Drawing
Overview
The Drawing Portfolio is intended to address a very broad interpretation of drawing issues and media.
Line quality, light and shade, rendering of form, composition, surface manipulation, the illusion of depth and mark-making are drawing issues that can be addressed through a variety of means, which could include painting, printmaking, mixed media, etc .
Abstract and observational works may demonstrate drawing competence . The range of marks used to make drawings, the arrangement of those marks, and the materials used to make the marks are endless . There is no preferred (or unacceptable) style or content .
Any work submitted in the Drawing Portfolio that incorporates digital or photographic processes must address issues such as those listed above . Using computer programs merely to manipulate photographs through filters, adjustments or special effects is not appropriate for the Drawing Portfolio .
Links to student work in the Drawing portfolio can be found on AP Central at http://studioartportfolios.collegeboard.org/
Section I: Breadth
Demonstrate an understanding of a wide range of drawing concerns: drawing from observation, work with invented or nonobjective forms, effective use of light and shade, line quality, surface manipulation, composition, various spatial systems and expressive mark-making .
Students must therefore be actively engaged with these concerns while thoughtfully composing their art . The work in this section should show evidence of conceptual, perceptual and expressive development, as well as technical skill; thus, the student’s work should demonstrate a variety of drawing skills and approaches.
You will submit a total of 12 digital images of 12 different works. Details may not be included.
All images should be labeled with dimensions (height 3 width) and material .
As a whole, the student’s work in this section should demonstrate exploration, inventiveness, and the expressive manipulation of their work, as well as knowledge of compositional organization .
The best demonstrations of breadth clearly show experimentation and a range of conceptual approaches to the work . It is possible to do this in a single medium or in a variety of media . When a student chooses a single medium — for example, if the portfolio consists entirely of charcoal drawings — the work must show a range of approaches, techniques, compositions and subjects .
An enormous range of possibilities exists for this section!
Section II: Concentration
A concentration is a body of related works that demonstrate a student’s commitment to the thoughtful investigation of a specific visual idea . It is not a selection of a variety of works produced as solutions to class projects or a collection of works with differing intents . Students should be encouraged to explore a personal, central interest as intensively as possible; they are free to work with any idea in any medium that addresses drawing issues . The concentration should grow out of the student’s idea and demonstrate growth and/or discovery through a number of conceptually related works . 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.
For this section, 12 digital images must be submitted, some of which may be details. All images should be labeled with dimensions (height 3 width) and material. Regardless of the content of the concentration, the works should be unified by an underlying idea that has visual and/or conceptual coherence . The choices of technique, medium, style, form, subject and content are made by the student, in consultation with the teacher .
The Concentration section includes spaces for a written commentary describing what the concentration is and how it evolved, which must accompany the work in this section . Students are asked to respond to the following:
1 . Clearly and simply state the central idea of your concentration
2 . Explain how the work in your concentration demonstrates your intent and the exploration of your idea . You may refer to specific images as examples .
Although the responses themselves are not scored as pieces of writing, they provide critical information for evaluating the artwork . Thus, they should be well written . Students should be encouraged to formulate their responses to the first question early in the year, as they define the direction their concentration will take . Responses should be concise; the space available for them in the Web application is generous, but the number of characters that can be typed is limited . Responses should be focused on the information requested . Longer responses are not necessarily better than shorter ones.
For this section, 12 digital images must be submitted, some of which may be details. All images should be labeled with dimensions (height 3 width) and material. Regardless of the content of the concentration, the works should be unified by an underlying idea that has visual and/or conceptual coherence . The choices of technique, medium, style, form, subject and content are made by the student, in consultation with the teacher .
The Concentration section includes spaces for a written commentary describing what the concentration is and how it evolved, which must accompany the work in this section . Students are asked to respond to the following:
1 . Clearly and simply state the central idea of your concentration
2 . Explain how the work in your concentration demonstrates your intent and the exploration of your idea . You may refer to specific images as examples .
Although the responses themselves are not scored as pieces of writing, they provide critical information for evaluating the artwork . Thus, they should be well written . Students should be encouraged to formulate their responses to the first question early in the year, as they define the direction their concentration will take . Responses should be concise; the space available for them in the Web application is generous, but the number of characters that can be typed is limited . Responses should be focused on the information requested . Longer responses are not necessarily better than shorter ones.
Section III: Quality
Quality refers to the mastery of drawing issues that should be apparent in the concept, composition, and execution of the works, whether they are simple or complex.
For this section, students are asked to submit five actual works in one or more media. Students should carefully select the works that demonstrate their mastery of drawing issues . The works should be on flat surfaces, such as paper, cardboard, canvas board or unstretched canvas .Students receive all the portfolio materials for submission of the Quality section in May . Because of limitations imposed by the shipping and handling of the portfolios, work submitted for this section must fit easily into the portfolio envelope, which is approximately 18" 3 24" . Works for Quality that are smaller than 8" 3 10" should be mounted on sheets that are 8" 3 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 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 . Works should not be rolled, framed, folded or covered with glass or Plexiglas .
The works submitted may come from the Concentration and/or Breadth section, but they do not have to. They may be a group of related works, unrelated works or a combination of related and unrelated works.
For this section, students are asked to submit five actual works in one or more media. Students should carefully select the works that demonstrate their mastery of drawing issues . The works should be on flat surfaces, such as paper, cardboard, canvas board or unstretched canvas .Students receive all the portfolio materials for submission of the Quality section in May . Because of limitations imposed by the shipping and handling of the portfolios, work submitted for this section must fit easily into the portfolio envelope, which is approximately 18" 3 24" . Works for Quality that are smaller than 8" 3 10" should be mounted on sheets that are 8" 3 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 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 . Works should not be rolled, framed, folded or covered with glass or Plexiglas .
The works submitted may come from the Concentration and/or Breadth section, but they do not have to. They may be a group of related works, unrelated works or a combination of related and unrelated works.