Studio Art Assembled

STUDIO

ART

C ourse Description

MAY 2004, MAY 2005

The College Board is a national nonprofit membership association whose mission

is to prepare, inspire, and connect students to college and opportunity . Founded in

1900, the association is composed of more than 4,300 schools, colleges, universities,

and other educational organizations. Each year , the College Board serves over three

million students and their parents, 22,000 high schools, and 3,500 colleges through

major programs and services in college admissions, guidance, assessment, financial

aid, enrollment, and teaching and learning. Among its best-known programs are the

SAT

�

, the PSAT/NMSQT

�

, and the Advanced Placement Program

�

(AP

�

). The College

Board is committed to the principles of equity and excellence, and that commitment is

embodied in all of its programs, services, activities, and concerns.

For further information, visit www .collegeboard.com

The College Board and the Advanced Placement Program encourage teachers, AP

Coordinators, and school administrators to make equitable access a guiding principle

for their AP programs. The College Board is committed to the principle that all

students deserve an opportunity to participate in rigorous and academically

challenging courses and programs. All students who are willing to accept the

challenge of a rigorous academic curriculum should be considered for admission to

AP courses. The Board encourages the elimination of barriers that restrict access to

AP courses for students from ethnic, racial, and socioeconomic groups that have been

traditionally underrepresented in the AP Program. Schools should make every effort

to ensure that their AP classes reflect the diversity of their student population.

For more information about equity and access in principle and practice, contact the

National Office in New York.

Board, Advanced Placement Program, AP, AP Vertical Teams, APCD, Pacesetter,

Pre-AP, SAT, Student Search Service, and the acorn logo are registered trademarks

of the College Entrance Examination Board. AP Central is a trademark owned by the

College Entrance Examination Board. PSA T/NMSQT is a registered trademark jointly

owned by the College Entrance Examination Board and the National Merit

Scholarship Corporation. Educational T esting Service and ETS are registered trade-

marks of Educational T esting Service. Other products and services may be trademarks

of their respective owners.

For the College Board� s online home for AP professionals, visit AP Central at

apcentral.collegeboard.com.

Dear Colleagues:

In 2002, more than one million high school students benefited from the

opportunity of participating in AP� courses, and nearly 940,000 of them

then took the challenging AP Exams. These students felt the power of

learning come alive in the classroom, and many earned college credit and

placement while still in high school. Behind these students were talented,

hardworking teachers who collectively are the heart and soul of the

AP Program.

The College Board is committed to supporting the work of AP teachers.

This AP Course Description outlines the content and goals of the course,

while still allowing teachers the flexibility to develop their own lesson

plans and syllabi, and to bring their individual creativity to the AP class-

room. To support teacher efforts, a Teacher�s Guide is available for each AP

subject. Moreover , AP workshops and Summer Institutes held around the

globe provide stimulating professional development for more than 60,000

teachers each year . The College Board Fellows stipends provide funds to

support many teachers� attendance at these Institutes. Stipends are now

also available to middle school and high school teachers using Pre-AP�

strategies.

T eachers and administrators can also visit AP Central�, the College

Board� s online home for AP professionals at apcentral.collegeboard.com.

Here, teachers have access to a growing set of resources, information, and

tools, from textbook reviews and lesson plans to electronic discussion

groups (EDGs) and the most up-to-date exam information. I invite all teach-

ers, particularly those who are new to AP, to take advantage of these

resources.

As we look to the future, the College Board�s goal is to broaden access

to AP while maintaining high academic standards. Reaching this goal will

require a lot of hard work. We encourage you to connect students to col-

lege and opportunity by not only providing them with the challenges and

rewards of rigorous academic programs like AP, but also by preparing them

in the years leading up to AP.

Sincerely,

Gaston Caperton

President

The College Board

Permission to Reprint

The Advanced Placement Program intends this publication for non-

commercial use by AP� teachers for course and exam preparation; permis-

sion for any other use must be sought from the AP Program. Teachers

may reproduce this publication, in whole or in part, in limited print

quantities for noncommercial, face-to-face teaching purposes.

This permission does not apply to any third-party copyrights contained

within this publication.

When educators reproduce this publication for noncommercial, face-

to-face teaching purposes, the following source line must be included:

2004, 2005 Course Description for AP Studio Art.

www .collegeboard.com. This material may not be mass distributed,

electronically or otherwise. This publication and any copies made

from it may not be resold.

The AP Program defines �limited quantities for noncommercial,

face-to-face teaching purposes� as follows:

� Distribution of up to 50 print copies from a teacher to a class of students,

with each student receiving no more than one copy.

� Distribution of up to 50 print copies from a workshop presenter

to workshop attendees, with each attendee receiving no more than

one copy.

No party may share this copyrighted material electronically � by fax, Web

site, CD-ROM, disk, e-mail, electronic discussion group, or any other elec-

tronic means not stated here. In some cases � such as online courses or

online workshops � the AP Program may grant permission for electronic

dissemination of its copyrighted materials. All intended uses not defined

within noncommercial, face-to-face teaching purposes (including dis-

tribution exceeding 50 copies) must be reviewed and approved; in

these cases, a license agreement must be received and signed by the

requestor and copyright owners prior to the use of copyrighted material.

Depending on the nature of the request, a licensing fee may be applied.

Please use the required form accessible online. The form may be found at:

http://www .collegeboard.com/inquiry/cbpermit.html. For more information,

please see AP�s Licensing Policy For AP � Questions and Materials.

Contents

W elcome to the AP� Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

AP Courses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

AP Exams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

AP Studio Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Instructional Goals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Commitment from Students, Teachers, and Schools . . . . . . . . . . . . . . . . 5

Structure of the Portfolios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Drawing Portfolio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Section I: Quality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Section II: Concentration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Section III: Breadth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

2-D Design Portfolio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Section I: Quality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Section II: Concentration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Section III: Breadth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

3-D Design Portfolio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Section I: Quality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Section II: Concentration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Section III: Breadth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Important Information for AP Studio Art Teachers . . . . . . . . . . . . . . . . 24

Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

General Interest . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Drawing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

T wo-Dimensional Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Sculpture/Three-Dimensional Design . . . . . . . . . . . . . . . . . . . . . . . . . 34

Photography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Originality and Integrity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Taking Slides . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

AP Program Essentials . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

The AP Reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

AP Grades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Grade Distributions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Earning College Credit and/or Placement . . . . . . . . . . . . . . . . . . . . . 36

Why Colleges Grant Credit and/or Placement for AP Grades. . . . . . 37

Guidelines on Granting Credit and/or Placement for AP Grades . . 37

Finding Colleges That Accept AP Grades . . . . . . . . . . . . . . . . . . . . . 38

AP Awards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

AP Calendar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

apcentral.collegeboard.com iii

T est Security . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

T eacher Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Pre-AP� . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Pre-AP Professional Development . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

AP Publications and Other Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Ordering Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Print . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Multimedia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

iv apcentral.collegeboard.com

apcentral.collegeboard.com 1

W elcome to the AP

�

Program

The Advanced Placement Program � (AP� ) is a collaborative effort

between motivated students, dedicated teachers, and committed high

schools, colleges, and universities. Since its inception in 1955, the Program

has allowed millions of students to take college-level courses and exams,

and to earn college credit or placement while still in high school.

