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Course Syllabi for Secondary School StudentsCourse Requirements and Evaluation Rubric
AP Studio Art: Drawing Syllabus
Instructor: Mrs. Carsley Location: US Drawing and Painting Studio, Lower Level McCleary Hall Phone: 410-647-7701 ext. 2310 E-mail: M.Carsley@severnschool.com Website: http://www.perrycarsley.com/maryellenstudio/index.html Office Hours: open studio till 4pm daily, appointments encouraged Course Description: This course is designed for the self-motivated, focused and high achieving visual arts student seeking college credit for the art work which they produce while in secondary school. AP Students have successfully completed Drawing, two levels of Painting and received the permission of the AP instructor. The student and their guardian have read, signed and returned the AP Student Contract to the instructor. Each level of studio develops the student’s skills in using the elements of art and principles of design, the development of a concept, techniques with various media and creative strategies through increasingly complex visual problems. This vertical path of study provides the student the opportunity to hone their drawing abilities to create a body of work which includes all three AP portfolio components- Quality, Breadth, and Concentration. Course Objectives: The main objective of this course is to provide the student with advanced challenges in drawing through which they will develop a college level portfolio. In this process they will:
All students are responsible for maintaining their personal workspaces as well as actively participating in specific classroom maintenance tasks for the good of the overall studio environment. SketchbookRequirement: Thecreationofartisanongoing,creativedecisionmakingprocess therefore, all studio students are expected to regularly maintain a sketchbook and to have it with them at all times. This includes all weekly sketch assignments, research assignments and at least one page in which the student researches and/or visually explores their ideas for independent projects and documents them. It is the student’s responsibility to submit their sketchbook for review to the instructor each Friday. Written Assignments: Each week students will have a brief written research assignment which pertains to a specific artist, artistic period or movement, culture or alternative approach to the unit theme. Unless specified otherwise, all notes and written research assignments are to be in the student’s sketchbook. Notes and written assignments are to be written neatly and legibly. Sketches, photos, printouts and other material as necessary may be included and glued or taped into the sketchbook. The student is to look at this an opportunity for design and creative expression. This process will help relate their own work to the work being studied and create an exciting and useful visual tool for class discussions. Handouts: Students will receive instructional handouts, project specifications, unit vocabulary and evaluation rubrics. These are to be kept in the student’s sketchbook and with them each class. Material Requirements: The supplies for each project and student kits will be made available to the student. However, it is critical that the student have a minimum of their own personal favorite art supplies. The student is responsible maintaining their materials and managing their portfolio of work. Studio students should have a quiet place in which they may spread out and work on projects at home as well. The demands of the work for an AP portfolio and often for the other studio levels far exceed scheduled class time. Students are expected to complete work on their own time as necessary in order to keep class deadlines. Critiques: Critiques are a critical part of the artistic learning process. Through instructional conversations with the teacher, individual student critiques and class critiques the student learns to analyze and discuss their own artwork as well as that of their peers. All studio students are required to participate in critiques. There are three kinds of critiques: student/teacher progress (instructional, twice weekly), impromptu student/student (during class time) and formal class critiques. Upon the completion of a project each student will give a brief oral presentation of his or her own work. This presentation will include a description of their work, their creative process, influences and challenges. Their peers are expected to engage in questions and creative and constructive commentary using the project specifications sheet, the evaluation rubric and artistic vocabulary terms as guides. Specific AP Studio Requirements: All AP Students must complete all assigned work. Submission of the portfolio is mandatory. The AP Drawing Portfolio has three sections:
