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2 d portfolio explained
- 1. Advanced Placement 2D Design What is It? Funny you should ask…..
- 2. Visual Organization “Design is essentially the opposite of chance.” Design Basics, Lauer and Pentak Stuart Davis, Deuce, 1954, Oil on Canvas, 26 in. x 42 1/4 in
- 3. 2D Design • Purposeful decision making about using the Elements and Principles of Design in an integrative way. • A demonstration of the understanding of Design Principles as applied to a physical or virtual 2D surface (possibly even a 3D Surface.)
- 4. Section I: Quality (Selected Works) 5 actual designs 18”x 24” or smaller Section II: Concentration (Sustained Investigation) 12 images Section III: Breadth (Range of Approaches) 12 images The AP Studio Art 2D Design Portfolio is divided into three sections
- 5. The elements cannot stand alone but must be activated by a principle. “… for design needs to be seen from the outset as an organic whole, not as a series of unrelated compartments.” Norman Newton Harvard Graduate School of Design US Army Air Force Monuments, Archives and Fine Arts Officer
- 6. What will you see in 2D Portfolios? Any process, any medium, including but not limited to: Graphic Design Fashion Design Cartoons Digital Imaging Illustration Product Design Photography Painting Mosaics Quilts Collage Architectural Design Calligraphy Drawing Fabric Design Printmaking Manga Weaving Stills from Video/Film Etc.
- 7. So how do we know it is 2D? • We look at the intent of the student artist. • We use our 2D lens to view the work.
- 8. Representational Thomas Hart Benton, Frankie and Johnny,1936, Lithograph, 16 1/8” x 22 1/8”
- 9. Nonrepresentational Mathew Shelton, Litter Drawing, Mixed Media Collage, 2634 x 3490
- 10. Pictorial/Flat Compositions Edward Weston, Pepper No. 30, 1930, Gelatin Silver Print, 9 ½” x 7 ½” Piet Mondrian, Tableau No. 2/Composition No. VII, 1913, Oil on Canvas, 41 1/8“ x 44 ¾ “
- 11. Interactive Compositions Bridget Riley, Current, 1964, Emulsion on Cardboard, 148 x 149 cm
- 12. Principles • Unity/Variety • Balance • Emphasis • Contrast • Rhythm • Repetition • Proportion/Scale • Figure/Ground Relationships
- 13. Unity by Proximity Janet Fish, June, 1999, Oil on Canvas, 42” x 70”
- 14. Unity by Continuation Balthus, The Living Room, 1941-43, Oil on Canvas, 44 ½” x 57 ¾”
- 15. Emphasis by Continuity AP Student Example, 2011
- 16. Unity through a Grid Awa Tsirch, Animal Designs, 1917-20, Watercolor on Paper, 20 1/16 x 26 1/8”Robert Rauschenberg, Soviet/American Array V, 1988/90, 224 x 135.9 cm
- 17. Unity Though a Grid AP Student Examples, 2011
- 18. Unity with Variety Richard Estes, Jone’s Diner,1979, Oil on Canvas, 92.7 x 121.9 cm
- 19. Emphasis by Isolation Sarah Cheng-De Winne, Photography
- 20. Emphasis by Focal Point AP Student Example, 2011
- 21. Emphasis by Placement Jan Vermeer, The Kitchen Maid, 1660, Oil on Canvas, 45.5 x 41 cm
- 22. Emphasis by Placement AP Student Examples, 2011
- 23. Emphasis on the Whole Lee Krasner, Composition, Oil on Canvas, 1949, 38 1/16” x 27 13/16”
- 24. Emphasis on the Whole AP Student Examples, 2011
- 25. Emphasis of One Element Kohn Rieben, A is the First Letter of the Alphabet, 1966, Screenprint, 50” x 35”
- 26. Contrast of Intensity Karen Heagle, St. Francis in Ecstasy (Jude Law), 2003, Oil on Panel with Gold Leaf, 41” x 45”
- 27. Contrast of Color Sarah Cheng-De Winne, Photography
- 28. Contrast of Color AP Student Examples, 2011
- 29. Contrast of Shapes Laszlo Moholy-Nagy, A II, 1924, Oil on Canvas, 45 5/8 x 53 5/8”
- 30. Contrast of Shapes AP Student Examples, 2011
- 31. Rhythm/Repetition Movement of the viewer’s eye across motifs using sequences and patterns providing the repetition inherent in the idea of rhythm.
