ap portfolio information
Types of Portfolios
There are three different types of portfolios.
2D Design
This portfolio is intended to address two-dimensional (2-D) design issues. Design involves purposeful decision making about how to use the elements and principles of art in an integrative way.
The principles of design (unity/variety, balance, emphasis, contrast, rhythm, repetition, proportion/scale, figure/ground relationships) can be articulated through the visual elements (line, shape, color, value, texture, space). They help guide artists in making decisions about how to organize an image on a picture plane in order to communicate content. Effective design is possible whether one uses representational or abstract approaches to art.
For this portfolio, students are asked to demonstrate mastery of 2-D design through any two-dimensional medium or process, including, but not limited to, graphic design, digital imaging, photography, collage, fabric design, weaving, fashion design, fashion illustration, painting and printmaking. Video clips, DVDs, CDs and three-dimensional works may not be submitted. However, still images from videos or films are accepted.
Links to samples of student work in the 2-D Design portfolio can be found on AP Central® at https://apcentral.collegeboard.org/courses/ap-studio-art-2-d-design/portfolio?course=ap-studio-art-2-d-design
3D Design
This portfolio is intended to address sculptural issues. Design involves purposeful decision making about using the elements and principles of art in an integrative way.
In the 3-D Design Portfolio, students are asked to demonstrate their understanding of design principles as they relate to the integration of depth and space, volume and surface. The principles of design (unity/variety, balance, emphasis, contrast, rhythm, repetition, proportion/scale, and occupied/unoccupied space) can be articulated through the visual elements (mass, volume, color/light, form, plane, line, texture).
For this portfolio, students are asked to demonstrate mastery of 3-D design through any three-dimensional approach, including, but not limited to, figurative or nonfigurative sculpture, architectural models, metal work, ceramics, glass work, installation, assemblage and 3-D fabric/fiber arts. There is no preferred (or unacceptable) style or content.
Links to samples of student work in the 3-D Design portfolio can be found on AP Central at apcentral.collegeboard.com/studio3D.
Drawing
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 apcentral.collegeboard.com/studiodrawing.
Parts of the Portfolio:
There are three different parts to the portfolio (Breadth, Quality & Concentration). We will spend Semester 1 working on the Breadth & Quality sections and Semester 2 working on the Concentration section. I include a lot of details below for your reference, but we will work on this together, so don’t worry if it seems overwhelming to think about right now.
Section I: Quality
Rationale
Quality refers to the mastery of design principles that should be apparent in the concept, composition and execution of the works, whether they are simple or complex. There is no preferred (or unacceptable) style or content. They do not have to relate, but they can.
Requirements
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 2-D design issues.
Work must be on flat surfaces, 18”x24” or smaller. You will mail in the actual pieces.
You may submit work that you submitted for your Breadth or Concentration (aka, double dipping), but you do not have to.
Section II: Concentration/Sustained Investigation
Rationale
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 two-dimensional design issues. The concentration should grow out of the student’s idea and demonstrate growth and 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.
Requirements
For this section, 12 digital images must be submitted online, some of which may be details.
The choices of technique, medium, style, form, subject and content are made by the student, in consultation with the teacher.
The Concentration section includes describing what the concentration is and how it evolved. 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.
Examples of Concentrations
A concentration should consist of a group of works that share a concept — for example, an in-depth study of a particular visual problem or a variety of ways of handling an interesting subject. Some concentrations involve sequential works, such as a series of studies that lead to, and are followed by, more finished works. If a student uses subject matter as the basis of a concentration, the work should show the development of a visual language appropriate for that subject. The investigation of a medium in and of itself, without a strong underlying visual idea, generally does not constitute a successful concentration. Students should not submit group projects, collaborations and/or documentation of projects that merely require an extended period of time to complete.
The list of possible concentration topics is infinite. Below are examples of concentrations. They are intended only to provide a sense of range and should not necessarily be considered “better” ideas.
• An exploration of patterns and designs found in nature and/or culture
• A series of works that begins with representational interpretations and evolves into abstraction
• A series of landscapes based upon personal experience of a particular place in which composition and light are used to intensify artistic expression
• Design and execution of pages for a book or graphic novel
• Development of a series of identity products (logo, letterhead, signage, and so on) for imaginary businesses
• A series of political cartoons using current events and images
• Abstractions developed from cells and other microscopic images
• Interpretive portraiture or figure studies that emphasize dramatic composition or abstraction
• A personal or family history communicated through symbols or imagery
• A series of fabric designs, apparel designs or weavings used to express particular themes
Because the range of possible concentrations is so wide, the number of works the student creates should be dictated by the focus of the investigation. The chosen visual idea should be explored to the greatest possible extent. In most cases, students will produce more than 12 works and select from among them the works that best represent the process of investigation. If a student has works that are not as well resolved as others, but that help show the evolution of thinking and of the work, the student should consider including them. The choice of works to submit should be made to present the concentration as clearly as possible.
Students may submit pieces from their concentration for their Quality section for their portfolio, but not for their Breadth section.
Section III: Breadth
Rationale
The student’s work in this section should demonstrate understanding of the principles of design, including unity/variety, balance, emphasis, contrast, rhythm, repetition, proportion/scale and figure/ground relationship. Successful works of art require the integration of the elements and principles of design; students must therefore be actively engaged with these concepts while thoughtfully composing their art. The work in this section should show evidence of conceptual, perceptual, and expressive development, as well as technical skill.
Requirements
For this section, students must digitally submit a total of 12 images of 12 different works.
This section requires images of 12 works in which the elements and principles of two-dimensional design are the primary focus; students are asked to demonstrate that they are thoughtfully applying these principles while composing their art. These works as a group should demonstrate the student’s visual organization skills. As a whole, the student’s work in this section should demonstrate exploration, inventiveness, and the expressive manipulation of form, 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 to use a single medium — for example, if a Breadth section consists entirely of collage — the images must show a variety of applications of design principles.
What the scores mean
AP Portfolios are scored 1-6.
1 and 2s indicate that you are at a high-school level of work. 3’s and 4’s indicate that you are at the end of a first year of college level of work and will begin to get you college credit, depending on the school.
Examples of Portfolios
http://studioartportfolios.collegeboard.org/
https://apcentral.collegeboard.org/courses/ap-studio-art-2-d-design/portfolio
Mixed Portfolios:
http://uhsdigital.wordpress.com/ap-portfolios/ (no scores listed)
http://uhsdigital.wordpress.com/test/
http://www.apstrategiesarts.org/StudioArt/APPortfolioPrep.aspx (no scores)
http://lhs.loswego.k12.or.us/z-mcbrides/AP/apgallery1213.htm
http://www.advancedartusa.com/ap-studio-art/samples (no scores)
Stories from an AP Scorer
http://www.animationtaco.com/ap/ap_reading.html
AP Scoring Guidelines
https://secure-media.collegeboard.org/ap/pdf/ap18-studio-art-sg.pdf
AP Credit Policies
What colleges take what scores and what classes they count for
apstudent.collegeboard.org/creditandplacement/search-credit-policies