East High School

AP STUDIO ART: Semester 2

Sawyers Course Website:
www.eastvisualartsawyer.weebly.com
AP Art course page
Resources page
Link to AP College Board Drawing Portfolio Information
http://apcentral.collegeboard.com/apc/members/exam/exam_information/2182.html
justine_sawyer@dpsk12.org
Email me anytimeask early, ask often
Come to room 123 anytime for assistance during school hours

WELCOME BACK!

Class goal: Everyone Passes!

I am so proud of the work you have completed and I am excited each day to see your continuing
progress. You surprise and impress me with your creativity and quality of work every class period.
Semester 2 is the time for us to really dig our heels in and get your portfolios completed and looking
sharp! As this is a college level class and we are quickly closing in on the final deadline, you will be
required to work outside of class timeyou cannot successfully complete the necessary amount of
work to complete your portfolio during class time alone. After viewing your preliminary catalogs and
personal roadmaps for completion during semester 1 finals, it is apparent we still have a long way to
go towards finishing. Please refer frequently to the roadmap you created. I will still preserve nearly all
of your class time for studio production this semester, but there are some critical things we need to go
over and incorporate some critique and evaluation into this semester to prepare you for the exam.
Beginning this week, you need to plan to work 4 or more hours per week outside of class time.
Every Monday (see calendar for dates) you will be required to show me what you have completed
during the week. You will receive 25 points for demonstrating a minimum of 4 hours of studio work
outside of class per week. You will be asked to do this each week until you have your portfolio
complete. There is no penalty for finishing your portfolio early!
If you complete your work earlier than the deadline, you may use your remaining time in the course to
revise works or create different works to replace weaker work to further improve your chances for a
high score on the portfolio.
BREADTH BLOCKS: We need to strengthen (or create!) your breadth
A way for you to complete a work in a day or less! I have 6 opportunities set up between Jan. 8 and
Feb. 5 including a Saturday at the Denver Art Museum (You will need to get yourself there and pay
your way in. Your family is welcome to join us there. Your assignment will be flesh and fabric and
you will have the chance to be inspired by the amazing works creating possible ideas for your work)
CRITIQUES:
We will have 4 class critiques during January and February. Jan. 12, Jan. 26, Feb. 9, and Feb. 23.
I anticipate the Jan. 12 critique to take the entire class period and the other 3 critiques may take less
time depending on the direction your class takes this important work.

You are required to bring in a current completed (or nearly completed) work for critique days. You will
be required to assess your work using the quality rubric from AP College Board and then place your
work on a display panel according to the level you score your work. You and your peers will use the
AP quality rubric to discuss the scores you assign to your work and move works to different scores as
appropriate.
You may bring in more than one work for review during the critiques on Jan. 26, Feb. 9, and Feb. 23.
I believe you will find this activity incredibly beneficial to understanding where you fall in the scoring
categories per the AP College Board standards.
AP STUDIO DRAWING QUALITY SCORING RUBRIC
Name:__________________________
Scoring
Descriptors
A.
Understanding
of Composition,
Concept and
Execution

Excellent

Strong

Good

The work demonstrates

excellent
understanding of
drawing through
advanced visual
concepts, resolved
composition, and
generally excellent
execution

The work demonstrates

strong understanding
of drawing through
involved visual
concepts, wellstructured
composition, and
generally successful
execution

The work
demonstrates a good
understanding of
drawing through basic
visual concepts,
thoughtful
composition, and
good execution

Through a successful
integration of form with
content, the viewer
easily comprehends
the intention or purpose
of the work
The work clearly
displays imaginative
ideas and successful,
inventive articulation of
the principles of design
in the drawing
compositions

Through a clear
relationship between
form and content, the
viewer is aware of the
general intention or
purpose of the work
The work shows
imaginative ideas and
effective manipulation
of the principles of
design in the drawing
compositions

An effort to integrate
form and content is
evident, although the
intent or purpose of
the work may not be
clear to the viewer
The work
demonstrates some
imaginative ideas and
purposeful
manipulation of the
principles of design in
the drawing
compositions

D. Decision
Making,
Experimentation
and/or RiskTaking

The work shows wellinformed decisionmaking that involves

successful
experimentation and/or
risk-taking in most
pieces

The work shows

thoughtful decisionmaking that involves
successful
experimentation or risktaking in many pieces

E. Confident,
Evocative Work
that Engages the
Viewer

The work as a whole is

confident and
evocative; it engages
the viewer with visual
qualities(for example,
expressive verve or
nuanced subtlety)

Most works exhibit

expressive and
evocative qualities that
engage the viewer and
suggest confidence

F. Technical
Competence and
Skill with
Drawing
Materials and
Media

The technical
competence of the work
is consistently
excellent; drawing
materials and media are
used effectively to
express ideas

