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AP STUDIO ART POSTER 2013

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DRAWING
1. Milan Aguirre Loyola High School Los Angeles, CA Mixed media Untitled 6.5 x 12.5 2. Nylle Farquharson Northeast High School Oakland Park, FL Charcoal The Photographer 12 x 9.4 3. Kevin M. Brinkman Downers Grove North High School Downers Grove, IL Ink, acrylic paint, latex masking fluid Acid Rain 22 x 14.5 4. Ksenia Muzyka Westfield High School Chantilly, VA Digital painting (Adobe Photoshop CS5) Untitled 15 x 15 5. Maddy Mullany Albuquerque Academy Albuquerque, NM Oil Untitled 14 x 11

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DESIGN
6. Claire Benarroch Windward School Los Angeles, CA Adobe Photoshop, Adobe Illustrator Untitled 7 x 17 7. Ramon F. Hernandez III Cypress Falls High School Houston, TX Adobe Illustrator Milllenia 14 x 10.5 8. Adam Amram Chattahoochee High School Johns Creek, GA Mixed media Untitled 20 x 16 9. Marquis Berry Wagner High School San Antonio, TX Mixed media Here I Stand Alone 20 x 15 10. Joshua Gomez Lane Technical High School Chicago, IL Photograph Man your Station 8 x 10

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3-D DESIGN
11. Melly Wirtes Interlochen Arts Academy Interlochen, MI Repurposed wood, cotton voile; Documentation of duration performance; Vocal accompaniment by Daveed Buzaglo The Formalities of Big Church 78 x 96 x 47 12. Michela Bentel Choate Rosemary Hall Wallingford, CT Fiberglass, resin, welded steel, fishing line, white resin, LED bulbs Burka 96 x 32 x 32 13. Kanya Wilder St. Petersburg High School St. Petersburg, FL Hand built armature, X-ACTO blades, thumb tacks Meow 14 x 15 x 6 14. Nick Furman ThunderRidge High School Highlands Ranch, CO Copper, titanium, brass Untitled 2 x 4 x 1 15. Joy Saddi Green Valley High School Henderson, NV Stoneware/cone 6 reduction Untitled 14 x 9 x 5.5

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AP STUDIO ART

2012 2013

AP Studio Art 2012-13

Digital Submission
You, your Studio Art teacher, and your AP Coordinator will all be involved in the process of uploading and submitting your digital portfolio components to AP in the spring. To see a step-by-step overview of accessing and using the site, visit the demo at apstudiodemo.collegeboard.org. Additional information is available online: Students: www.collegeboard.org/student/studioartdigital Teachers: apcentral.collegeboard.org/studioartdigital AP Coordinators: professionals.collegeboard.org/studioartdigital

TIPS
Set up your access to the Digital Submission Web application and start uploading your images as soon as your teacher lets you know the application is available (sometime in January). You can change your images as often as you like throughout the spring. Be sure that any detail or second view you submit adds visual information or a point of view that cant be seen in the first image. Keep the original digital file for each of your works, even if you compress it for submission. Forward your completed portfolio to your teacher by his or her deadline. This will give your teacher enough time to review your portfolio and forward it to your AP Coordinator for final submission to AP . Your teacher may have a slightly different deadline, but we generally recommend that students forward their completed portfolios to their teachers by late April.

With AP Studio Art, youll create a portfolio of college-level work and, at the end of the school year, submit it for evaluation. A qualifying portfolio score can earn you college credit and/or advanced placement. There are three portfolios to choose from: Drawing, 2-D Design and 3-D Design. Each portfolio has three sections: Quality, Concentration and Breadth. In the spring, youll upload digital images and commentary online. If you submit a Drawing or 2-D Design portfolio, youll also send in actual artworks.