Class Activity and Assignment Schedule Summer Work: A summer portfolio to be presented to first day of class in the fall semester. Please see Portfolio Building Goals in the Reference section of this site. Work created over the summer may be included in your Breadth portfolio section. You may choose to make your works on your own, in a class or camp that you may chose to attend or from the options presented throughout the summer on my summer AP art blog. (Reference section) These works should be well made and portfolio-quality. You are encouraged to explore and experiment. Media, technique, and size are your choice. Works from previous classes or works created prior to the upcoming summer will not be accepted. • A summer sketchbook to be presented at the time of the summer portfolio. Artists draw. Works in the sketchbook need not be refined, but should be reflective of the desire and habit to create that is innate in all artists. Your sketchbook should be your companion to sketch in, scrapbook in, research in, and journal in throughout the summer. It is highly recommended that you research some of the artists listed at the end of the course syllabus or presented to you through the summer on the blog and record your research in your sketchbook. • A visit to at least one museum or gallery. This can be documented in your sketchbook. Please see the attachment in your AP email titled "You made it to an art museum..." for guidance. • An online portfolio for your summer work. Make a new page for AP Summer Work on your Weebly, and share the link with me. You will be expected use the website to share your in-progress shots and finished works. • Read one book about an artist or his or her work that inspires you. Please refer to some of the artists listed at the end of the course syllabus or presented to you through the summer on the blog. You will be asked to discuss this book at the beginning of the semester and throughout. Remember with each assignment think and analyze how you are designing your piece. Make simple sketches of your ideas before or as you create. Use the elements and principles of art, while you design and manipulate your media and materials. Make decisions as you design, critique and assess your work during the process. If you would like to send to me a digital photo through email, we can discuss your work or any questions or concerns you may have along the way throughout the summer. Fall Semester: Some units will take two-four weeks.. Specific projects, assignments, quizzes and their respective due dates will be posted weekly on the studio assignment board and the instructor’s website. All research, sketches and assignments for projects and the concentration are to be in the student’s sketchbook. Sketchbooks will be checked every Friday. The fall semester will focus on assisting the student in meeting the Breadth requirements for the AP portfolio. This means the assigned work will focus the student on exploring a variety of different visual concepts and demonstrate a range of their creative abilities through versatile and creative use of media, techniques, problem solving and ideation. Prior to the Thanksgiving Break, each student is to submit 3 possible Concentration themes. Each proposal is to be a 3-5 paragraphs outlining their idea, potential lines of exploration and research and artistic influences. The student will meet with the instructor during class time as well as participate in an open class discussion to review their project and sketchbook work in order to determine which theme will be their focus. Each student will submit a final proposal for their concentration, which will include a plan of action, at the fall semester exam time. Visualizing the Creative Process Handmade Sketchbook Cover Design and Material Selection Expressive Line Drawing and Conceptual Line Drawing Exploration of Positive and Negative Space Gesture Drawing Observational Drawing Exploration of form and texture Organic Forms, exploration of plant, bone, shell and fossil forms Geometric Forms, mechanical objects Personal History Still Life Create a still life of objects that have meaning and reveal your inner self. Use dramatic lighting. Draw in b/w medium in three perspectives: one a “conventional” perspective, the other in which the still life becomes landscape and lastly from an unexpected point of view. Using color, texture and line to communicate your emotions paint the still life in the point of view of your choice. Perspective and Color Creating Psychological Space Using a room that you are familiar with explore the themes of Habitation and Abandonment. Use b/w, monochrome and one other color scheme for each perspective. Explore how color and point of view can communicate to and engage the viewer. Three Small Landscapes Exploration of realistic, abstraction and surrealistic approaches Visual Communication and Meaning The Tool Choose six instruments or tools. Create six images in the medium of your choice of each. Create three images which combine these objects. In your images, describe their use, their assemblage. You may use graphic symbols existing or of your own creation but, no