The document provides guidance for evaluating 3D design portfolios for the Advanced Placement Studio Art exam. It outlines the three sections of the portfolio and principles of 3D design such as unity, variety, emphasis and balance. It also lists elements of design like form, texture and color. The rest of the document gives examples of student work and suggestions for what to look for, including convincing engagement with space, informed decision making, evidence of thinking and mastery of design.
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3 d portfolio explained
1. 3-D DESIGN
Sculpture is a three-dimensional
object with a message...
Painting is an object with a three-
dimensional message. Bob Brendle
2. -Section I: Quality (Selected Works)
5 works, 2 views of each
-Section II: Concentration (Sustained
Investigation) 12 images
-Section III: Breadth (Range of Approaches)
8 works, 2 views of each
The AP Studio Art
3D Portfolio
is divided into three sections.
52. Liu Jianhua “Potted Landscape” 54 x 54 x 16 cm
calder
Student “voice” can be
articulated through
successful engagement
with experimentation.
53. calder
Along with the search for meaningful use of the
elements and principles of design…
LOOK FOR “VERVE”!
54. “Ovsessive Memories” 55 x 33 x 37 cm
barbara hepworth
“VERVE” may be described as “VISUAL NERVE”
55. akio takamori
INTERIOR SPACE
…can be handled in many
ways and may
represent a
higher level of
informed
decision-making.
Sandra Nissen Linda Lighton
56. FORM AND SURFACE RELATIONSHIPS
… may speak to the integrity of intention.
72. isamu noguchi
“Mastery of design should be apparent in the
composition, concept, and execution of the artwork
whether simple or complex”.
Wood carving by Zheng Chunhui (four years to complete)
73. isamu noguchi
“Mastery of design should be apparent in the
composition, concept, and execution of the artwork
whether simple or complex”.
Cal Lane
95. 3D DESIGN??? 2D DESIGN??? DRAWING???
RADE WHAT YOU SEE, AND GRADE IT WE
Editor's Notes
Greetings… let us enter the world of 3D at this time. Over the years I have heard some Readers state that they felt less confident when scoring 3D artwork….so I have prepared this power point to illuminate the similarities between the exams.
Much like the other two exams… The exam has three sections. In the 3D exam, no actual work is shipped to the Reading. The QUALITY section will be graded digitally. In an effort to get a better feel for the three-dimensionality of the work, more details and second-views are required.
We see nearly the same Principles and Elements in each Exam, in fact in the RUBRIC many of the score descriptors follow the same thread.
These artistic points of measure EBB and FLOW in degree of importance in an effort to ADDRESS ENGAGEMENT WITH SPACE AND MATERIALS.
SO WHAT DEFINES GREAT SCULPTURE?
What makes great sculpture? BIKE CHAINS fused together to form a POOPING DOG? Nirit Levav
A CLOTHESPIN pinching the earth?
1500 chairs stacked between two buildings?
How can I compare a pooping dog to a Bernini?
We must get back to the basics of ART,… and reach for that innate CHILD-LIKE understanding.
The basics involve DESIGN… and DESIGN IS DESIGN whether 2D or 3D
BOTH 2D and 3D have many of the same issues to RESOLVE… in this case…
No form is exempt from the possibility of GOOD DESIGN.
The line between 2D & 3D is blurred… and with good reason. Design is design.
Examples from the two-dimensional presentation and LATER the DRAWING presentation focus on the same issues….including occupied and unoccupied space.
The work you find in 3D has the same qualifiers.
EMPHASIS… can be a highly sought-after ingredient to the mix …and can be achieved through different avenues…like color or proportion. don’t make it more difficult than it should be.
These issues can be explored throughmany fabrication processes (in this case) … ADDITIVE
EMPHASIS can be found in DRAWING and all forms of 2D work.
We agree that rhythm and repetition are very evident in THIS 2D work… why should it be difficult to see it in 3D?
Rhythm and repetition in THIS 3D work is equally evident.
Many different materials can be used –in this case GLASS
Evidence of RHYTHM and REPETITION can be seen in each small block of work as well as the GRID FORMAT.
UNITY THROUGH A GRID…was highlighted by Pat Lamb in her 2D presentation.
Materials can vary but the INTENT should define the work.
Materials CAN come from the dumpster
A Bronze sculpture should not be scored higher than cut cardboard tubes… simply because of the expense & elegance of the material.
