3-D DESIGN

AP Portfolio

Sculpture is a three-dimensional object

with a message... Bob Brendle

The AP Studio Art

3-D Portfolio

is divided into three sections, each sections is worth 1/3 of total score

Section 1: Quality (Selected Works)

5 actual works, 2 views of each (10 images total)

Section 2: Concentration (Sustained Investigation)

12 Images

Section 3: Breadth (Range of Approaches)

8 actual works, 2 views of each (16 images total)

The 3-D Design Portfolio is intended to address sculptural issues.

Design involves purposeful decsion 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 deign

(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, lines, texture). For this portfolio, students are asked to

demonstrate understanding 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, performance, assemblage, and 3-D

fabric/fiber arts. There is no preferred (or unacceptable) style or

content.

3-D Design Issues to be addressed in

the 3-D Portfolio • Unity

• Variety

• Balance

• Emphasis

• Figure/Ground Relationship

• Repetition

• Proportion

• Scale

• Contrast

• Rhythm

• Occupied/Unoccupied

Space

• Time

ELEMENTS OF 3-D DESIGN

Mass --- Color / Light

Volume --- Line --- Plane

Form --- Texture

Doris Salcedo

Nirit Levav

Bernini

wrought iron sculpture

mass / form / contour

OCCUPIED/ UNOCCUPIED SPACE

Karen Swyler

mass / form / contour

OCCUPIED/

UNOCCUPIED

SPACE

LOOK FOR IT!

2D - example

OCCUPIED/

UNOCCUPIED

SPACE

LOOK FOR IT!

Wim Delvoye

OCCUPIED/

UNOCCUPIED

SPACE

LOOK FOR IT!

OCCUPIED/

UNOCCUPIED

SPACE

AP STUDENT WORK

color / contrast

EMPHASIS

Choi Xooang

color / contrast

EMPHASIS

Choi Xooang

balance/movement

Martin Puryear Night Watch

maple, willow

116”x122”x48”

balance

and

movement

Martin Puryear

Scrolling

Alaskan yellow cedar

46” 5/8 × 60” 7/8 × 13”

AP Student work

AP Student work

paper 78”x32”x4”

repetition / unity

RHYTHM

repetition / unity

RHYTHM

Shayna Leib

repetition / unity

RHYTHM

Shayna Leib

repetition / unity

RHYTHM

AP STUDENT WORK

CUT CARDBOARD TUBES

repetition / unity RHYTHM

Ashley Billings. Found Objects Sculpture, Bent Steel

repetition

rhythm

UNITY

VARIETY

repetition

rhythm

UNITY

VARIETY

Wearable Sculpture

Fairfield High School

Cardboard

VALUE / LIGHT

form / mass

VALUE / LIGHT

VALUE / LIGHT

form / mass

CONTRAST

…interior detail

…plane change

texture / emphasis

…from a “skill based”

perspective size and scale can

become very important

ken price

SCALE /

PROPORTION

… height 5”

PROPORTION/

SCALE

DALTON GHETTI

PROPORTION/SCALE

Robert Therrien Chairs

metal, paint 108”x72”x96”

Ron Muek Boy fibreglass resin

PROPORTION/SCALE

Form, Texture

jackie winsor

Rhythm, Repetition VARIETY

form / texture

Rhythm, Repetition VARIETY

light / contrast / unity / variety

martin puryear

Balance, Proportion/Scale, Rhythm

BALANCE / RHYTHM / REPETITION

figure / ground relationship

BALANCE

AP Student Work

BALANCE

AP Student Work Artist: Kyler Welden

BALANCE

surface design

TEXTURE

surface design

TEXTURE

Liu Jianhua “Potted Landscape” 54 x 54 x 16 cm

calder

Student “voice” can be

articulated through

successful engagement

with experimentation.

calder

Along with the search for meaningful use of the elements and

principles of design…

LOOK FOR “VERVE”!