- 32. Rhythm by Pattern/Sequence William and Steven Ladd, Rolled Cotton Twill
- 33. Rhythm by Pattern Nine Patch: Straight Furrow, 1875, Cotton, 75” x 73 “ Veronica Fitzgerald, Untitled, 1865, 1024 x 1024
- 34. Proportion and Scale Rene Magritte, Les Valeurs Personnelles, 1952, Oil on Canvas , 31 ½” x 39 3/8”
- 35. Miniature Scale Reference Limbourg Brothers, Les Tres Riches Heures du Duc de Barry: May, circa 1416
- 36. Exaggerated Scale Shepard Fairey, Peace Elephant Mural, West Hollywood Library, 2011, 70’ x 106’
- 37. Exaggerated Scale AP Student Examples, 2011
- 38. Symmetrical Balance Mola, Panama, Fiber, Dye, Cotton Fabric, 38.5 cm x 45 cm
- 39. Symmetrical Balance AP Student Example, 2011
- 40. Asymmetrical Balance Alex Katz, The Red Band, Screenprint, 1979, 54 ¾” x 36 ¼”
- 41. Asymmetrical Balance AP Student Example, 2011
- 42. Radial Balance Alma Woodsey Thomas, Resurrection, 1966, Acrylic on Canvas, 36” x 36”
- 43. Radial Balance AP Student Examples, 2011
- 44. Figure Ground Relationship Toyin Odulata, Rather than Look Back she Chose to Look At You, 2011-13, Pen Ink and Marker on paper, 65” x 36” Toyin Odulata, LTS III, 2014, Pastel and Marker on Board, 32” x 40”
- 45. Elements • Line • Shape • Color • Value • Texture • Space
- 46. Line Describes Form Alice Neel, Pregnant Woman, 1971, Oil on Canvas, 40” x 60”
- 47. Line Describes Shape AP Student Examples, 2011
- 48. Line Conveys Mood AP Student Examples, 2011
- 49. Line Creates Light and Dark John Adelman, Inventory, 2011, Gel Ink on Paper, 19 ½ “x 16 ½” John Adelman, 8960, 2013, Gel Ink on Paper, 27” x 24”
- 50. Line Creates Value Kenny Jones, Small Instabilities, Ink on Panel 24” x 36”
- 51. Line Creates Value AP Student Examples, 2011
- 52. Arbitrary Shapes AP Student Examples, 2011
- 53. Positive and Negative Shapes AP Student Examples, 2011
- 54. Value Suggests Space Watie White, Regresso in Utero, Woodcut, 36” x 72”
- 55. Value Suggests Space AP Student Example, 2011
- 56. Variation in Value AP Student Examples, 2011
- 57. Value used as Focal Point Josh Faught, Rites of Passage, 2011, Fiber Collage on Linen, 64 x 42” AP Student Example, 2011
- 58. Value to Suggest Space AP Student Example, 2011
- 59. Texture Creates Mood AP Student Examples, 2011
- 60. Illusion of Space Michael Schlicting, Out of the Studio, Acrylic, 32” x 28” Carl Lemmers, Landscape with Hats, 2014, Photography, 80 x 88 cm
- 61. Illusion of Space/Depth AP Student Examples, 2011
- 62. Illusion of Space AP Student Example, 2011
- 63. Overlapping Lari Pittman, Palace, 2006, Cel Vinyl and Enamel on Gessoed Canvas, 102” x 86” Radcliff Bailey, Far Beyond the Valley, 2003, Mixed Media on Wood, 79 x 601/4 “
- 64. Overlapping AP Student Example, 2011
- 65. Perspective AP Student Examples, 2011
- 66. Point of View AP Student Examples, 2011
- 67. Spatial Puzzles MC Escher, Convex Concave, 1955, Lithograph, 335 x 275 mm
- 68. Illusion of Motion Thomas Eakins, Double Jump, 1884, Gelatin Silver Print
- 69. Color Creates Depth AP Student Examples, 2011
- 70. Schematic Color Complementary Analogous AP Student Examples, 2011
- 71. Color Dominance AP Student Example, 2011Carrie Reeder, Left Behind, Oil on Canvas, 30” x 40”
- 72. Color and Balance AP Student Examples, 2011
- 73. Emotional Color AP Student Examples, 2011
- 74. Symbolic Color Thornton Dial, Don’t Matter How Raggly the Flag It Still Got to Tie Us Together, 2003, Salvaged Objects, Mixed Media, 71” x 114” x 8”
- 75. Advanced Placement 2D Design What is It? Funny you should ask….. a few answers….