Most colleges and universities in the U.S., as well as colleges and univer-

sities in 21 other countries, have an AP policy granting incoming students

credit, placement, or both on the basis of their AP Exam grades. Many of

these institutions grant up to a full year of college credit (sophomore stand-

ing) to students who earn a sufficient number of qualifying

AP grades.

Each year , an increasing number of parents, students, teachers, high

schools, and colleges and universities turn to AP as a model of educa-

tional excellence.

More information about the AP Program is available at the back of this

Course Description and at AP Central�, the College Board�s online home

for AP professionals (apcentral.collegeboard.com). Students can find more

information at the AP student site (www.collegeboard.com/apstudents).

AP Courses

Thirty-four AP courses in a wide variety of subject areas are currently avail-

able. Developed by a committee of college faculty and AP teachers, each

AP course covers the breadth of information, skills, and assignments found

in the corresponding college course. See page 2 for a list of the AP courses

and exams that are currently offered.

AP Exams

Each AP course has a corresponding exam that participating schools

worldwide administer in May . Except for Studio Art, which is a portfolio

assessment, AP Exams contain multiple-choice questions and a free-

response section (either essay or problem-solving).

AP Exams represent the culmination of AP courses, and are thus an inte-

gral part of the Program. As a result, many schools foster the expectation

that students who enroll in an AP course will go on to take the correspond-

ing AP Exam. Because the College Board is committed to providing home-

2 apcentral.collegeboard.com

schooled students and students whose schools do not offer AP access to

the AP Exams, it does not require students to take an AP course prior to

taking an AP Exam.

AP Courses and Exams

Art

Art History

Studio Art (Drawing Portfolio)

Studio Art (2-D Design Portfolio)

Studio Art (3-D Design Portfolio)

Biology

Calculus

Calculus AB

Calculus BC

Chemistry

Computer Science

Computer Science A

Computer Science AB

Economics

Macroeconomics

Microeconomics

English

English Language and Composition

English Literature and Composition

Environmental Science

French

French Language

French Literature

German Language

Government and Politics

Comparative Government and

Politics

United States Government and

Politics

History

European History

United States History

World History

Human Geography

Latin

Latin Literature

Latin: Vergil

Music Theory

Physics

Physics B

Physics C: Electricity and

Magnetism

Physics C: Mechanics

Psychology

Spanish

Spanish Language

Spanish Literature

Statistics

apcentral.collegeboard.com 3

AP Studio Art

Introduction

Shaded text indicates important new information about this subject.

The AP Studio Art portfolios are designed for students who are seriously

interested in the practical experience of art. AP Studio Art is not based on a

written examination; instead, students submit portfolios for evaluation at

the end of the school year .

The AP Studio Art program sets a national standard for performance in

the visual arts that contributes to the significant role the arts play in

academic environments. Each year the thousands of portfolios that are

submitted in AP Studio Art are reviewed by college, university, and sec-

ondary school art instructors using rigorous standards. This College

Board program provides the only national standard for performance in

the visual arts that allows students to earn college credit and/or advanced

placement while still in high school. The AP Program is based on the

premise that college-level material can be taught successfully to sec-

ondary school students. It also offers teachers a professional develop-

ment opportunity by inviting them to develop a course that will motivate

students to perform at the college level. In essence, the AP program is a

cooperative endeavor that helps high school students complete college-

level courses and permits colleges to evaluate, acknowledge, and encour-

age that accomplishment through the granting of appropriate credit and

placement.

In the fall of 1998, the AP Program conducted a curriculum survey of

foundation programs in art at colleges, universities, and art schools. On the

basis of the survey results, the AP Studio Art Development Committee

decided to change the AP Studio Art course requirements, with the intent

of bringing them closer to those of the most prevalent college foundation

courses. The results comprise the current portfolio offerings, which were

introduced in 2001�2002: Drawing, 2-D Design, and 3-D Design. It is hoped

that this configuration will benefit AP students (by increasing the possibil-

ity that they will receive credit or placement for their work), as well as

colleges (by presenting them with students who have completed a more

focused and more easily understood portfolio).

For the latest information about AP Studio Art, visit AP Central�

(apcentral.collegeboard.com). This site includes teachers� perspectives on

the AP art courses and portfolios, as well as many student works from all

three portfolios. Y ou can also find out how to become a member of the

AP Studio Art Electronic Discussion Group, which will enable you to

4 apcentral.collegeboard.com

discuss (among other things) the portfolio requirements with veteran

teachers and AP readers. Alternatively, you can e-mail the ETS content

experts at apexams@info.collegeboard.org.

Instructional Goals

The instructional goals of the AP Studio Art program can be described as

follows:

� Encourage creative as well as systematic investigation of formal and

conceptual issues.

� Emphasize making art as an ongoing process that involves the student

in informed and critical decision-making.

� Develop technical skills and familiarize students with the functions of

the visual elements.

� Encourage students to become independent thinkers who will contribute

inventively and critically to their culture through the making of art.

Since no standard, universally valid studio art course can or should exist,

the Development Committee in AP Studio Art has chosen to suggest

guidelines for the submission of an AP portfolio rather than to delineate a

specific course. The portfolios are designed to allow freedom in structur-

ing AP Studio Art courses while keeping in mind that the quality and

breadth of the work should reflect first-year college-level standards.

Therefore, the major responsibility for creating an AP course in art and

preparing work to submit for evaluation belongs to the participating

teachers and students.

The Development Committee in AP Studio Art has had the counsel of

both secondary school and college faculty in defining the scope of work

that would be equivalent to that of introductory college courses in studio

art. Because art courses vary from college to college, the guidelines pro-

vided for AP Studio Art are not intended to describe the program of any

particular institution, but to reflect the coverage and level typical of good

introductory college courses.

AP courses should address three major concerns that are constants in

the teaching of art: (1) a sense of quality in a student�s work; (2) the stu-

dent� s concentration on a particular visual interest or problem; and (3) the

student� s need for breadth of experience in the formal, technical, and

expressive means of the artist. AP work should reflect these three areas of

concern: quality , concentration, and breadth.

apcentral.collegeboard.com 5

Commitment from Students, T eachers, and

Schools

All students who are willing to accept the challenge of a rigorous academic

curriculum should be considered for admission to AP courses. The College

Board encourages the elimination of barriers that restrict access to AP

courses for students from ethnic, racial, and socioeconomic groups that

have been traditionally underrepresented in the AP Program. Schools

should make every effort to ensure that their AP classes reflect the diver-

sity of their student population.