“Ovsessive Memories” 55 x 33 x 37 cm

barbara hepworth

“VERVE” may be described as “VISUAL NERVE”

akio takamori

INTERIOR SPACE

…can be handled in many ways

and may represent a higher level

of informed decision-making.

Sandra Nissen Linda Lighton

FORM AND SURFACE RELATIONSHIPS

… may speak to the art of intention.

crystalline glaze raku

wayne higby FORM AND SURFACE RELATIONSHIPS

… or just get lucky.

Well-addressed “foot” on bowl.

tony smith

SEARCH FOR

VISUAL BALANCE

AP Student Work – ARTIST: Kyler Welden

SEARCH FOR THE

SUCCESSFUL

COMBINATION OF

FORM & FUNCTION

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)

isamu noguchi

“Mastery of design should be apparent in the

composition, concept, and execution of the artwork

whether simple or complex”.

Cal Lane

ken price

In a wide

variety of

FIGURATIVE

approaches.

ken price

What makes PORTRAITURE successful?

INSTALLATIONS

marek cecula

FIBER ART

marek cecula

FIBER ART in

a variety of forms..

jun kaneko

FASHION

SHOW.

marek cecula

AP STUDENT WORK

(candy wrappers)

marek cecula

JEWELRY might be best viewed as miniature sculpture.

Antony gormley

Balance EVIDENCE OF

CONFIDENCE

AND VERVE.

Mellow

Madeleines.

48"w - 48"d -8"h.

Mixed, calcium

carbonate, clay,

pigment, organic

binder, wood,

paper.

(wall piece)

jun kaneko

Possibilities for a concentration INFORMED

DECISION MAKING.

AP STUDENT WORK

jun kaneko

EVIDENCE

OF THINKING.

Human Hairballs

Glass and hair.

“This is a piece for my

ongoing personal

documentation”.

jun kaneko

TRASH FASHION SHOW.

CONVINCING

ENGAGEMENT WITH

3-D SPACE.

AP STUDENT WORK

jun kaneko

CONVINCING ENGAGEMENT WITH 3-D SPACE….

jun kaneko

ARTWORK FROM A 3-D PRINTER….

jun kaneko

LOOK FOR….

The Disciples. (�6"h - 15"w - 12"d.)

Wood, Plexiglas, fabric, chicken egg shells and the hair of a wild dog.

AP STUDENT WORK

jun kaneko

WHAT

MAKES A POT

SUCCESSFUL?

BORING

BETTER

YAWN

BEST HSIN-CHEUN LIN

WHAT

MAKES A POT

SUCCESSFUL?

DEVIATION

FROM THE

MOST BASIC

FORM…

THE

CYLINDER!

WHAT

MAKES A POT

SUCCESSFUL?

DEVIATION

FROM THE

MOST BASIC

FORM…

A “set” of

cylinders might

prove to be

more

convincing. www.antiquehelper.com

WHAT

MAKES A POT

SUCCESSFUL?

DEVIATION

FROM THE

MOST BASIC

FORM…

THE

CYLINDER!

Spatial

Investigation.

WHAT

MAKES A POT

SUCCESSFUL?

DEVIATION

FROM THE

MOST BASIC

FORM…

THE

CYLINDER!

Handles & Rim

Attention

plane caro

Rhythm, Balance,

VESSELS

WITH

HANDLES.

caro

THE LIDDED FORM.

WHAT

MAKES A POT

SUCCESSFUL?

DEVIATION

FROM THE

MOST BASIC

FORM…

THE

CYLINDER!

Slabwork &

Extrusions

Hayne Bayless

Poor

SLIDE QUALITY is

EXTREMELY IMPORTANT!

Excellent

calder

Well-addressed “foot” on bowl

…. or altered rim.

tony smith

SEARCH FOR DETAILS

Rim width is not

“in proportion”

with size of foot.

Well-addressed “foot” on bowl

…. or altered rim.

tony smith

SEARCH FOR DETAILS

Rim width is not

“in proportion”

with size of foot.

Links to student work in the

Drawing Portfolio can be found

on AP Central at:

apcentral.collegeboard.org/studio3D