Editor's Notes
- Design can be defined as visual organization. Davis's blaring colors, geometric shapes, and bold lines exemplify visual organization.
- We define 2D Design as the ………. This definition is taken from the AP Studio Art poster, which is the contract we have with high school students.
- The AP Studio Art Drawing Portfolio is divided into three sections. Section I Quality-five actual works that best demonstrate the student’s understanding of and engagement with design issues. They must be 18x24 inches or less. Section II- Concentration-Is a sustained investigation. This body of work should describe an in-depth exploration of a particular design concern. This should be 12 images which could include some detailed images. Section III Breadth- a wide range of approaches. There is a writing component to this section that is not scored but should be read to help the reader understand the students’ process. In the very near future, there will be more emphasis on documenting of process.
- Remember the elements cannot stand alone.
- There is no preferred medium or technique. We look at each portfolio through a 2D lens, in addition to what is listed on the screen you may see embroidery, wall paper, possibly a 3D object with a 2D design applied to the surface
- What is the 2D lens, our our 2D lens is the use of the rubrics to score.
- We will see representational work as this lithograph by Benton.
- We may see nonrepresentational work as in this litter drawing by Mathew Shelton who collects detritus, washes and irons it and then draws on top of it. So you may see some interesting uses of garbage.
- Compositions on a flat format can be used to create the illusion of three dimensionality as in the photo above by Weston. He carefully uses value to indicate the sensual form of the pepper. Artists can also create compositions that deny any reference to three dimensionality, they can eliminate all cues to depth as in the painting by Mondrian
- And some artists choose to blur or change the figure ground relationship. Current by Riley uses figure ground reversal, we cant be sure whether the design is is black on white or white on black.
- We use the principles to activate the elements within compositions. These are the principles listed on the AP poster, which students are asked to illustrate in the artwork they submit. We often speak of this as our contract with students. We are here in service to these students , we want to reward their accomplishments not penalize them for their missteps. our contract with the students.
- So how do we use the principles? Janet Fish uses the proximity of carefully arranged circular forms to unite this composition.
- In this piece, the viewers eye is carried from one form to another. The sleeping girls head and her outstretched arm connects to the curving sofa forming a line of continuity.
- We may also see the the possible documentation of performance or time based art.
- Grids can be an effective way to organize a visual image, The grid can be a informal as in the left or formal as on the right.
- The frames within a cartoon or the broken surface of the picture plane may serve as a grid.
- Estes establishes unity in this work through a variety of rectangular forms.
- In this photo the viewer’s eye is attracted through isolation of the figure and color.
- In this student work a circular focal point is used for emphasis. The viewer’s eye can be attracted through the use of color, shape or size or placement
- Vermeer was an expert at placement of the figure in this work.
- Students also use placement of the figure to indicate emphasis.