words. Evolution as a theme Choose a process e.g. a seed sprouting, a flower unfolding. There should be at least five steps in the process. Medium is your choice. The process of growth, revelation what ever it is should also be reflected in your use of the medium, color and light. Composition is of the utmost importance since the viewer’s eye must be led through the piece. Concept and Composition Artistic Anatomy Three Self-Portraits 3 different mediums and 3 different approaches in line and color Narrative Portraits Choose three main characters from a play or book you have read and create a portrait of each. The medium is your choice. The three portraits should be visually and thematically related. Human Figure Intimate Portrait, everyday life 2 images Dry and Wet Medium Concentration 3-5 small and fast works on various themes Preliminary Proposal Instructor Meeting Theme Selection 10 sketchbook pages reflecting your though process regarding your concentration. Includes sketches, notes, collage, photos, color work, ect. Final Proposal and Plan of Action Spring Semester: The Spring Semester focus will be on completion of the Concentration, photographing and assembling the final portfolio for on-line submission at the end of the first week in May to the College Board. Students must meet all required weekly progress deadlines and submit a complete portfolio for a passing grade. Each Friday the student will be required to present their progress for the week in an informal class critique. Each student will receive a progress grade for their work every week as they move toward completion of their Concentration. Students’ Plan of Action as determined in their Final Concentration Proposal will determine personal milestones for the completion of the individual works. Portfolio Review Schedule: (exact dates TBA) Initial Portfolio Review: Second week of January First Slide Review: Second Week of February Mid-Term Portfolio Review: Third Week of March Final Portfolio Review: Last Week of April Final Portfolio Assembly: First Week of May Recommended Student Resources: School Library and the Studio Library, be sure to check the reference and oversized sections for artist’s monographs, also the library subscribes to ArtNews, International Artist’s Magazine and Scholastic Art Magazine as well as Smithsonian Magazine. Text (recommended summer reading): Van Gogh’s Letters (any editions) Rilke’s Letters to a Young Artist (free downloads are available) Odilion Redon’s “To Myself” Michelangelo: Life, Letters, Poetry, Oxford World Classics Edition Any artist’s biography or autobiography The Zen of Seeing, by Frederick Franck The Griffin & Sabine Trilogy, by Nick Bantock How to Draw the Marvel Comic Way, Stan Lee Michelangelo and the Pope’s Ceiling, Ross King The Art Spirit, Robert Henri On Spirituality in Art, Vassily Kandanski Reference Text (not required): Drawing to See, by Nathan Goldstein and Harriet J. Fishman Animal Anatomy, Charles Knight Artistic Anatomy, Robert Beverly Hale Drawing the Old Master Way, Robert Beverly Hale Recommended websites: Google Art Project (Google Art and Culture) www.louvre.fr www.nga.gov www.nationalgallery.org.uk www.metmuseum.org www.artcyclopedia.com Instructor’s Bibliography: AP Central www.apcentral.collegeboard.com AP Studio Art Poster, New York: The College Board, 2017. AP Studio Art Teachers Guide, New York: The College Board, 2017. Studio Thinking 2, Lois Hetland, et. al. Drawing Basics, Jacklym St. Aubyn, Wadsworth Thomson Learning. Drawing Space, Form and Expression, Wayne Entice, Melody Peters, Pearson Prentice Hall. The Art of Drawing, Bernard Chaet, Wadsworth Thomson Learning Classical Painting Atelier, Juliette Aristides Traditional Oil Painting, Virgil Elliott Alla Prima, Al Gury History of Modern Art, H.H. Arnason, Abrams. A Basic History of Art, H.W. Janson, A.F. Janson, Prentice Hall Inspiring Artists in addition to ones listed in above works: Note: Don’t forget your find its! And previous project board research artists. Is there someone you would like to revisit and study in more depth? Giorgio Vasari Claudio Bravo Michelangelo John Nava Georgia O’Keefe Artemisia Gentileschi Raphael Hiroshiga Helen Frankenthaler J.M.W. Turner Eishi John Constable Joaquin Sorlla Josef and Annie Albers Albrecht Durer Audrey Flack Thomas Hart Benton Egon Schiele Gustav Klimt Alphonse Mucha Jean-Honor Fragonard AP Contract: Student: I have read and understand the AP Syllabus and the requirements. I commit to completing the work to the best of my abilities. ___________________________ _______________________ Signed Date Guardian: I have read and understand the AP Syllabus and the requirements. I commit to supporting my AP student and her/his work to the best of my abilities. ___________________________ _______________________ Signed Date |
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Introduction to Western Architecture and Aesthetic Philosophy SyllabusBuilding Utopia: An Introduction to Western Architecture and Aesthetic Philosophy
