|
|  | 2-D Design: Quality -- Section I
The student works displayed on this page are reproductions of actual works submitted by students in June 2007.
All of the samples here were chosen because they clearly represent different points on the scoring scale for Section I, Quality. In the course of the AP evaluation, each section of the portfolio is scored on a six-point scale. Once the evaluation is complete, the various scores assigned to each student's portfolio are combined and transformed into the final AP grade of 1-5. The requirement for Section I of all three Studio Art portfolios is five pieces.
Each group of works is accompanied by a brief rationale for the scores awarded to the works. We greatly appreciate the generosity of the students who have agreed to share their works in this way.
Click an image to view a larger version.
Portfolio 1: Robert Andres, Montclair High School, Montclair, NJ
Score: 6
Each of the works submitted in this portfolio exhibits an inventive and confident articulation of the elements and principles of art. The two fashion studies demonstrate an effective use of materials—in this case design markers—and show exceptional technical ability. There is a subtle sophistication in the attention to all aspects of both the clothing and accessories. In images 3 and 4, the student has successfully integrated the partial figure within imaginative compositions. In both of these works the space has been carefully and deliberately broken up in an experimental manner. Image 5, a portrait, shows the student’s ability to render from direct observation with a confident and sensitive use of line and shape.
Portfolio 2: Evan Muñoz, Plainview–Old Bethpage JFK High School, Plainview, NY
Score: 5
Graphic design, informed here largely by the medium of photography, creates a strong presentation in three of the drawings within this portfolio. The intersection of drawing and design result in a fusion that enables the supportive roles of perspective, movement, rhythm, emphasis, and repetition to be anchored through vibrant color and varied rectangular shapes. The hatch-marked drawing of objects is a complementary selection that expands the breadth of what the student has accomplished. Tonal qualities, repetitive lines, and emphasis in this drawing reflect a good understanding of the principles of design. Such accomplishments are potentially attainable in the final piece, which attempts to explore contrast through the use of white pencil on black paper.
Portfolio 3: Victoria Kanicka, J.J. Pearce High School, Richardson, TX
Score: 4
Pattern, texture, repetition, and color resonate within each of the works submitted in this portfolio. Each of these pieces exhibits a conscious and informed use of design elements and principles. Still, there is an apparent awkwardness with regard to some technical aspects. In images 2 and 3, the student creates successful compositions by juxtaposing a variety of images within the format. The deliberate application of paint in these two pieces, as well as the sensitivity to color, serve to unify the juxtaposed images. However, the delineation of figures and animals is somewhat incorrect. This is also apparent in image 5, where the young girl watches the group that is dancing. In the flower still life (image 1) the surface is richly activated by the stippled layers of colors, but the forms are rather simplistic. Image 4, a collage that references the style and iconic images of several artists, is not as successfully composed as the previous examples.
Portfolio 4: Saby Osorio, Hallandale High School, Hallandale Beach, FL
Score: 3
This portfolio presents a variety of explorations of two-dimensional media. This 2-D portfolio includes line drawings, photographic abstractions, architectural renderings, and other mixed media. However, these works do not always demonstrate effective use of the elements of two-dimensional design (line, shape, color, value, texture, space) to explore design principles like unity/variety, balance, emphasis, contrast, rhythm, repetition, etc. For example, the Mondrian-like organization of space in image 2 presents color and line as a unifying element that is not fully achieved. The drawing of the in-line skate (image 1) offers a variety of inviting lines that could be pushed even more to define the textures hinted at within the body of the skate and to clarify perspective. The two-point perspective architectural rendering (image 3) effectively uses lines implied to converge on the vanishing points. When lines are unintentionally askew, however, they distract from the artist’s intent.
|
Course Home Pages