General Guidelines
Follow the detailed specifications listed below for your portfolio. Otherwise, your score may be negatively affected. Your portfolio may include work that you have done over a single year or longer, in class or out of class. Do not submit collaborative works or group projects. Do not send actual work for sections that require digital images it will not be evaluated. Do not submit the same work for more than one portfolio, whether the portfolios are submitted in the same year or over different years.

Label all images, including the dimensions and media of the original works. If you submit work that uses other artists photographs, images or works, youll need to show substantial and significant development beyond duplication through manipulation of the formal qualities, design and/or concept of the source. Your individual voice should be clearly present. Remember that it is unethical, constitutes plagiarism and often violates copyright law to simply copy a work of art (even in another medium) that was made by someone else and represent it as your own. May 10, 2013, is the last day for your AP Coordinator to submit your digital portfolio sections to AP , but you should submit your portfolio to your teacher well in advance of this date. If you submit a 2-D Design or Drawing portfolio, you'll also meet with your AP teacher or AP Coordinator on or before May 10 to assemble the Quality section.

Learn More
For more information about AP Studio Art, talk to your teacher or AP Coordinator, or visit www.collegeboard.org/apstudents.

Drawing Portfolio
The Drawing portfolio is intended to address a wide range of approaches and media. Line quality, light and shade, rendering of form, composition, surface manipulation, the illusion of depth and mark-making are drawing issues that can be addressed through a variety of means, which could include painting, printmaking, mixed media, etc. Abstract, observational and inventive works may be submitted. The range of marks used to make drawings, the arrangement of the marks and the materials used to make the marks are endless. Any work submitted in the Drawing portfolio that incorporates digital or photographic processes must address drawing issues such as those listed above, as well as mark-making. Using computer programs merely to manipulate photographs through filters, adjustments or special effects is not appropriate for the Drawing portfolio. Find links to samples of student work in the Drawing portfolio on AP Central at apcentral.collegeboard.org/studiodrawing.

2-D Design Portfolio

Design involves purposeful decision making about using the elements and principles of art in an integrative way. In the 2-D Design portfolio, you should demonstrate your understanding of design principles as applied to a two-dimensional surface. The principles of design (unity/variety, balance, emphasis, contrast, rhythm, repetition, proportion/scale and figure/ground relationship) can be articulated through the visual elements (line, shape, color, value, texture, space). Any two-dimensional process or medium may be submitted, including, but not limited to, graphic design, digital imaging, photography, collage, fabric design, weaving, fashion design, illustration, painting, printmaking, etc. Video clips, DVDs, CDs and three-dimensional works may not be submitted. Find links to samples of student work in the 2-D Design portfolio on AP Central at apcentral.collegeboard.org/studio2D.

3-D Design Portfolio

This portfolio is intended to address engagement with physical space and materials. Design involves purposeful decision making about using the elements and principles of art in an integrative way. In the 3-D Design portfolio, you should demonstrate your understanding of design principles as they relate to depth and space. The principles of design (unity/variety, balance, emphasis, contrast, rhythm, repetition, proportion/scale and occupied/unoccupied space) can be articulated through the visual elements (mass, volume, color/light, form, plane, line, texture). These issues can be explored through additive, subtractive and/ or fabrication processes. Examples of approaches include, but are not limited to, figurative or nonfigurative sculpture, architectural models, metal work, ceramics, three-dimensional fiber arts/fashion, jewelry and body adornment. Find links to samples of student work in the 3-D Design portfolio on AP Central at apcentral.collegeboard.org/studio3D.

Section I: Quality
Five actual works that best demonstrate your understanding of and engagement with drawing
You are asked to demonstrate quality through five carefully selected examples of your work that demonstrate understanding of and engagement with drawing issues. This should be apparent in the concept, composition and execution of your works, whether they are simple or complex. There is no preferred (or unacceptable) style or content. You must submit actual works in one or more media in this section. Flat paper, cardboard, canvas board or unstretched canvas are acceptable. Works that are smaller than 8x10 should be mounted on backing that is at least 8x10. For your Quality section, choose the five works that you feel best represent your accomplishments and that fit within the size limit. The five works may come from your Concentration and/or your Breadth section, but they dont have to. They may be a group of related works, unrelated works or a combination of related and unrelated works.

