing conferences
with the teacher, students develop and present to the teacher for approval a detailed
plan of action for the concentration investigation. This plan must include the develop-
ment of concept and include possible mediums. The journal and sketchbook can help
in the documentation and exploration of the concentration topic. (Please look at the
additional concentration information in this syllabus.) [SC3]
Our city is home to many museums, commercial galleries, nonprot art institutions,
and public sculptures. Students will have opportunities to visit these spaces through
organized school trips, summer assignments, and assigned visits throughout the year.
Where possible, students will visit artists’ studios, and artists will be scheduled to visit
school classrooms for discussions and critiques.
SC10—The course teaches
students to understand
artistic integrity as well
as what constitutes
plagiarism. If students
produce work that makes
use of photographs,
published images, and/
or other artists’ works, the
course teaches students
how to develop their own
work so that it moves
beyond duplication.
SC3—The course enables
students to develop a
cohesive body of work
investigating a strong
underlying visual idea in
3-D design that grows
out of a coherent plan of
action or investigation
(i.e., a “concentration”).
AP
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Studio Art: 3-D Design: Syllabus 1 Syllabus 1058795v1
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Portfolio Development
Throughout the duration of the course, the AP Studio Art: 3-D Design course promotes
a sustained investigation of all three aspects of portfolio development — quality,
concentration, and breadth — as outlined in the AP Studio Art: 3-D Design Course
Description and Studio Art poster. [SC1] The AP Studio Art: 3-D Design course follows
the guidelines provided by the College Board for submitting the Studio Art: 3-D Design
portfolio at the end of the yearlong course. Stressing original thinking, students are
encouraged to create work from their own knowledge, experiences, and interests.
The AP Studio Art: 3-D Design portfolio has three sections.
• The quality section (I) requires 10 images — ve works, two views of each — work
that demonstrates mastery of three-dimensional design.
• The concentration section (II) requires students to submit 12 images, some of
which may be details or second views. The high-quality work in the concentration
section is unied by an obvious conceptual idea.
• The breadth section (III) requires students to submit 16 images — eight works,
two views of each — showing a variety of works that demonstrate understanding
of the principles of three-dimensional design as evidenced by a range of high-
quality conceptual, expressive, and technical work.
Quality [SC2]
The course enables students to develop mastery in concept, composition, and execu-
tion of 3-D design.
• Students submit 10 images of their best work that clearly demonstrate mastery in
application of the principles of design through composition (mastery in the use of
the principles of art for the effective organization of the elements of art), concept
(mastery of the development of an idea), and execution (technical mastery). These
works may come from, but are not limited to, the breadth and/or concentration
sections. Students submit two views of each of the ve works.
• The concept of quality is reinforced throughout the year in critiques and
assessments that are based on the AP Studio Art: 3-D Design scoring guidelines.
• The work must meet the quality standards of an introductory college course.
Concentration
The course enables students to develop a focused body of work investigating a strong
underlying visual idea in 3-D design that grows out of a coherent plan of action or
plan of investigation. Quality is evident in concept, composition, and execution.
• Students sign up for AP Studio Art: 3-D Design in the spring semester
preceding the class. They must attend three lunch meetings where the idea of a
concentration is discussed (see second bullet). Students will view concentration
images from the College Board website and resources, thematically related bodies
of work from contemporary artists, and past AP concentration projects. At that
time, students will receive their summer homework and out-of-class assignments.
In addition to the project assignments, students must come up with ve ideas for
their concentration and produce ve sketches for each idea in their sketchbook. In
SC2—The course enables
students to develop
mastery (i.e., “quality”) in
concept, composition, and
execution of 3-D design.
SC1—The course promotes
a sustained investigation
of all three aspects of
portfolio development—
quality, concentration,
and breadth—as outlined
in the Course Description
and Poster throughout the
duration of the course.
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August, during the rst three weeks of school, students will meet with the teacher
about their ideas, narrowing them down to one.
• Students will rene their concentration idea and present it to the class as another
way of articulating the initial artist statement.