The AP program in Studio Art is for highly motivated students who are

seriously interested in the study of art and involves significant commit-

ment. It is highly recommended that AP Studio Art students have previous

training in art.

The quest for quality of both production and experience in the AP pro-

gram in Studio Art makes active demands not only on the students but also

on the teachers and on the school itself. Ideally, classes should be small

enough to permit teachers and students to work in close cooperation;

extended blocks of time should be allotted for instruction; and the teachers�

other responsibilities should be reduced to reflect the greater demands of

the program. However , since few situations are ideal, the course has been

taught in many different ways: for example, as a separate, one-year class; as

a separate program of study for AP students who meet during a general art

class period; as independent study for a few highly motivated students. The

introductory college course usually meets twice a week for three hours, and

such a schedule is preferable to the five one-hour sessions a week typical of

high school. Because the course is designed as an intensive one-year pro-

gram and requires more time than traditional offerings, some schools may

prefer to extend it over two years. In such cases, the most recently pub-

lished AP Studio Art poster, detailing current requirements for each of the

portfolios, should be consulted at the beginning of the second year of the

course so that any changes in the evaluation materials required can be taken

into account well before the materials are to be submitted.

Students will need to work outside the classroom, as well as in it, and

beyond scheduled periods. Students should be considered responsible

enough to leave the art room or school if an assignment requires them to

do so, and homework, such as maintaining a sketchbook or a journal, is

probably a necessary component of instruction. Critiques, a common struc-

ture in the college classroom, are important in AP as well. Group and indi-

vidual critiques enable students to learn to analyze their own work and

their peers� work. Ongoing critical analysis, through individual critiques,

enables both the students and the teacher to assess the strengths and

weaknesses in the work.

Where museums and galleries are accessible, teachers are encouraged to

use them as extensions of school and to allot class time accordingly. In

addition, art books, slides, and reproductions provide important examples

for the serious study of art. Such references are invaluable in expanding

students� awareness of visual traditions � cultural, historical, and stylistic.

Structure of the Portfolios

The portfolios share a basic, three-section structure, which requires the

student to show a fundamental competence and range of understanding in

visual concerns (and methods). Each of the portfolios asks the student to

demonstrate a depth of investigation and process of discovery through the

concentration section (Section II). In the breadth section (Section III),

the student is asked to demonstrate a serious grounding in visual principles

and material techniques. The quality section (Section I) permits the stu-

dent to select the works that best exhibit a synthesis of form, technique,

and content. The diagram that follows summarizes the section require-

ments for each of the three portfolios.

All three sections are required and carry equal weight, but students are

not necessarily expected to perform at the same level in each section to

6 apcentral.collegeboard.com

DRAWING

PORTFOLIO

5 actual works

Works that excel in

concept, composition,

and execution.

12 slides; some may

be details

A series of works

organized around a

compelling visual con-

cept in drawing.

2-D DESIGN

PORTFOLIO

5 actual works

Works that excel in

concept, composition,

and execution.

12 slides; some may

be details

A series of works

organized around a

compelling visual con-

cept in 2-D Design.

3-D DESIGN

PORTFOLIO

10 slides, consisting

of 2 views each of 5

works.

Works that excel in

concept, composition,

and execution.

12 slides; some may

be details or second

views

A series of works

organized around a

compelling visual con-

cept in 3-D design.

Section II � Concentration

(one-third of total score)

Section I � Quality

(one-third of total score)

receive a qualifying grade for advanced placement. The order in which the

three sections are presented is in no way meant to suggest a curricular

sequence. The works presented for evaluation may have been produced in

art classes or on the student� s own time and may cover a period of time

longer than a single school year.

Since the introduction of the new portfolios in 2001-2002, many questions

have come up regarding the distinction between the Drawing portfolio and

the 2-D Design portfolio. There is a large area of possible overlap between

the two portfolios�that is, a large domain of art that could legitimately be

submitted for either portfolio. The distinctions in many cases are a matter

of the focus of the work. In her 2002 Exam Report, Penny McElroy, the

Chief Reader for AP Studio Art, discussed this issue:

�The central problem . . . seems to be the struggle to define 2-D Design in

relationship to drawing. W e look for a clear-cut division, but can find none.

In my opinion, it is impossible to completely separate the two in any mean-

ingful and pedagogically responsible way. A single mark made on paper is

simultaneously drawing and design. Typically the readers [in 2002] solved

this potential confusion by using a 2-D design �lens� to evaluate the work

with questions such as: Is understanding of the principles of design evi-

dent in the work? Are the principles used intelligently and sensitively to

contribute to the meaning of the work? Were the elements created and

used in purposeful and imaginative ways? How and what does the inter-

action of the elements and principles of design contribute to the quality

of the work? High school teachers can help students with the 2-D design

portfolio by incorporating questions such as these into critique sessions

and by encouraging students to use knowledge of the elements and princi-

ples of design to solve problems in their work.�

It might be helpful for students and teachers to consider the work in the

portfolio as the proof in a �case� that outlines a student�s understanding of

apcentral.collegeboard.com 7

DRAWING

PORTFOLIO

12 slides; one slide

each of 12 different

works

Works that demon-

strate a variety of con-

cepts, media, and

approaches.

2-D DESIGN

PORTFOLIO

12 slides; one slide

each of 12 different

works

Works that demon-

strate a variety of con-

cepts, media, and

approaches.

3-D DESIGN

PORTFOLIO

16 slides; 2 slides each

of 8 different works

Works that demon-

strate a variety of con-

cepts, media, and

approaches.

Section III � Breadth

(one-third of total score)

design and/or drawing issues. The grading of these portfolios determines

whether these students may earn college credit or advanced placement for

a drawing class or a two-dimensional design class. The portfolio must

therefore demonstrate competence in one of these specific areas. The

teaching that prepares students to submit a portfolio should be focused in

one of these directions. Nonetheless, there are cases in which the decision

of which portfolio to submit is a difficult one. If the work offers stronger

proof of competence in drawing, it should be submitted as a drawing port-

folio. Conversely , if the work does a more effective job demonstrating a

mastery of design, it should be submitted as a design portfolio.

Drawing Portfolio

The Drawing Portfolio is designed to address a very broad interpretation of

drawing issues and media. Light and shade, line quality, rendering of form,

composition, surface manipulation, and illusion of depth are drawing

issues that can be addressed through a variety of means. Many works of

painting, printmaking, and mixed media, as well as abstract, observational,

and inventive works, may qualify. The range of marks used to make draw-

ings, the arrangement of those marks, and the materials used to make the

marks are endless.

Works of photography , videotapes, and digital works may

NOT be submit-

ted for the Drawing Portfolio.

Any work that makes use of photographs, published images, and/or other

artists� works must show substantial and significant development beyond

duplication. This may be demonstrated through manipulation of the formal

qualities, design, and/or concept of the original work. It is unethical, con-

stitutes plagiarism, and often violates copyright law to simply copy

an image (even in another medium) that was made by someone else.