Section I: Quality
Five actual works that best demonstrate your understanding of and engagement with 2-D design
You are asked to demonstrate quality through five carefully selected examples of your work that demonstrate understanding of and engagement with 2-D design issues. This should be apparent in the concept, composition and execution of your works, whether they are simple or complex. There is no preferred (or unacceptable) style or content. You must submit actual works in one or more media in this section. Flat paper, cardboard, canvas board or unstretched canvas are acceptable. Works that are smaller than 8x 10should be mounted on backing that is at least 8x 10. For your Quality section, choose the five works that you feel best represent your accomplishments and that fit within the size limit. The five works may come from your Concentration and/or your Breadth section, but they dont have to. They may be a group of related works, unrelated works or a combination of related and unrelated works.

Section I: Quality
Images of five works that best demonstrate your understanding of and engagement with 3-D design ...10 images: 5 works, 2 views of each
You are asked to demonstrate quality through five carefully selected examples of your work that demonstrate understanding of and engagement with 3-D design issues. This should be apparent in the concept, composition and execution of your works, whether they are simple or complex. There is no preferred (or unacceptable) style or content. You must submit 2 views of each of the 5 works, for a total of 10 images. The second view of each work should be taken from a different vantage point than the first view and could be a detail, if it informs the viewer about a particular aspect of the work. For your Quality section, choose the five works that you feel best represent your accomplishments. The five works may come from your Concentration and/or your Breadth section, but they dont have to. They may be a group of related works, unrelated works or a combination of related and unrelated works.

Guidelines for Submitting Actual Artworks

DO
mat or mount any works on paper that you submit for this section, preferably with a neutral colored matboard; use fixative on works that may smudge; cover works that have a delicate surface with an overleaf that is fastened to one edge so that it can be lifted easily; remember that the home address you provide in the Digital Submission Web application is the address where your portfolio materials will be returned (they will arrive in late June or July). We cannot ship your work to a P .O. Box; and note that, although ETS makes every effort to avoid loss or damage to your materials when they are being evaluated or in transit, accidents do happen. ETS does not assume responsibility or liability in such cases.

DO NOT
send three-dimensional work, work under glass or fragile work; send works rolled or folded; send unmounted work that can be crumpled or damaged in shipping; send books or journals; send more than five works for the Quality section of your portfolio extra works will not be evaluated; send works that will not fit easily into the portfolio envelope, which is approximately 18x 24 they will not be evaluated, and your score for that section will be based on the work remaining in that section; and place any information that identifies you or your school on any of the materials included in your portfolio, except where requested. Your AP Coordinator will receive instructions on how to label your works. If you have already signed your work, however, do not risk damaging it to remove a signature.

Guidelines for Submitting Actual Artworks

DO
mat or mount any works on paper that you submit for this section, preferably with a neutral colored matboard; use fixative on works that may smudge; cover works that have a delicate surface with an overleaf that is fastened to one edge so that it can be lifted easily; remember that the home address you provide in the Digital Submission Web application is the address where your portfolio materials will be returned (they will arrive in late June or July). We cannot ship your work to a P .O. Box; and note that, although ETS makes every effort to avoid loss or damage to your materials when they are being evaluated or in transit, accidents do happen. ETS does not assume responsibility or liability in such cases.

DO NOT
send three-dimensional work, work under glass or fragile work; send works rolled or folded; send unmounted work that can be crumpled or damaged in shipping; send books or journals; send more than five works for the Quality section of your portfolio extra works will not be evaluated; send works that will not fit easily into the portfolio envelope, which is approximately 18x 24 they will not be evaluated, and your score for that section will be based on the work remaining in that section; and place any information that identifies you or your school on any of the materials included in your portfolio, except where requested. Your AP Coordinator will receive instructions on how to label your works. If you have already signed your work, however, do not risk damaging it to remove a signature.