• Students are presented with the concept of a concentration dened on the AP
Studio Art: 3-D Design poster. Students are monitored for understanding before
they leave for summer break. They are reminded that the evaluator is interested
not only in the work presented but also in visual evidence of the student’s
thinking, selected methods of working, and development of the work over time.
• Through reective writing assignments and ongoing group critiques and individual
conferences and critiques with the teacher, each student will articulate the
central idea of his or her concentration and how the concentration has evolved
in areas such as clarity of conceptual direction, technical expertise, personal
imagery and subject matter, and mastery of the elements of art and principles of
design. All work in this class assists students in understanding the essentials of
problem solving, ongoing visual and conceptual exploration, modications, and
elaborations. [SC3, SC7 & SC8]
• Through reective writing and group critiques, students will refer to inuences
on their work: a continuum of a stylistic direction from art history, contemporary
artists’ works inuencing their thinking, and their ongoing research into personal
interests.
A concentration is a body of related works that:
• grows out of a coherent plan of action or investigation
• is unied by an underlying idea that has visual and/or conceptual coherence
• is based on individual interest in a particular visual idea
• is focused on a process of investigation, growth, and discovery
• shows the development of a visual language appropriate for the subject
Calendar
• Summer assignment: Develop ve ideas for the concentration and produce ve
sketches for each idea in a sketchbook.
• August: Meet with the teacher and narrow the concentration idea down to one. By
September 1, each student will present his or her idea to the AP class.
• October 1: 10 sketches for concentration pieces due.
• October: First concentration piece due.
• November: Second concentration piece due.
• Before winter holidays: Third concentration piece due.
• During winter holidays: Complete fourth concentration piece.
• January: Fifth and sixth concentration pieces due.
• February: Seventh and eighth concentration pieces due.
• March: Ninth and tenth concentration pieces due.
• April: Eleventh and twelfth concentration pieces due.
SC3—The course enables
students to develop a
cohesive body of work
investigating a strong
underlying visual idea in
3-D design that grows
out of a coherent plan of
action or investigation
(i.e., a “concentration”).
SC8—The course includes
group critiques, with the
teacher, enabling students
to learn to analyze and
discuss their own artworks
as well as artworks of their
peers.
SC7—The course emphasizes
making art as an ongoing
process that involves the
student in informed and
critical decision making.
AP
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Examples of Concentrations
• A series exploring cultural intersections
• A series about ritual and self-portraits
• A series about weaving with nontraditional and traditional materials that evolve
into objects related by visual and conceptual themes
• A series of animal- or plant-inspired forms that evolve into formal objects
• A series of wire gures in various environments exploring a sense of place
• A series about changing the function of common objects
• A series exploring rhythm and movement with common materials
• A series using elements of the urban landscape as a basis for three dimensional
design
• A series of abstractions from natural objects
• A series of personal icons
• A series of interpretive busts or gure studies that emphasize expression and/or
abstraction
• A series of architectural models for homes, public buildings, or monuments
• A series of assemblages that juxtapose the coarse and rened qualities of a material
• A series of multiples/modules to create compositions that reect psychological or
narrative events
• A series of sculptures that explore the relationship between interior and exterior
space
• A series of personal or family history communicated through the content and style
of narrative assemblage
• A series of gures exploring aspects of self
• A series of sculptures and installation pieces centered around cultural views of
gender and body representation
• A series of sculptures reinterpreting themes from world religions
• A series of welded metal sculptures that investigate formal design elements from a
specic theme or perspective
Breadth [SC6]
The course teaches students a variety of concepts and approaches in 3-D design so
that the students are able to demonstrate a range of abilities and versatility with var-
ied art mediums, techniques, problem solving, and ideation. Such conceptual variety
can be demonstrated through the use of several media.
• Students will work to complete their breadth pieces early in the fall semester.
For the breadth section, students may use work created in their 3-D foundation
courses (in the pre-AP years, sculpture, jewelry, fabrics, and/or ceramics). Students
are expected to complete three breadth pieces during the summer.