Instructor: Mrs. Mary Ellen Carsley, M.A. Johns Hopkins University; B. Arch and B.S. Catholic University; Visual Arts Coordinator at Severn School. Contact: m.carsley@severnschool.com Websites: http://www.perrycarsley.com/maryellenstudio/index.html http://mrscarsleysapdrawing.weebly.com/blog Google Plus Architecture and Aesthetics Blog The Big Question: What motivates humanity to shape their environment the way they do? The Promise: You will have a deeper understanding of the design process, what shapes it, and the role of Beauty in the built environment. Utopia, “a good place,” as defined by the Greeks, is a term coined by Sir Thomas More referring to a fictional ideal island society. The act of intentionally shaping one’s environment to be “a good place” modeled after sustainability, economy, and delight is a uniquely human endeavor. This semester long study examines the course of Western Architecture from the Ancient Egyptians to the 21st century through the lens of the primary philosophic ideas that have been the drivers of aesthetic vision of Western civilization architecture through the ages. The course will offer an introduction to design principles, the visual language of architecture, and design analysis. The necessities, desires, and spiritual beliefs which go into the shaping of a culture’s aesthetic vision of their ideal built environment will be examined. "We shape our buildings: thereafter they shape us." - Winston Churchill Expectations: You are required to conduct yourself in class with compassion, clarity, consistency, a maintain a creative and open mind. Class discussions will use the “Ladder of Feedback” model. Please see reference sheet.Please be timely and communicate with the instructor at least 48 hours in advance should a change in schedule or deadline be required. Materials Requirements: All readings and reference sheets will be posted through Google Docs shared folder. Basic school supplies: notebook or sketchbook, tape, school glue, white paper, pencil, ruler, compass, scissors and/or Xacto type craft knife, architect’s scale. Grading Policy: Projects: 100 points Research Assignments: 20 points Reading and Vocabulary Assignments: 20 points Sketch Assignments: 20 points Critique: 20 points Engagement: 20 points What is engagement? Please see reference sheet. Unit Assignments, Projects, and Readings: Unit 1: Forming the Human Universe: Mark Making and the Necessity of Shelter. Let’s explore: Who do we build for and why do we build the way we do? What we will learn: 1. Introduction to Elements of Art and Basic Shelter references: Elements of Art Reference Sheet, Early Architecture and Shelter Presentation. 2. Space Zoning: Public, Invited, and Private Spaces reference: Space and Zoning Examples Presentation 3. Parts of the Building references: Parts of the Building Presentation and reference sheet. Link to Constructing Simple Shelters with Simple Structures and Early Architecture reference sheets. What we will do: Introductory Video: You and Your Spaces (20 points) Who is Your Client: refer to sample write up. (20 points) Home Making 101 with presentation video (20 points) Create a Real Estate Ad (20 points) Reading and Discussion: Questions and Vocabulary (20 points) refer to reading “On Architecture” Aesthetic Appreciation Crash Course video #30 Sketchbook Project: Object Evolution (20 research+20 sketch+20 critique+20 engagement/craftsmanship+20 complete) Unit 2: Creativity and Humankind: Beauty Defined and the Building of Civilizations Let’s explore: What is The Beautiful and why do we try to create beautiful buildings? What we will learn: 1. The Architectural Elements and Properties of Architectural Forms references: Architectural Elements and Properties, Types and Transformations of Form in Architecture Presentation, Chapter 1 and 2 of Francis D.K. Ching’s Form, Space and Order, Elements and Form Worksheets. 2. Visual Communication Tools of Architects references: Drawing Orthographically Reference Sheet, Scale Worksheet, Understanding Architectural Dimensioning Worksheet. 3. Elements, Forms, and Design Concepts of the Ancient Egyptians. references: Ancient Egyptian Architecture Reference Sheet, Building the Great Pyramids for Egypt Reference Sheet, White Board Egyptian Architecture Reference. What we will do: Create an Architectural Form and Properties Presentation (20 points) Form Worksheet (20 points) Elements Worksheet (20 points) Architectural Dimension (20 points) Reading and Discussion: Questions and Vocabulary (20 points) “Aesthetics What Good is It?” Crash Course video #30 refer to David Macauley video “Pyramid” Sketchbook Project: Build A Pyramid of Giza (20 research+20 sketch+20 critique+20 engagement/craftsmanship+20 complete) Unit 3: Immortality and the Gods: Building for the Greater Glory Let’s explore: What are the foundations of Western Classical Architecture and Aesthetics What we will learn: 1. Form and Space: The Unity of Opposites references: Form and Space Presentation, Relationship of Building to Space Strategies Reference Sheet, Form and Space Worksheet. 