Section II: Concentration

Works describing an in-depth exploration of a particular 3-D design concern .........................12 images
For your concentration, you are asked to make a commitment to the thoughtful investigation of a specific visual idea. To document your process, you should present a number of conceptually related works that show your growth and discovery. These works should use the principles of 3-D design in an informed and/or experimental way. It is important to define your concentration early in the year so that the work you submit will have the focus and direction required for a concentration. A concentration is a body of related works that: grow out of a coherent plan of action or investigation; are unified by an underlying idea that has visual and/or conceptual coherence; are based on your individual interest in a particular visual idea; are focused on a process of investigation, growth and discovery; and show the development of a visual language appropriate for your subject. A concentration is NOT: a variety of works produced as solutions to class projects; a collection of works with differing intents; a group project or collaboration; a collection of works derived solely from other peoples published photographs; a body of work that simply investigates a medium, without a strong underlying visual idea; or a project that merely takes a long time to complete. 12 works for your concentration. If this is the case, you should choose the 12 that best represent your process of investigation. Your choice of images should present your concentration as clearly as possible. In preparing your concentration images, give some thought to the sequence of the images. You should organize them to best show the development of your concentration. In most cases, this would be chronological. You may not submit images of the same work that you are submitting for Breadth. Submitting images of the same work for your Concentration and Breadth sections may negatively affect your score.

Examples of Concentrations
The list of possible concentration topics is infinite. The examples of concentrations below are intended only to provide a sense of range and should not necessarily be considered better ideas than your own. A series of three-dimensional works that begin with representational interpretations and evolve into abstraction A series of site-specific works that affect existing form or space Abstractions developed from natural or mechanical objects Wheel-thrown and hand-built clay objects that allude to human or animal forms The use of multiples/modules to create and disrupt threedimensional space A series of sculptures that explore the relationship between interior and exterior space

Section II: Concentration

Works describing an in-depth exploration of a particular drawing concern .........................12 images
For your concentration, you are asked to make a commitment to the thoughtful investigation of a specific visual idea. To document your process, you should present a number of conceptually related works that show your growth and discovery. It is important to define your concentration early in the year so that the work you submit will have the focus and direction required for a concentration. A concentration is a body of related works that: grow out of a coherent plan of action or investigation; are unified by an underlying idea that has visual and/or conceptual coherence; are based on your individual interest in a particular visual idea; are focused on a process of investigation, growth and discovery; and show the development of a visual language appropriate for your subject. A concentration is NOT: a variety of works produced as solutions to class projects; a collection of works with differing intents; a group project or collaboration; a collection of works derived solely from other peoples published photographs; a body of work that simply investigates a medium, without a strong underlying visual idea; or a project that merely takes a long time to complete.

Section II: Concentration

Works describing an in-depth exploration of a particular 2-D design concern .........................12 images
For your concentration, you are asked to make a commitment to the thoughtful investigation of a specific visual idea. To document your process, you should present a number of conceptually related works that show your growth and discovery. These works should use the principles of design in an informed and/or experimental way. It is important to define your concentration early in the year so that the work you submit will have the focus and direction required for a concentration. A concentration is a body of related works that: grow out of a coherent plan of action or investigation; are unified by an underlying idea that has visual and/or conceptual coherence; are based on your individual interest in a particular visual idea; are focused on a process of investigation, growth and discovery; and show the development of a visual language appropriate for your subject. A concentration is NOT: a variety of works produced as solutions to class projects; a collection of works with differing intents; a group project or collaboration; a collection of works derived solely from other peoples published photographs; a body of work that simply investigates a medium, without a strong underlying visual idea; or a project that merely takes a long time to complete.