• Student work should demonstrate understanding of the principles of 3-D design,
showing examples of unity/variety, balance, emphasis, contrast, rhythm,
repetition, proportion/scales, and gure/ground relationship.
SC6—The course teaches
students a variety of
concepts and approaches
so that the student is
able to demonstrate a
range of abilities and
versatility with ideation
(i.e. “breadth”). Such
conceptual variety can
be demonstrated through
either the use of one or
the use of several media.
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• The student is introduced to a broad variety of media and techniques and
encouraged to experimentally use a variety of media and techniques. Breadth
exploration must include a wide range of thematic explorations, formal design
problems, concept-based works, expressive manipulation of subject matter, and
exploration of ideas within a social, political, or economic framework.
• Students should include direct observational studies for 3-D design work.
The best demonstrations of breadth clearly show a range of conceptual approaches to
3-D design. Examples include:
• work that employs line, plane, mass, or volume to activate form in space
• work that suggests rhythm through modular structure
• work that uses light or shadow to determine form, with particular attention to
surface and interior space
• work that demonstrates an understanding of symmetry, asymmetry, balance,
anomaly, and implied motion
• assemblage or constructed work that transforms materials or object identity
through the manipulation of proportion/scale
• work in which the color and texture unify or balance the overall composition of the
piece
• work that explores the concept of emphasis/subordination through a transition
from organic to mechanical form
Calendar
• During the school year before the AP Studio Art: 3-D Design course, students
will choose two to four pieces of work (rst and second breadth pieces) to be
considered for breadth from previous courses in the pre-AP years.
• Summer assignment: Third, fourth, and fth breadth pieces are to be completed.
• August: Sixth breadth piece due.
• September: Seventh breadth piece due.
• October: Eighth breadth piece due.
Examples of Breadth
• Rhythmic constructions using at least 500 pieces of the same small common
object, emphasizing horizontal or vertical movement
• Totem inspired that is biographical in content
• Portrait heads, busts, and entire gures: sculpted in clay, constructed from wire
and/or screen, assembled with found objects, string/rope stabilized with wax
• Clothing/hats/shoes/bags constructed from metal, clay, paper, wire, or wood
• Figures constructed from welded metal, clay, paper, wire, or wood that move
through a door
• Modular designs created by using paper tubes and other geometric forms
constructed from museum board
• Organic sculptures inspired by the work of Hepworth, Moore, Noguchi, Bontecou, or
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Goldsworthy
• Plaster casts of simple iconic building forms embedded with industrial or organic
materials
• Multiples combined to make a formal 3-D design
• Metamorphosis: an organic form evolving into another organic form; an organic
form evolving into a geometric form
• Abstraction and stylization of architectural models
• Modular development: ve to seven large forms or 15 to 20 smaller forms
assembled into a formal 3-D design emphasizing color and/or surface treatment
• Forms evolving from seedpods or legumes
• Biographical gures that open up to reveal personal icons
• An altar inuenced by spirituality
• Multiples: wax or plaster poured into clay molds and then assembled into a formal
3-D design
• Three to ve transparent containers lled with some repeating elements that
create a narrative
• A Bauhaus-inspired object, using various papers and balsa wood
• A formal 3-D design that balances negative and positive areas, using nine cubes,
rectangles, and dowels
• Clay busts of iconic painted portraits from art history
Higher-Order and Visual Thinking
The course emphasizes art making as an ongoing process that involves the student in
informed and critical decision making.
• The work should show evidence of exceptional quality, obvious evidence of thinking,
and a sense of condence and verve. The works should also address complex
visual and/or conceptual ideas; show an imaginative, inventive, and condent
use of the elements and principals of design; show successful engagement with
experimentation and/or risk taking; be notable for sensitivity and/or subtlety; show
purposeful composition; and demonstrate informed decision making.