Section I: Quality

Rationale

Quality refers to the total work of art � the concept, the composition and

technical skills demonstrated, and the realization of the artist�s intentions.

It can be found in very simple as well as elaborate works. For this section

of the portfolio, students are asked to select examples of their best work in

which the evaluators will recognize quality and will perceive that these

works develop the students� intentions, both in concept and execution.

Requirements

For this section, students are asked to submit five actual works. They may

be separate, distinct works or they may be directly related to one or more

8 apcentral.collegeboard.com

Drawing Portfolio

of the other works submitted in this section. The works may be in one or

more media. The works may be on flat paper, cardboard, canvas board, or

unstretched canvas.

Because of limitations imposed by the shipping and handling of the

portfolios, work submitted for Section I may not be larger than 18" 24",

including matting or mounting. Students who have larger works of excep-

tional quality can submit them in slide form in another section of the portfo-

lio. W orks for Section I that are smaller than 8" 10" should be mounted on

sheets that are 8" 10" or larger. To protect the work, all work on paper

should be backed or mounted. Mats are optional. Do not use reflective mate-

rials, such as acetate or shrink-wrap because they cause glare that makes the

work difficult to see. A sturdy, opaque overleaf that is hinged to one edge of

the backing, so that it may be easily lifted, provides excellent protection and

is highly recommended. Materials that may be smudged should be protected

with fixative. If the work is matted, a neutral color for the mat is advisable.

W orks should not be rolled, framed, or covered with glass or Plexiglas.

W orks submitted in Section I may be submitted in slide form in

either Section II, Concentration, or Section III, Breadth, but

NOT

both.

Section II: Concentration

Rationale

A concentration is a body of related works based on an individual�s interest

in a particular idea expressed visually. It focuses on a process of investiga-

tion, growth, and discovery. It is not a selection of a variety of works pro-

duced as solutions to class projects, or a collection of works with differing

intents. Students should be encouraged to explore a personal, central inter-

est as intensively as possible; they are free to work with any idea in any

medium that addresses drawing issues. However, the concentration should

grow out of, and demonstrate, a plan of action or investigation in which the

student has invested considerable time, effort, and thought. In this section,

the evaluators are interested not only in the work presented, but also in

visual evidence of the student�s thinking, selected method of working, and

development of the work over time.

Requirements

For this section, 12 slides must be submitted. Regardless of the content of

the concentration, the works should be unified by an underlying idea that

has visual coherence. The choices of technique, medium, style, form, sub-

ject, and content are made by the student, in consultation with the teacher.

In May , students receive all the portfolio materials; these include the

apcentral.collegeboard.com 9

Drawing Portfolio

Section II envelope, with spaces for the commentary. A written commen-

tary explaining the development of the concentration must accompany the

work in this section. Students are asked to respond to the following:

1. Briefly define the nature of your concentration project.

2. Briefly describe the development of your concentration and the sources

of your ideas. Y ou may refer to specific slides as examples.

3. What medium or media did you use?

The responses themselves are

NOT graded as pieces of writing, but they pro-

vide critical information for evaluating the artwork. Thus, they should be

legible and well written, preferably word-processed, cut, and pasted in no

smaller than a 10-point font. Students should be encouraged to formulate

their responses to the first statement early in the year, as they define the

direction their concentration will take. Responses should be concise, and

extra sheets may not be attached; commentaries that exceed the allot-

ted space will not be read.

Examples of Concentrations

A concentration could consist of a group of independent works that share a

single theme; for example, an in-depth study of a particular visual problem

or a variety of ways of handling an interesting subject. Some concentra-

tions involve sequential works; for example, series of studies that lead to,

and are followed by , more finished works. If a student uses subject matter

as the basis of a concentration, the work should show the development of a

visual language appropriate for that subject. The investigation of a medium

in and of itself, without a strong underlying visual idea, generally does not

constitute a successful concentration. Students should not submit group

projects, collaborations, and/or documentation of projects that merely

require an extended period of time to complete.

The list of possible concentration topics is infinite. Below are examples

of concentrations that have been submitted in the past. They are intended

only to provide a sense of range and should not necessarily be considered

�better� ideas.

�

A series of expressive landscapes based upon personal experience of a

particular place

�

Abstraction developed from cells and other microscopic images

�

A series of self-portraits with a specific theme

�

Interpretive self-portraiture and figure studies that emphasize exaggera-

tion and distortion

�

A personal or family history communicated through the content and

style of still-life images

10 apcentral.collegeboard.com

Drawing Portfolio

�

A project that explores interior or exterior architectural space, empha-

sizing principles of perspective, structure, ambiance created by light, etc.

�

A figurative project combining animal and human subjects�drawings,

studies, and completed works

�

An interpretive study of literary characters in which mixed media, color,

and form are explored

�

The use of multiple images to create compositions that reflect psycho-

logical or narrative events

All concentrations for the Drawing Portfolio must be submitted in slide

form. When preparing the Section II slides, the student should give some

thought to the sequence of the slides in the slide sheet. There is no required

order; rather , the slides should be organized to best show the development

of the concentration. In most cases, this would be chronological. Slides

should be placed in the slide sheet as indicated in the following diagram:

Section II, Concentration, and Section III, Breadth, may not con-

tain slides of the same work.

For this section, 12 slides are required, some of which may be details.

Because the range of possible concentrations is so wide, the number of

works the student creates should be dictated by the nature of the project.

The chosen topic should be explored to the greatest possible extent. In

most cases, students will produce more than 12 works and select from

among them the works that best represent the process of investigation. If a

student has works that are not as well resolved as others but that help

show the evolution of thinking and of the work, the student should con-

sider including them. The choice of works to submit should be made to

present the concentration as clearly as possible.

apcentral.collegeboard.com 11

Drawing Portfolio

12 apcentral.collegeboard.com

Drawing Portfolio

Section III: Breadth

Rationale

Breadth refers to a student� s experiences and accomplishments in a variety

of art forms and techniques. The student�s work in this section should show

evidence of conceptual, perceptual, expressive, and technical range; thus,

the student should be introduced to a variety of problems in drawing.

Requirements

For this section, students must submit a total of 12 slides of 12 different

works. Detail slides may

NOT be included. In this section students are asked

to present evidence of their ability to work on a wide variety of drawing

problems. The solutions to these problems should demonstrate that stu-

dents are able to pursue advanced drawing concepts as a result of expo-

sure to, and experience with, a broad range of drawing alternatives. They

should include drawings in which both line and tone are used. Students

should explore as many different categories and modes of drawing as pos-

sible; they are encouraged to observe three-dimensional subjects and/or

work with invented or nonobjective subjects for the purpose of developing

skill in translating perceptions to a two-dimensional surface. The best

demonstrations of breadth clearly show experimentation in approach to

the work. They do not simply use a variety of media, but combine a range

of conceptual approaches, and physical means of creating art. It is possible

to do this in a single medium or in a variety of media.