Examples of Concentrations
The list of possible concentration topics is infinite. The examples of concentrations below are intended only to provide a sense of range and should not necessarily be considered better ideas than your own. A series of expressive landscapes based on personal experience of a particular space A personal or family history communicated through the content and style of still-life images Abstractions from mechanical objects that explore mark-making Interpretive self-portraiture and figure studies that emphasize exaggeration and distortion An exploration of interior or exterior architectural space, emphasizing principles of perspective, structure and/or ambiance created by light, etc. A series of figurative works combining animal and human subjects drawings, studies and completed works

Presenting Your Concentration

For this section, you must submit 12 images; some of them may be details. In most cases, you will probably have completed more than 12 works for your concentration; if so, choose the 12 that best represent your process of investigation. Your choice of images should present your concentration as clearly as possible. In preparing your concentration images, give some thought to the sequence of the images. You should organize them to best show the development of your concentration. In most cases, this would be chronological. You may not submit images of the same work that you are submitting for Breadth. Submitting images of the same work for your Concentration and Breadth sections may negatively affect your score.

Examples of Concentrations
The list of possible concentration topics is infinite. The examples of concentrations below are intended only to provide a sense of range and should not necessarily be considered better ideas than your own. A series of works that begin with representational interpretations and evolve into abstraction An exploration of patterns and designs found in nature and/or culture A series of landscapes based upon personal experience of a particular place in which composition and light are used to intensify artistic expression Design and execution of pages from a book or graphic novel Development of a series of identity products (logo, letterhead, signage, etc.) for imaginary businesses A series of political cartoons using current events and images Abstractions developed from cells and other microscopic images Interpretive portraiture or figure studies that emphasize dramatic composition or abstraction A personal or family history communicated through symbols or imagery A series of fabric designs, apparel designs or weavings used to express particular themes

Presenting Your Concentration

For this section, you must submit 12 images; some of them may be details. In most cases, you will probably have completed more than 12 works for your concentration; if so, choose the 12 that best represent your process of investigation. Your choice of images should present your concentration as clearly as possible. In preparing your concentration images, give some thought to the sequence of the images. You should organize them to best show the development of your concentration. In most cases, this would be chronological. You may not submit images of the same work that you are submitting for Breadth. Submitting images of the same work for your Concentration and Breadth sections may negatively affect your score.

Commentary
A written commentary describing what your concentration is and how it evolved must accompany the work in this section. Responses should be concise. The commentary is not scored, but it does help in the evaluation process. The commentary consists of responses to the following: 1. Clearly and simply state the central idea of your concentration. (500 character maximum) 2. Explain how the work in your concentration demonstrates your intent and the exploration of your idea. You may refer to specific images as examples. (1,350 character maximum)

Presenting Your Concentration

For this section, you must submit 12 images; some of them may be second views or details. You may have completed more than

Commentary
A written commentary describing what your concentration is and how it evolved must accompany the work in this section. Responses should be concise. The commentary is not scored, but it does help in the evaluation process. The commentary consists of responses to the following: 1. Clearly and simply state the central idea of your concentration. (500 character maximum) 2. Explain how the work in your concentration demonstrates your intent and the exploration of your idea. You may refer to specific images as examples. (1,350 character maximum)

Commentary
A written commentary describing what your concentration is and how it evolved must accompany the work in this section. Responses should be concise. The commentary is not scored, but it does help in the evaluation process. The commentary consists of responses to the following: 1. Clearly and simply state the central idea of your concentration. (500 character maximum) 2. Explain how the work in your concentration demonstrates your intent and the exploration of your idea. You may refer to specific images as examples. (1,350 character maximum)