Evaluate the ARTWORK as defined by the POSTER and RUBRIC whether FOUND OBJECT or CUT DIAMONDS
When used properly, the power of UNITY and VARIETY are essential tools in the artist’s toolbox.
The 2D DESIGN presentation used this Richard Estes painting as an excellent example of UNITY & VARIETY
NOW,… think 3D
Another TOOL in the artist’s toolbox is VALUE,… The sculptor creates LIGHTS and DARKS through effective use of LIGHT….
So does the 2D artist
You will see this image used in the drawing presentation to show the power of LIGHT & SHADE
Some dude named Brancusi seemed to use it well, in a soft and subtle manner…
If a painter were to paint a likeness of this sculpture, we might refer to it as a SHAPE
The 3D artist refers to it as a FORM or MASS
You can’t talk about MASS without talking about the MASTER of MASS – Bryan MASSEY!
Although there are endless types of contrast, in 3D you might find INTERIOR DETAIL that contrasts nicely with the exterior surface.
In regard to scale and proportion… sometimes size does matter.
Although, you can only grade what you see.
VARIETY can be as simple as a CHANGE OF DIRECTION as seen in the middle-upper frame…. But notice how the OTHER principles play a subordinate role in the work
VARIETY can also be found in PATTERN and LINE – principles usually associated with 2D work.
THEY ALL INTERTWINE…. In varying degrees.
ACTUAL BALANCE or VISUAL BALANCE… sometimes referred to as VISUAL WEIGHT…. play an important role in a 3D composition
Sometimes proper balance is NOT ACHIEVED
Sometimes balance is achieved through multiple forms
Texture and surface design can play a crucial role particularly when a 3D form has limited depth
TEXTURE can ENHANCE a surface but can also MAKE US SEE THINGS DIFFERENTLY.
TEXTURE can ENHANCE a surface but can also MAKE US SEE THINGS DIFFERENTLY.
HOW do I grade this? Is it 2D or 3D… If it’s in the 3D portfolio---grade what you see using what you know about the 3D principles and elements of design. If it’s in the 2D portfolio,…grade what you see using what you know about the 2D principles and elements of design
I absolutely LOVE Kimonos or a process like Saggar-firing. Those score descriptors do not appear in the rubric.
Sometimes,…student voice can be articulated through experimentation
Described as VISUAL NERVE
Sometimes the integrity of intention is just plain luck…as in the case of crystalline glazes and the raku process….but the harder I work, the luckier I get.
It’s helpful to remember that the most basic elemental form in pottery is the cylinder. Deviation from the cylinder may indicate a higher level of spatial understanding.
Sometimes a very subtle change in form can make a world of difference.
…and show evidence of more decision-making
These simple forms show spatial investigation through the use of surface design as well as unoccupied space
Note the confident but not over-bearing use of handles and rim attention
Vessels with handles show a higher level of risk-taking
And the same could be said about the use of lids
And sometimes works deviate OFF THE WHEEL into HAND BUILDING techniques
Try not to let poor image quality interfere with your score. A great photograph of the work can sometimes seduce and massage a score upward, while a poor photograph can do the opposite. Grade what you see in the artwork.
The vessel on the left has several ISSUES…. 1) foot is over-bearingly WIDE and CLUNKY in relation to the rim. 2) spherical nature…or lack of thereof causes me to question intent….I am not convinced that the form we see is the form intended. Conversely, the other vessels show purposeful decision-making.
Ahhhh. PERFECTION! Let us pause for a moment of meditation
The search for visual balance is tied to the quest for the marriage of FORM & FUNCTION
The love affair between form and function might be found in traditional forms
Or perhaps less traditional forms.
In a more traditional sense,…
Or, more inventive manner
One can never underestimate the value of SHOCK
We recall Duchamp’s SHOCKING FOUNTAIN…a 3D icon.
The image in the center is certainly technically proficient but the other works tend to address STUDENT VOICE in a more aggressive manner!
Sometimes “WORKS”
More and more installations are becoming part of the 3D portfolio
The choice of CANDY WRAPPERS as a creative solution is both provocative and an excellent use of pre-packaged design.
In a traditional manner of construction like assemblage or carving
In a traditional manner or perhaps a 3D PRINTER
Look for ART
LOOK FOR GREAT AP STUDENT 3D ART in the same way that you look for great AP STUDENT 2D ART