An enormous range of possibilities exists for this section. Following is a list

of possible approaches. It is not intended to exclude other ways of drawing.

�

The use of various spatial systems, such as linear perspective, the illu-

sion of three-dimensional forms, aerial views, and other ways of creating

and organizing space

�

The use of various subjects, such as the human figure, landscape, still-

life objects, etc.

�

The use of various kinds of content, such as that derived from observa-

tion; an expressionistic viewpoint; imaginary or psychological imagery;

social commentary , political statements; and other personal interests

�

Arrangement of forms in a complex visual space

�

The use of different approaches to represent form and space, such as

rendered, gestural, painterly , expressionist, stylized, or abstract form

�

The investigation of expressive mark-making

Section II, Concentration, and Section III, Breadth, may not con-

tain slides of the same work.

The slides for this section should be placed in the slide sheet as indicated

below:

Section II and Section III may not contain slides of the same work.

2-D Design Portfolio

This portfolio is intended to address a very broad interpretation of two-

dimensional (2-D) design issues. This type of design involves purposeful

decision-making about how to use the elements and principles of art in an

integrative way.

The elements of design (line, shape, illusion of space, illusion of motion,

pattern, texture, value and color) are like a palette of possibilities that

artists use to express themselves. The principles of design help guide

artists in making decisions about how to organize the elements on a picture

plane in order to communicate content. These principles include unity/

variety , balance, emphasis, rhythm, and proportion/scale. A variety of

approaches to representation, abstraction, and expression may be part of

the student�s portfolio.

For this portfolio, students are asked to demonstrate proficiency in 2-D

design using a variety of art forms. These could include, but are not limited

to, graphic design, typography, digital imaging, photography, collage, fabric

design, weaving, illustration, painting, printmaking, etc.

Any work that makes use of photographs, published images, and/or other

artists� works must show substantial and significant development beyond

apcentral.collegeboard.com 13

Drawing Portfolio/2-D Design Portfolio

duplication. This may be demonstrated through manipulation of the formal

qualities, design, and/or concept of the original work. It is unethical, con-

stitutes plagiarism, and often violates copyright law to simply copy

an image (even in another medium) that was made by someone else.

Section I: Quality

Rationale

Quality refers to the total work of art � the concept, the composition and

technical skills demonstrated, and the realization of the artist�s intentions.

It can be found in very simple as well as elaborate works. For this section

of the portfolio, students are asked to select examples of their best work in

which the evaluators will recognize quality and will perceive that these

works develop the students� intentions, both in concept and execution.

Requirements

For this section, students are asked to submit five actual works. They may

be separate, distinct works or they may be directly related to one or more of

the other works submitted in this section. The works may include but are

not limited to graphic design, typography, digital imaging, photography, col-

lage, fabric design, weaving, illustration, painting, printmaking, etc. The

works may be in one or more media; they may be on flat paper, cardboard,

canvas board, or unstretched canvas.

Because of limitations imposed by the shipping and handling of the port-

folios, work submitted for Section I may not be larger than 18" 24",

including matting or mounting. Students who have larger works of excep-

tional quality can submit them in slide form in another section of the port-

folio. W orks for Section I that are smaller than 8" 10" should be mounted on

sheets 8" 10" or larger. To protect the work, all work on paper should be

backed or mounted. Mats are optional. Do not use reflective materials, such

as acetate or shrink-wrap because they cause glare that makes the work diffi-

cult to see. A sturdy , opaque overleaf that is hinged to one edge of the back-

ing, so that it may be easily lifted, provides excellent protection and is highly

recommended. Materials that may be smudged should be protected with fixa-

tive. If the work is matted, a neutral color for that mat is advisable. Works

should not be rolled, framed, or covered with glass or Plexiglas.

Works from Section I, Quality , may be submitted in slide form in

either Section II, Concentration, or Section III, Breadth, but

NOT both.

14 apcentral.collegeboard.com

2-D Design Portfolio

Section II: Concentration

Rationale

A concentration is a body of related works based on an individual�s interest

in a particular idea expressed visually. It focuses on a process of investiga-

tion, growth, and discovery. It is not a selection of a variety of works pro-

duced as solutions to class projects, or a collection of works with differing

intents. Students should be encouraged to explore a personal, central inter-

est as intensively as possible; they are free to work with any idea in any

medium that addresses two-dimensional design issues. However, the

concentration should grow out of, and demonstrate, a plan of action or

investigation in which the student has invested considerable time, effort,

and thought. In this section, the evaluators are interested not only in the

work presented, but also in visual evidence of the student�s thinking,

selected method of working, and development of the work over time.

Requirements

For this section, 12 slides are required, some of which may be details.

Regardless of the content of the concentration, the works should be

unified by an underlying idea that has visual coherence. The choices of

technique, medium, style, form, subject, and content are made by the

student, in consultation with the teacher.

In May , students receive all the portfolio materials; these include the

Section II envelope, with spaces for commentary. A written commentary

explaining the development of the concentration must accompany the

work in this section. Students are asked to respond to the following:

1. Briefly define the nature of your concentration project.

2. Briefly describe the development of your concentration and the sources

of your ideas. Y ou may refer to specific slides as examples.

3. What medium or media did you use?

The responses themselves are

NOT graded as pieces of writing, but they pro-

vide critical information for evaluating the artwork. Thus, they should be

legible and well written, preferably word-processed, cut, and pasted on no

smaller than a 10-point font. Students should be encouraged to formulate

their responses to the first statement early in the year, as they define the

direction their concentration will take. Responses should be concise, and

extra sheets may not be attached; commentaries that exceed the allot-

ted space will not be read.

apcentral.collegeboard.com 15

2-D Design Portfolio

Examples of Concentrations

A concentration could consist of a group of independent works that share a

single theme; for example, an in-depth study of a particular visual problem

or a variety or ways of handling an interesting subject. Some concentrations

involve sequential works; for example, series of studies that lead to, and are

followed by , more finished works. If a student uses subject matter as the

basis of a concentration, the work should show the development of a visual

language appropriate for that subject. The investigation of a medium in and

of itself, without a strong underlying visual idea, generally does not consti-

tute a successful concentration. Students should not submit group projects,

collaborations, and/or documentation of projects that merely require an

extended period of time to complete.

The list of possible concentration topics is infinite. Below are examples

of concentrations. They are intended only to provide a sense of range and

should not necessarily be considered �better� ideas.