2. Origins Of Western Sacred Space: The Greek Temple or How Sex, Drugs, and Bloody Sacrifice Became Sacred Rites. references: Parthenon Presentation, The Greek Temple and Column Reference Sheets. 3. Fundamentals of Urban Planning or Why Every Great Empire Should Start with a Really Great City. references: Roman Architecture Reference and Worksheets. What we will do: Create a Presentation of Form to Space Strategies (20 points) Form and Space Worksheet (20 points) Design Your Own Column Exercise with Column Worksheet (20 points) Reading and Discussion: Questions and Vocabulary (20 points) refer to reading “Ancient Aesthetics” refer to excerpts from Vincent Scully’s “The Earth, The Temple, The Gods” refer to David Macauley video “City” Sketchbook Project: Design Your Own Urban Civic Space (20 research+20 sketch+20 critique+20 engagement/craftsmanship+20 complete) Unit 4: Getting Perspective: Perfect Geometry in Design and Building in the Humanist and Rational World Let’s explore: What is the Relationship Between Geometry, Architectural Design, and Beauty What we will learn: 1. Organizations of Form and Space references: Organizations Form and Space Presentation and Reference Sheet 2. The Gothic Cathedral references: Gothic Cathedral Presentation, Gothic Cathedral Worksheet. 3. Perspective and Renaissance Architectural Proportion references: Perspective and Gothic Architecture Reference and Worksheets What we will do: Create an Architecture Organizations Presentation (20 points) Parts of the Cathedral Worksheet (20 points) Create Gothic Decorative Architectural Elements Exercise (20 points) Reading and Discussion: Questions and Vocabulary (20 points) refer to reading “Medieval and Renaissance Aesthetics” refer to School of Life video “The Renaissance” refer to TED Talk Siamak Hariri “How Do You Build a Sacred Space?” Sketchbook Project: Design Your Own Sacred Space (20 research+20 sketch+20 critique+20 engagement/craftsmanship+20 complete) Unit 5: Power and Production: Society and the Machine Let’s explore: Why and How We Build Taller and Taller Buildings. What we will learn: 1. The History the Skyscraper and How the Industrial Revolution Made it Possible. references: History of Skyscraper in America Presentation and Reference Sheet 2. Basic Structures and Building Techniques in the Modern Age references: Structures and Building Techniques Presentation What we will do: Create Presentation of Your Favorite Skyscraper (40 points) Create Your Building Tall Video (20 points) Reading and Discussion: Questions and Vocabulary (40 points) refer to reading Friedrich Schiller “On the Aesthetic Education of Man” refer to excepts from Italo Calvino’s “Invisible Cities” refer to TED Talk Justine Davidson “Why Glass Towers are Bad for Cities and What We Need Instead” refer to”Building the Skyscraper” video Sketchbook Project: Design Your Own Skyscraper (20 research+20 sketch+20 critique+20 engagement/craftsmanship+20 complete) Unit 6: Modern Utopia and the Architect’s Vision: Shaping an Individual World Let’s explore: How Home Became Modern Utopia What we will learn: 1. Modern Architecture and Its Vision for Humanity references: Modern Architecture Presentation and Reference Sheet 2. Frank Lloyd Wright and Utopia Gone Wrong references: Frank Lloyd Wright Presentation What we will do: Create Presentation of Average Homes Around the World (40 points) Sears and Robuck Home Comparison Exercise (20 points) Reading and Discussion: Questions and Vocabulary (20 points) refer to reading Introduction to Modern Aesthetics refer to excerpts from Frank Lloyd Wright’s “The Natural House” refer to TED Talk Thom Mayne “How Architecture Can Connect Us” Sketchbook Project: Design Your Usonian Home (20 research+20 sketch+20 critique+20 engagement/craftsmanship+20 complete) Unit 7: Back to the Future: Palimpsest and Irony Let’s explore: Beauty and Architecture Today and Hazard a Guess About Their Future What we will learn: 1. Postmodernism & Philosophy or How Linguistic Theory Became Architectural Theory references: Postmodernism and Philosophy Presentation and Reference Sheet 2. The Fountainhead and Complexity and Contradiction: Image and Reality of the Architect and the Architectural Process. references: Presentation with Graphic Standards and Building Code Summary What we will do: Create Presentation of from Around the World that Inspire You with Wonder(40 points) Reading and Discussion: Questions and Vocabulary (20 points) refer to excerpts from Robert Venturi’s “Complexity and Contradiction in Architecture" refer to reading Introduction to Contemporary Aesthetics refer to TED Talk Moshe Safdie “Building Uniqueness” Sketchbook Project: Design a Chair (20 research+20 sketch+20 critique+20 engagement/craftsmanship+20 complete) Course Bibliography: (You are NOT required to purchase these texts, all readings will be supplied on line through digital classroom) |