• Students are encouraged to become independent thinkers. Throughout the course
they will develop sketchbook assignments and work outside the school day, as well
as work in journals where they reect on the art-making process and ways they
make informed and critical decisions concerning depth and space as they use the
elements of art and the principles of design to assist with problem solving. [SC7]
• By looking at and studying historical and contemporary art, students can articulate
how artists have contributed to cultures worldwide and will see themselves in a
continuum of that tradition.
• Sketchbook/Journaling (from AP Vertical Teams® Guide): Sketchbooks are valued
not only for their accessibility but also for their intimacy and potential to help
students work through ideas. Through this visual thinking and practice at making,
SC7—The course emphasizes
making art as an ongoing
process that involves the
student in informed and
critical decision making.
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analyzing, and interpreting, the sketchbook encourages the more evolved stage of
visual literacy. Students at the advanced level must spend time problem solving
and recording visual ideas on their own. The sketchbook can become commonplace
to the art-making process. The student may personally select the subject matter,
materials, and methods to develop his or her images, whether visual or verbal.
Work may be conned within a sketchbook format or not. Ideation is an important
aspect for the advanced student.
Critiques
The course includes ongoing group critiques with peers and the teacher, as well as in-
dividual student critiques and instructional conversations with the teacher, that enable
students to learn to analyze and discuss their own artworks and those of their peers.
Ongoing activities throughout the course will take place in order to help students
gain an understanding of ethical practices in art making. All work must be original in
thought, medium, and composition. Activities will help the student understand how
artistic integrity, plagiarism, and moving beyond duplication are incorporated into the
course. Students are not to use someone else’s work or work from books or the Internet
as a sole basis for their own pieces. Work that is based on another person’s work must
move beyond duplication. Students’ original vision, thoughts, dreams, fantasies, and
photographs taken from life are the subjects of their creations. [SC8, SC9 & SC10] The
current AP Studio Art: 3-D Design Scoring Guidelines are discussed in all art courses
in the pre-AP years and applied appropriately. All AP students will have copies of the
most recent scoring guides.
• Based on “The Role of Constructive Criticism in the Art Classroom” (Studio Art,
Teacher’s Guide).
• Dening assignment standards. Without clearly dened expectations, it is difcult
to assess student work accurately, consistently, and fairly. See scoring guides that
are based on the principles and elements of art and design. A “common language”
is used in classroom discussions, critiques, and handouts. Students are expected to
use professional art terminology in class discussions.
• Developing student “experts.” Students will become good assessors of their work
by looking at and discussing exemplars of student work as well as historical and
contemporary works. Students will support their views in critiques as well as in
written reections.
• Students will discuss with their teacher and examine, analyze, and integrate the
elements of art and principles of design by way of meaningful one-on-one critiques.
• The teacher will engage in ongoing dialogue with each student in order to assess
the strengths and weaknesses of their artwork and will provide feedback on how
students can develop their work further.
• Demonstrating a constructive critique. Students will become experts in the critique
format. They will use the language of the AP Studio Art scoring guide to support
their criticism.
• Avoiding “drift.” Critiques will be based on consistent standards and constructive
criticism that rewards what is strong in a work and addresses areas for improvement.
SC9—The course includes
individual student critiques
and or instructional
conversations with the
teacher, enabling students
to learn to analyze and
discuss their own artworks
and better critique
artworks of their peers.
SC8—The course includes
group critiques, with the
teacher, enabling students
to learn to analyze and
discuss their own artworks
as well as artworks of their
peers.
SC10—The course teaches
students to understand
artistic integrity as well
as what constitutes
plagiarism. If students
produce work that makes
use of photographs,
published images, and/
or other artists’ works, the
course teaches students
how to develop their own
work so that it moves
beyond duplication.
AP
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• Creating a community. By creating a culture of trust and support, students
will feel they have a safe, supportive environment for artistic expression and
experimentation that is open to constructive critique.
• Promoting objectivity. The purpose of constructive criticism is to evaluate the
work, not behaviors.