�

Design and execution of a children� s book

�

Development of an identity package (logo, letterhead, signage, and so

on) for imaginary businesses

�

Political cartoons using current events and images

�

A series of works that begin with representational interpretations and

evolve into abstraction

�

An exploration of pattern and designs found in nature and/or culture

�

A series of landscapes based upon personal experience of a particular

place in which color and composition are used to intensify artistic

expression

�

Abstractions developed from cells and other microscopic images

�

Interpretive portraiture or figure studies that emphasize dramatic com-

position 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

�

The use of multiple modules to create compositions that reflect psycho-

logical or narrative events

All concentrations must be submitted in slide form. In preparing the

Section II slides, the student should give some thought to the sequence of

the slides in the slide sheet. There is no required order; rather, the slides

should be organized to best show the development of the concentration. In

16 apcentral.collegeboard.com

2-D Design Portfolio

most cases, this would be chronological. Slides should be placed in the

slide sheet as indicated in the following diagram:

Section II, Concentration, and Section III, Breadth, may not contain

slides of the same work.

Because the range of possible concentrations is so wide, the number of

works the student creates should be dictated by the nature of the project.

The chosen topic of the concentration should be explored to the greatest

possible extent. In most cases, students will produce more than 12 works

and select from among them the works that best represent the process of

investigation. If a student has works that are not as well resolved as others

but that help show the evolution of thinking and of the work, the student

should consider including them. The choice of works to submit should be

made to present the concentration as clearly as possible.

Section III: Breadth

Rationale

Breadth in this portfolio refers to a student�s experiences and accomplish-

ments in a variety of two-dimensional art forms and techniques. Successful

works of art require the integration of the elements and principles of

design; students must therefore be actively engaged with these concepts

while thoughtfully composing their art. The work in this section should

show evidence of conceptual, perceptual, expressive, and technical range.

Requirements

For this section, students must submit a total of 12 slides of 12 different

works. Detail slides may

NOT be included. This section requires slides of 12

apcentral.collegeboard.com 17

2-D Design Portfolio

works in which the elements and principles of two-dimensional design are the

primary focus; students are asked to demonstrate that they are actively work-

ing with these concepts while thoughtfully composing their art. These works

as a group should demonstrate the student�s visual organization skills. As a

whole, the student� s work in this section should demonstrate exploration in a

variety of media and approaches. The work should demonstrate inventiveness

and the expressive manipulation of form, as well as a knowledge of color

issues and compositional organization. The best demonstrations of breadth

clearly show experimentation in approach to the work. They do not simply

use a variety of media, but combine a range of conceptual approaches, and

physical means of creating art. It is possible to do this in a single medium or in

a variety of media. The student is required to indicate on the slide the

principle or problem it addresses.

Examples:

�

W ork that employs line, shape or color to create unity or variety in a

composition

�

W ork that demonstrates symmetry/asymmetry, balance or anomaly

�

W ork that explores figure/ground relationships

�

Development of a modular or repeat pattern to create rhythm

�

Color organization using primary , secondary, tertiary, analogous or other

color relationships for emphasis or contrast in a composition

�

W ork that investigates or exaggerates proportion or scale

Slides should be placed in the slide sheet as indicated in the following

diagram:

18 apcentral.collegeboard.com

2-D Design Portfolio

Section II, Concentration, and Section III, Breadth, may not contain

slides of the same work.

3-D Design Portfolio

This portfolio is intended to address a broad interpretation of sculptural

issues in depth and space. These may include mass, volume, form, plane,

light, and texture. Such elements and concepts may be articulated through

additive, subtractive, and/or fabrication processes.

A variety of approaches to representation, abstraction, and expression

may be part of the student� s portfolio. These might include traditional

sculpture, architectural models, apparel, ceramics, three-dimensional fiber

arts or metal work, among others.

Any work that is derived from photographs, published images, and/or other

artists� works must show substantial and significant development beyond

duplication. This may be demonstrated through manipulation of the formal

qualities, design, and/or concept of the original work. It is unethical, con-

stitutes plagiarism, and often violates copyright law to simply copy an

image (even in another medium) that was made by someone else.

Section I: Quality

Rationale

Quality refers to the total work of art � the concept, the composition and

technical skills demonstrated, and the realization of the artist�s intentions.

It can be found in very simple as well as elaborate works. For this section

of the portfolio, students are asked to select examples of their best work in

which the evaluators will recognize quality and will perceive that these

works develop the students� intentions, both in concept and execution.

Requirements

For this section, students are asked to submit slides of their best five

works, with two views of each work for a total of 10 slides. They may be

separate, distinct works, or they may be directly related to one or more of

the other works submitted in this section. The second view of each work

should be taken from a different vantage point. All slides should be labeled

apcentral.collegeboard.com 19

3-D Design Portfolio

with dimensions (height x width x depth) and material. Slides should be

arranged in the slide sheet according to the following diagram:

W orks submitted in Section I may be submitted in slide form in either

Section II, Concentration, or Section III, Breadth, but

NOT both.

Section II: Concentration

Rationale

A concentration is a body of related works based on an individual�s interest

in a particular idea expressed visually. It focuses on a process of investiga-

tion, growth, and discovery. It is not a selection of a variety of works pro-

duced as solutions to class projects, or a collection of works with differing

intents. Students should be encouraged to explore a personal, central inter-

est as intensively as possible, and are free to work with any idea in any

medium that addresses three-dimensional (3-D) design issues. However,

the concentration should grow out of, and demonstrate, a plan of action or

investigation in which the student has invested considerable time, effort,

and thought. In this section, the evaluators are interested not only in the

work presented but also in visual evidence of the student�s thinking,

selected method of working, and development of the work over time.

Requirements

For this section, 12 slides must be submitted. Regardless of the content of

the concentration, the works should be unified by an underlying idea that

has visual coherence. The choices of technique, medium, style, form, sub-

ject, and content are made by the student, in consultation with the teacher.

20 apcentral.collegeboard.com

3-D Design Portfolio

apcentral.collegeboard.com 21

3-D Design Portfolio

In May , students receive all the portfolio materials; these include the

Section II envelope, with spaces for the commentary. A written commen-

tary explaining the development of the concentration must accompany the

work in this section. Students are asked to respond to the following:

1. Briefly define the nature of your concentration project.

2. Briefly describe the development of your concentration and the sources

of your ideas. Y ou may refer to specific slides as examples.

3. What medium or media did you use?

The responses themselves are

NOT graded as pieces of writing, but they pro-

vide critical information for evaluating the artwork. Thus, they should be

legible and well written, preferably word-processed, cut, and pasted in no

smaller than a 10-point font. Students should be encouraged to formulate

their responses to the first statement early in the year, as they define the

direction their concentration will take. Responses should be concise, and

extra sheets may not be attached; commentaries that exceed the

alloted space will not be read.

Examples of Concentrations

A concentration could consist of a group of independent works that share a

single theme; for example, an in-depth study of a particular visual problem

or a variety of ways of handling an interesting subject. Some concentrations

involve sequential works; for example, series of studies that lead to, and are

followed by , more finished works. If a student uses subject matter as the

basis of a concentration, the work should show the development of a visual

language appropriate for that subject. The investigation of a medium in and

of itself, without a strong underlying visual idea, generally does not consti-

tute a successful concentration. Students should not submit group projects,

collaborations, and/or documentation of projects that merely require an

extended period of time to complete.