- Krasner has chosen to emphasize the entire surface rather than individual elements.
- Students can also place emphasis on the whole as in this print on the left or the work on the right.
- Artists may choose to emphasis one element as seen in this graphic design.
- Contrast can be developed by using edges, forms or style that are different. There are endless possibilities. as we see here by the use of contrasting intensities. Students may use appropriated images, hopefully always in service of the their personal artistic vision.
- Contrast can be developed between figure and background.
- In student work, look for the use or manipulation of color, images should be about the use of color instead of just in color.
- In this work circular shapes contrast with rectilinear shapes capturing the viewer’s interest.
- In these student works, on the left look at the contrast of the portrait against the geometric shapes. In the work on the right, the human form contrasts with with the geometric steps.
- Rhythm and repetition move the viewer’s eye across the picture plane.
- In this , complex work by the Ladd brothers, obsessively rolled twill tape abstractly references their memories of growing up in St. Louis. This work may be viewed as 3D depending on the artist’s intent.
- In this antique quilts we see examples of rhythm by pattern as well as complex figure ground relationships.
- We must also address proportion and scale. Both terms relate to size, proportion refers to relative size between objects, which can be measured against one another or against a mental norm. Scale simply refers to size.
- Keep in mind that scale can inform the reader by giving additional information about the artwork. Work may small or
- Or quite large as in the murals by Fairey.
- Student work illustrates the use of exaggerated scale.
- This mola is an example of symmetrical balance. Textile Embroidery Applique
- This student work uses symmetrical balance effectively.
- Katz’s screen print illustrates asymmetrical balance.
- You may also see asymmetrical balance as students work to articulate their personal vision.
- Alma Thomas was the first black woman to be shown in Whitney Museum, she used radial balance in many of her pieces that explored color field painting. was an educator color field artist She was the first Fine Arts major to graduate from Howard University. She taught junior high school for many years and returned to American university to study color field painting at age 55.
- Student can also use radial balance effectively.
- Figure ground relationships are explored by Toyin Odulata in her work.
- As we said earlier, the Elements are activated by Principles. These are the elements are listed on the AP Studio Art poster.
- In this work Alice Neel uses line to articulate and describe form beautifully
- Students may use line to describe shape.
- Line may also convey mood.
- Adelman uses line to create light and dark areas in his work.
- Line can create value
- Students also use line to articulate and develop value.
- Shape can be arbitrary as in these student examples
- Students may use positive shapes and negative space in very dramatic ways.
- The value developed in this 3 x 6 ‘ woodcut suggests receding space.
- The use of value in this student work also suggests mysterious space.
- This student work uses value to seduce as well as inform the viewer. Expect to see documentation of process as well, sketchbook pages may be submitted.
- Value can function as a focal point as in the student work on the left and the fabric collage on the right.
- Value can suggest and activate space.
- Texture can create mood
- The use of space may traditional as in the painting on the left or less traditional as in the photo on the right. Both invite the viewer into the work.
- Depth can be established by human proportion against the landscape
- Or the illusion of space may be used to document a performance piece.
- Overlapping of shapes develop interest in these compositions by Pittman and Bailey
- Overlapping pulls the eye through the careful consideration and placement of the image on these two pages
- Students may explore and manipulate perspective
- Depth of field can be used to develop interest, an unusual viewpoint gives the photo on the right strength of composition
- Some artists play with spatial puzzles
- Double Jump by Akins gives the perception of movement across the photo Date 1884
- The use of color draws the viewer deeper into each of these compositions
- Students may explore color formally by developing schemes but the piece should always be about exploring color not just in color.
- Color can dominate a composition
- Color can be used to balance compositions
- Color can be used to articulate and develop emotional resonance within student works.
- Color can be symbolic. Self Taught Artist Thornton Dial uses salvaged pieces of patriotic materials to make his point. Although this image is 8 inches in depth it still can be seen as a 2D Design and scored as such.