• The Critique Handbook: The Art Student Sourcebook and Survival Guide, by Kendall
Buster and Paula Crawford, will be used as a source for developing critique
questions and structures for the teacher and his or her students.
Integrity
AP Studio Art: 3-D Design students will have a thorough understanding of artistic
integrity and what constitutes visual and conceptual plagiarism. As students explore
stylistic and thematic ideas, they will be guided to create their own work so that it
avoids duplication, redundancy, trite and overused images, and sentimentality.
• Students will understand the difference between copying and appropriation. “It is
unethical, constitutes plagiarism, and often violates copyright law to simply copy
an image (in another medium) that was made by someone else.” The AP course is
for students to develop and create their own work. They are the creators of their
individual thoughts and three-dimensional works.
• Beginning with the Foundation of Art 1 class through the AP courses, teachers
address the issue of copying and its ramications in course outlines, the critique
format, introductions to units, and personal conversations.
Resource Requirements
The school ensures that each student has access to art materials and resources neces-
sary to meet the standards for the portfolio he or she chooses to submit. Some ex-
amples are listed below.
Basic shop tools and supplies Ceramic tools
Kiln Potter’s wheel
Slab roller, plaster, and plaster tools Paper cutters
Metal rulers/straight-edges, various sizes Cutting boards
Knives and cutters, various sizes Various adhesives and tapes
T-squares Jewelry tools
Rudimentary looms Paper-making supplies
Paint, oil pastels, colored pencils, etc. Paper
Museum board Styrofoam
Foam core Wax
Hot plates String, rope, thread
Fabric Large shop tables
Wire, various Wheat paste
Sewing materials Digital camera
Computer with Internet access
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Textbooks
Buster, Kendall, and Paula Crawford. The Critique Handbook: The Art Student Sourcebook
and Survival Guide. Prentice Hall, 2009.
Zelanski, Paul, and Mary Pat Fisher. Shaping Space: Dynamics of Three-Dimensional
Design. Wadsworth, 2006.
Students are required to visit museum and art-space websites through Internet
searches.
Suggested Artist List for AP Studio Art: 3-D Design:
Magdalena Abakanowicz Carl Andre
Robert Arneson Gian Lorenzo Bernini
Chakaia Booker Louise Bourgeois
Kendall Buster Debra Buttereld
Alexander Calder Anthony Caro
Elizabeth Catlett John Chamberlain
Dale Chihuly Eduardo Chillida
Christo and Jeanne-Claude Joseph Cornell
Tony Cragg Stephen De Staebler
Mark di Suvero Tara Donovan
Marcel Duchamp Dan Flavin
Lucio Fontana Viola Frey
Frank Gehry Andy Goldsworth
Nancy Graves Red Grooms
Ann Hamilton David Hammons
Joseph Havel Barbara Hepworth
Eva Hesse Alan Houser
Luis Jimenez Donald Judd
Jan Kaneko Edward Kienholz
Jeff Koons Henri Laurens
Marilyn Levine Sol LeWitt
Maya Lin Richard Long
Marisol Ana Mendieta
Lazlo Maholy-Nagy Henry Moore
Juan Munoz Isama Noguchi
Bruce Nauman Louise Nevelson
Claes Oldenberg and Coosje vanBruggen Judy Pffaf
Adrian Piper Gio’ Pomodoro
Martin Puryear Robert Rauschenberg
George Rickey Ursula Von Rydingavard
Betty Saar Kurt Schwitters
George Segal Richard Serra
Joel Shapiro Sandy Skoglund
David Smith Kiki Smith
Renee Stout James Surls
Lenore Tawney Robert Terrell
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Anne Truitt Peter Voulkos
Minako Watanabe Patti Warashina
Rachel Whiteread Jackie Windsor
Frank Lloyd Wright
Examples of Assessments
All grading rubrics are based on the most current AP Studio Art: 3-D Design Scoring
Guidelines. Each year, grading rubrics will be updated based on information available
on AP Central. Each student will have a copy of the most recent scoring guidelines.