The list of possible concentration topics is infinite. Below are examples

of concentrations. They are intended only to provide a sense of range and

should not necessarily be considered �better� ideas.

�

A series of three-dimensional works that begin with representational

interpretations and evolve into abstraction

�

A series of site-specific works that transform existing form or space

�

Abstractions developed from natural or mechanical objects

�

Interpretive portraiture or figure studies that emphasize expression and

abstraction

�

A personal or family history communicated through the content and

style of narrative or poetic assemblage

�

A series of architectural models for homes, public buildings, or monu-

ments

�

Assemblages that juxtapose the coarse and refined qualities of a material

�

A ceramic project in which wheel-thrown and hand-built vessels demon-

strate inventive thinking and proficiency with form

�

The use of multiples/modules to create compositions that reflect psycho-

logical or narrative events

�

A series of sculptures that explore the relationship between interior and

exterior space

All concentrations must be submitted in slide form. In preparing the

Section II slides, the student should give some thought to the sequence of

the slides in the slide sheet. There is no required order; rather, the slides

should be organized to best show the development of the concentration.

12 slides are required for this section. The topic of the concentration

should be explored to the greatest possible extent, but it is not necessary to

submit 12 different works. Students may submit second views of some

works, for a total of 12 slides. If a student has works that are not as well

resolved as others but that help show the evolution of thinking and of the

work, the student should consider including them. Slides should be placed

in the slide sheet as indicated in the following diagram:

Section II, Concentration, and Section III, Breadth, may not con-

tain slides of the same work.

22 apcentral.collegeboard.com

3-D Design Portfolio

Section III: Breadth

Rationale

Breadth refers to a student� s experience and accomplishments in a variety of

three-dimensional forms and techniques. The student�s work in this section

should show evidence of conceptual, perceptual, expressive, and technical

range. The student should be introduced to problems in concept, form, and

materials as they pertain to sculpture and three-dimensional design.

Requirements

For this section, students are asked to submit slides of eight three-

dimensional works, with two views of each work for a total of 16 slides.

W ork submitted in the breadth category may be additive, subtractive and/or

fabricated; may include study of relationships among three-dimensional

forms; and may include figurative, nonfigurative, or expressive objects. The

work should generally represent experience in a range of media, which

could include ceramics, metal-smithing, furniture, three-dimensional fi ber,

apparel and/or architectural and industrial design models, among others.

The best demonstrations of breadth clearly show experimentation in

approach to the work. They do not simply use a variety of media, but combine

a range of conceptual approaches, and physical means of creating art. It is

possible to do this in a single medium or in a variety of media. In this cate-

gory , relief sculptures or very small works, such as jewelry, should fully

address three-dimensional issues. The student is required to indicate

on the slide the principle or problem it addresses.

Examples:

�

Formal work that embodies line, plane, mass, or volume

�

W ork that demonstrates modular development

�

W ork that uses light or shadow to determine form, with particular atten-

tion to surface and interior space

�

W ork that demonstrates an understanding of symmetry, asymmetry, bal-

ance, anomaly, and rhythm

�

W ork that focuses on transitions, such as organic to mechanical

�

Assemblage or constructive work that demonstrates transformation of

material or identity

�

W ork that demonstrates an integration of color, texture, and form

apcentral.collegeboard.com 23

3-D Design Portfolio

Slides should be placed in the slide sheet as indicated in the following

diagram:

Section II, Concentration, and Section III, Breadth, may not con-

tain slides of the same work.

Important Information for

AP Studio Art Teachers

Because the studio art portfolios are unique within the AP program, there

is some specific information that you will need.

The AP Studio Art Poster

The poster is published each year . On the front side of it, there are repro-

ductions of student works, chosen after the completion of the previous

June� s Reading by a group of the readers. The back contains a condensed

version of the basic information in the Course Description, and is intended

for students as well as teachers. Frequently , the poster also contains

updated information about the portfolio specifications, which has

not yet been incorporated in the Course Description. Check AP

Central for new information about how to obtain posters.

24 apcentral.collegeboard.com

3-D Design Portfolio

When the Portfolio Materials Arrive at Your School

Although the portfolio materials are shipped with testing materials for

other AP subjects, the portfolio materials are not secure testing materials.

In other words, they do not have to be held in a secure place until the stu-

dents assemble their portfolios. In fact, the AP Coordinator�s Manual

states explicitly that the portfolio materials may be given to the AP Studio

Art teacher early , so that you can help students with the preparation that is

required for submission.

Originality and Integrity

The issue of artwork that makes use of photographs or other published

images needs clarification. While the use of appropriated images is com-

mon in the professional art world today, many colleges and art schools con-

tinue to stress strongly the value of working from direct observation. In

aspiring to college-level work, students who make use of borrowed images

should demonstrate a creativity and sophistication of approach that tran-

scends mere copying. This policy is clearly stated on the AP Studio Art

poster: �If you submit work that makes use of photographs, published

images, and/or other artists� works, you must show development beyond

duplication. This may be demonstrated through manipulation of the mater-

ial(s), formal qualities, design, and/or concept of the original work.� In eval-

uating portfolios, the faculty consultants look for original thinking.

Students are encouraged to create artworks from their own knowledge,

experiences, and interests.

Copying work in any medium without significant and substantial manipu-

lation is an infringement on the original artist�s rights and can constitute

plagiarism. T eachers and students are strongly encouraged to become

knowledgeable about copyright laws. The growth in the use of computer

software, scanners, xerography , and photography makes this issue of par-

ticular concern.

Universities, colleges, and professional schools of art have rigorous

policies regarding plagiarism. The AP Studio Art program endorses these

policies.

Taking Slides

All readers are experienced at looking at slides, and are willing to give stu-

dents the benefit of the doubt if slides are weak; but they can score only

what they can see. In photographing works, it is important to have the

entire image on the slide, with as little as possible of the mat or back-

apcentral.collegeboard.com 25

ground against which the work is being shot. Try to take slides throughout

the year , rather than only at the end of the year. This will make it possible

to reshoot slides if necessary , and will alleviate some of the pressure in the

spring. It is suggested that you retain duplicate copies of slides as a safety

measure.

More detailed information about taking slides can be found in the Studio

Art pages of AP Central.

Labeling Slides and Inserting Them in the Slide Sheets

Although specific instructions for labeling slides appear in the AP

Coordinator�s Manual that is sent to schools shortly before the AP exami-

nation period, much of the slide labeling can be done throughout the year,

as various works are photographed. The following information must

appear on each slide mount; it may be written by hand or typed on a

self-adhesive label.