Section III: Breadth

A variety of works demonstrating your understanding of the principles of 3-D design ............16 images: 8 works, 2 views of each
In this section, the artworks you submit should demonstrate your understanding of the principles of 3-D design. Include examples of unity/variety, balance, emphasis, contrast, rhythm, repetition, proportion/scale and occupied/unoccupied space in your Breadth section. You are asked to demonstrate that you are thoughtfully applying these principles while creating your art. The best demonstrations of breadth clearly show a range of conceptual approaches to 3-D design. For example, a single Breadth section might contain: work that employs line, plane, mass, volume or motion to activate form in space; and work that suggests rhythm through modular structure; and work that uses light or shadow to determine form, with particular attention to surface and interior space; and work that demonstrates an understanding of symmetry and asymmetry; and assemblage or constructed work that transforms materials or object identity through the manipulation of proportion/ scale; and work in which the color and texture unify or balance the overall form of the piece; and work in which color or texture is integral to the overall form of the piece; and work that explores the transition from organic to mechanical form. If you choose to use a single medium for example, if your portfolio consists entirely of ceramic pieces the work must show a variety of approaches to the investigation of 3-D design principles. For this section, you must submit 16 images 2 views of each of 8 works. The second view of each work should be taken from a different vantage point than the first view and could be a detail, if it informs the viewer about a particular aspect of the work. You may not submit images of the same work that you submit for your concentration. Submitting images of the same work for your Concentration and Breadth sections may negatively affect your score.

Section III: Breadth

A variety of works demonstrating your understanding of drawing issues .........................12 images
In this section, the artworks you submit should demonstrate your understanding of a range of drawing concerns. Include examples such as drawing from observation, work with invented or nonobjective forms, effective use of light and shade, line quality, surface manipulation, composition, various spatial systems and expressive mark-making. You are asked to demonstrate that you are thoughtfully considering these concerns while creating your art. The best demonstrations of breadth clearly show a range of conceptual approaches to drawing. For example, a single Breadth section might contain work that shows: the use of various spatial systems, such as linear perspective, the illusion of three-dimensional forms, aerial views and other ways of creating and organizing space; and the use of various subjects, such as the human figure, landscape, still-life objects, etc.; and the use of various kinds of content, such as those derived from observation and expressionistic viewpoint, imaginary or psychological imagery, social commentary, political statements and other personal issues; and the use of different tools, materials and processes to represent form and space, such as rendered or gestural, painterly, expressionist, stylized or abstract form; and the investigation of expressive mark-making. If you choose to use a single medium for example, if your portfolio consists entirely of charcoal drawings the work must show a range of approaches, techniques, compositions and subjects. For this section, you must submit 12 images of 12 different works. Detail images may not be included. You may not submit images of the same work that you are submitting for your concentration. Submitting images of the same work for your Concentration and Breadth sections may negatively affect your score.

Section III: Breadth

A variety of works demonstrating your understanding of the principles of 2-D design ....................12 images
In this section, the artworks you submit should demonstrate your understanding of the principles of 2-D design. Include examples of unity/variety, balance, emphasis, contrast, rhythm, repetition, proportion/scale and figure/ground relationship in your Breadth section. You are asked to demonstrate that you are thoughtfully applying these principles while creating your art. The best demonstrations of breadth clearly show a range of conceptual approaches to 2-D design. For example, a single Breadth section might contain: work that employs line, shape or color to create unity or variety in a composition; and work that demonstrates symmetry/asymmetry, balance or anomaly; and work that explores figure/ground relationships; and development of a modular or repeat pattern to create rhythm; and color organization using primary, secondary, tertiary, analogous or other color relationships for emphasis or contrast in a composition; and work that investigates or exaggerates proportion or scale. If you choose to use a single medium for example, if your portfolio consists entirely of photography the work must show a variety of approaches to the investigation of 2-D design principles. For this section, you must submit 12 images of 12 different works. Details may not be included. You may not submit images of the same work that you are submitting for your concentration. Submitting images of the same work for your Concentration and Breadth sections may negatively affect your score.

2012 The College Board. College Board, AP , AP Central and the acorn logo are registered trademarks of the College Board. All artwork printed with permission.

93906-006420 RR912E107 Printed in U.S.A.

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