Concentration Rubric (quality of the concept/idea represented)
There is evidence of thinking and of focus for each piece in the concentration section.
_____ 100: The concept engages the viewer with the work and the idea. The work dem-
onstrates an original vision — innovative visual solutions working toward an
individual voice. The work shows informed risk taking and development beyond
technical concerns. Form and content are synthesized to clearly and repeatedly
communicate the idea. The idea/concept is explored and developed.
_____ 90: The idea is good to strong; there is evidence of thought in the work. An
evocative theme is investigated and pursued.
_____ 80: Manipulation of ideas is evident. Some growth and discovery are evident.
_____ 75: Insufcient sense of investigation. Problems are not successfully resolved.
_____ 70: Simplistic in addressing solutions to problems. The idea is the same as the
one(s) before. Shows no clear intent. If other source materials are used, the
student’s voice is not discernible.
_____ 60: Shows little, if any, evidence of thinking/artistic decision making. Trite in
addressing solutions.
The concentration rubric is slightly modied for a breadth rubric, where each piece is
assessed for conceptual success.
Technical Quality Rubric (for Concentration and Breadth work)
Craft and construction are successful. Student chose an appropriate material for execu-
tion of the work. Those materials enhance the conceptual focus of the work. The work
is presented well; the 3-D work is stable in the environment.
_____ 100: Excellent mastery of craft and construction techniques. The work shows
effective integration of concept and technique.
_____ 90: Strong evidence of craft and construction competence. Skill is evident.
_____ 80: The craft and the construction quality are generally good.
_____ 75: Moderate craft and construction skills are demonstrated.
_____ 70: Weak, awkward skills are evident. Another choice of material would have
made the piece more successful.
_____ 60: Poor quality of craft and construction skills.
AP
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Studio Art: 3-D Design: Syllabus 1 Syllabus 1058795v1
13
Composition and Visual Complexity: Use of Design Principles (written assessment)
Assess the principles of 3-D design for each work on a scale from one to six. For each
principle assessed, write the rationale for the score.
Where appropriate, discuss the visual elements (mass, volume, color/light, form, plane,
line, texture) when assessing the principle being addressed and the intersection thereof.
Discuss how the design principles and the idea/concept of the piece (breadth or con-
centration) are effectively (or not) integrated.
Rationale
_____Unity
_____Variety
_____Balance
_____Emphasis
Suggested Calendar
Prerequisites
• Students will complete two to four pieces for the breadth section of the portfolio
during art classes preceding AP Studio Art: 3-D Design.
• Students will bring critique skills and a habit of working in their sketchbooks/
journals to AP Studio Art: 3-D Design.
Summer before AP Studio Art: 3-D Design class:
• Develop ve ideas for concentration and produce ve sketches for each idea in
sketchbook.
• Third, fourth, and fth breadth pieces are completed.
During class every Friday, all AP Studio Art: 3-D Design students will discuss their
work progress and their sketchbook/journal work in a “workshop” format. Group and
individual critiques are ongoing.
August
• Meet with the teacher and narrow the concentration ideas down to one. By
September 1, each student will have presented his or her idea to the AP Studio
Art: 3-D Design class.
• Artist statement in draft form due.
• Sixth breadth piece due.
September
• Work on concentration sketches. Ten sketches for concentration pieces due by
October 1.
• Seventh breadth piece due.
AP
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Studio Art: 3-D Design: Syllabus 1 Syllabus 1058795v1
14
October
• First concentration piece due.
• Eighth breadth piece due.
November
• Second and third concentration pieces due.
• Digital images complete to date.
December and Winter Holiday
• Fourth and fth concentration pieces due.
• Revise artist statement to align with work completed.
January
• Begin to select quality pieces.
• Sixth and seventh concentration pieces due.
February
• Eighth and ninth concentration pieces due.
March
• Digital images are complete to date.
• Tenth and eleventh concentration pieces due.
April
• Final artist statement completed.
• Twelfth concentration piece due.
May 1
• Digital images are completed.
• All work completed for portfolio.