�

The section (either II or III) in which the slide is being submitted

�

The number of the slide within the section

�

The dimensions of the work shown in the slide

�

The medium (or media) of the work shown

�

A dot on the lower left corner of the mount

�

For Section III, the principle or problem addressed by the work

The student� s name and/or the name of the school should not appear on the

slide mount.

When placing the slides in the plastic sheets, be sure to insert the slides

so that the top of the image is toward the top of the plastic sheet. The writ-

ing on the slide mount can be either vertical or horizontal � as long as it�s

legible, the direction in which it�s written is not an issue.

26 apcentral.collegeboard.com

Details/Second Views of Works

Details or second views are permitted (or required) throughout the 3-D

Design Portfolio, but are permitted only for the Concentration section of

the Drawing and 2-D Design Portfolios. Detail slides should be used only

when it is helpful for a faculty consultant to see a very close-up view of, for

example, the texture of a work. Extra slides that show only a slightly closer

view than the original slide should be omitted.

Whenever a second view or a detail slide is submitted, it should have the

same number as the slide showing the entire work, followed by an asterisk.

For example, if the student submits a detail of slide II/6 (the sixth slide in

Section II), the detail should be numbered II/6*.

Protecting Actual W ork Submitted for Section I (Quality)

Care is taken to protect each student�s actual work while it is at the site

where the evaluation takes place. However, the process of shipping to and

from ETS in itself requires that the work be protected. During the evalua-

tion process, portfolios are at times stacked flat in relatively tall piles and

the original works are, of course, taken out and put back in the portfolios

at least once. All original works should be backed with some kind of rigid

board or mounted. W ork should never be shipped under glass. Do not sub-

mit work that may still be wet, or that contains glue or other materials

that may cause it to stick to the piece on top of it. (See also the detailed

instructions on page 8 for the Drawing Portfolio and page 13 for the 2-D

Design Portfolio regarding how works are to be submitted for Section I.)

Basic Information About Portfolio Evaluation

All of the readers (the people who evaluate the portfolios) are either

AP Studio Art teachers or teachers of first-year college courses. When

they arrive, the portfolios have already been checked in and the sections

separated. Each section is scored separately, and an intensive standard-

setting session is held before the scoring of each section is begun.

Standard-setting is the process of developing a common understanding of

the scoring rubric for each section. Actual scoring does not begin until the

Chief Reader is satisfied that the readers as a group share such an under-

standing and can apply the rubric with a high degree of consistency.

Once the actual scoring begins, readers work independently and do not

see the scores that anyone else has given to the same work. Section I

(Quality) is graded by three readers; Sections II and III are each scored by

two readers. If there is a wide divergence in the scores assigned by two

readers to the same section of a portfolio, the section is pulled out and is

forwarded to two experienced readers for review and resolution of the

scores. Because of this structure, a minimum of three and maximum of

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28 apcentral.collegeboard.com

seven readers score the various parts of an individual�s portfolio. (As the

group of readers has grown over the years � to 62 people in 2001 � the

number of readers is much more likely to be at the high end than the low

end of that range.) Once the Reading is completed, the scores assigned to a

portfolio are converted to a composite raw score. The Chief Reader, in con-

sultation with technical staff from ETS and the College Board, and in light

of a detailed debriefing session with the whole group of readers, determines

the composite scores for each of the AP grades.

What Is an Irregular Portfolio?

Any portfolio that does not meet the specifications for submission is con-

sidered �irregular .� Although the specifications are deliberately flexible

enough to accommodate a huge range of work, it is expected that teachers

and students will take seriously the limits that do exist and that are spelled

out both in this Course Description and on the poster. Explanations for the

various specifications and limits appear elsewhere in this booklet. Because

of the inherent unfairness of allowing some students to bend the rules

while other students adhere to them, portfolios that are irregular are han-

dled in the following ways:

�

Extra works submitted for Section I are held aside and are not scored.

�

W orks submitted for Section I of the Drawing Portfolio or the 2-D

Design Portfolio that are larger than 18" 24" are held aside and are not

scored.

�

Original works that are submitted for Section II or Section III are held

aside and are not scored.

�

If extra slides are submitted for Section II or Section III, those that

exceed the maximum number are held aside and are not scored.

�

Actual sculpture submitted for Section I of any portfolio is held aside

and is not scored.

�

Videotapes are NOT accepted. (Slides of stills from a videotape may be

submitted in the 2-D Design Portfolio.)

�

If too few works are available for any section, the remaining works are

graded. The effect on the score given for that section (whether it is low-

ered and, if so, to what extent) is at the discretion of each reader. This is

true whether the reason for the section being incomplete is that too few

works were submitted by the student, or that some works were held

aside because they did not meet the specifications.

apcentral.collegeboard.com 29

�

Actual journals and folding books may not be submitted. They should be

photographed and submitted in Section II, Concentration, or Section III,

Breadth, of the Drawing and 2-D Design Portfolios, as appropriate, or in

any section of the 3-D Design Portfolio.

Whenever an irregular portfolio is submitted, the student�s grade report

will carry a message saying that the AP grade is based on an incomplete or

otherwise irregular portfolio. No one involved in the Reading derives any

pleasure from holding aside work that, in many cases, is obviously the

result of effort and concentration by the student. However, the basic issue

is equity . For every student who submits irregular work, there are certainly

many others who would also have liked to submit work that didn�t meet

the specifications, or who pushed themselves to create work that did meet

the specifications. The procedures outlined above are therefore carried out

uniformly and without bias.

Overlap Among Sections of the Portfolio

Slides of the same work may

NOT be submitted in both Section II,

Concentration, and Section III, Breadth. Works submitted in Section I,

Quality , may be drawn from work done for either of those two sections, or

they may be unique to Section I.

AP Studio Art Publications

T wo publications that were developed during the time of the Drawing and

General Portfolios (and before 2-D Design and 3-D Design were intro-

duced) are described below . They do not reflect the new portfolio require-

ments, but much of the information will still be valuable. Both publications

include color reproductions of student work.

Teacher� s Guide to Advanced Placement Courses in Studio Art , edited

by Maggie Davis, and published in 1996. The Teacher�s Guide contains in-

depth information about various aspects of the AP Studio Art course, syl-

labi by the teachers of seven exemplary programs that cover a wide range

of teaching situations, and full-color illustrations of student work.

Evaluating the Advanced Placement Portfolios in Studio Art , by

Michael E. Ott, published in 1995. This booklet was written by Mike Ott

during his tenure as Chief Faculty Consultant. It contains full-color illustra-

tions of student work submitted for the different sections of the General

and Drawing Portfolios, and explains what scores the work received, and

why those scores were given.

See the back of this booklet for information on how to order AP publications.

Bibliography

The following bibliography is provided to serve as a resource for ideas and

conceptual understanding. No single book or resource on this list should

be considered adequate to serve all interests or purposes. Selective reading

and research are basic tools for student training and development.

General Interest: Theory, History , World Art, and