The technical
competence of the work
is strong; materials and
media are used will to
express ideas

G.
Understanding
the Use of
Digital or
Photographic
Sources

When digital or
photographic processes
are used, the work
incorporates a
sophisticated
understanding of the
application of analog
drawing concepts and
techniques

When digital or
photographic processes
are used the work
incorporates a strong
understanding of the
application of analog
drawing concepts and
techniques

B. Intention or
Purpose

C. Originality,
Imagination, and
Invention in
using the
Elements and
Principles of
Design in
Drawing
Composition

Moderate

Weak

Poor

The work
demonstrates a
moderate
understanding of
drawing through
foundational visual
concepts with
moderately
successful
compositional
resolution and
execution
The relationship of
form to content is
beginning to come
into focus, but
intention and purpose
are uncertain
Some imaginative
ideas about use of the
principles of design in
the drawing
compositions appear
to be emerging

The work demonstrates

a weak understanding of
drawing; few visual
concepts are
considered,
compositional resolution
is erratic and overall
execution is awkward

The work
demonstrates little
understanding of
drawing, visual
concepts, or
composition, overall
the execution is
nave or clumsy

The relationship of form

to content is
inadequately
considered; intention or
purpose is ambiguous

The relationship of
form to content is
unconsidered;
intention or purpose
is lacking

The work relies heavily

upon unimaginative
and weakly articulated
ideas about the use of
the principles of design
in the drawing
compositions

The work lacks

imaginative or
inventive ideas
about the use of the
principles of design
in the drawing
compositions

The work shows some

clear decision-making
that may involve
experimentation or
risk-taking but with
uneven success

The work shows

limited decisionmaking,
experimentation and/or
risk-taking there may
be some limited
success

Some of the work has

evocative qualities
that will engage the
viewer, though
confidence is not
obvious; conversely,
the work may display
confidence but may
not be engaging
The work
demonstrates good
technical competence
and use of drawing
materials and media;
technical aspects and
articulation of ideas
do not always work
together
When digital or
photographic
processes are used,
the work incorporates
a good understanding
of the application of
analog drawing
concepts and
techniques

There may be one or

two evocative,
engaging works;
confidence is
questionable

Decision-making in the
work is limited to
conventional
solutions; there is little
or no attempt at
experimentation; lack of
knowledge inhibits risktaking
There is little about the
work in terms of content,
style or process that will
engage the viewer; the
work lacks confidence

Thoughtful decisionmaking in the work

is not apparent;
there is no
experimentation;
lack of knowledge
precludes any risktaking
The work does not
engage the viewer;
no confidence is
evident

The work is uneven,

but overall it
demonstrates
emerging technical
competence and use
of materials and media

The work demonstrates

weak technical
competence, awkward
use of drawing materials
and media, and minimal
mark-making skills

When digital or
photographic process
are used, the work
displays a basic
understanding of the
application of analog
drawing concepts and
techniques

When digital or
photographic processes
are used, the work
displays a weak
understanding of the
application of analog
drawing concepts and
techniques

The work is
generally inept;
use of drawing
materials and media
is nave and is
lacking in markmaking skills and
technical
competence
When digital or
photographic
processes are used,
the work displays
no understanding
of the application of
analog drawing
concepts and
techniques

H. Appropriation
and the Student
Voice

Any apparent
appropriation of
published or
photographic sources or
the work of other artists
clearly provides a visual
reference that is
transformed in the
service of a larger,
personal vision in
which the students
voice is prominent

Any apparent
appropriation of
published or
photographic sources or
the work of other artists
shows a strong sense
of the students voice
and the individual
transformation of the
images

With the apparent

appropriation of
published or
photographic sources
or the work of other
artists, the students
voice is discernable;
the images have been
manipulated to
express the students
individual ideas

I. Overall
Accomplishment
and Quality

There may be a
varying range of
accomplishment among
the five drawings, but
overall, the work
reaches a level of
excellent quality

There may be varying

levels of
accomplishment among
the five drawings, but
overall the work
demonstrates strong
quality

There may be uneven

levels of
accomplishment
among the five
drawings, but overall,
the work demonstrates
good quality

If published or
photographic sources
or the work of other
artists are
appropriated, the work
appears to be nearly
direct reproductions;
even if skillfully
rendered, the students
voice and the
individual
transformation of the
images are minimal
There may be an
emerging level of
accomplishment
among the five
drawings, and overall,
the work demonstrates
moderate quality

The works appear to be

direct copies of
published or
photographic sources or
the work of other artists;
even if they are of
average rendering skill,
there is little
discernable student
voice or individual
transformation

The works are

obviously direct
copies of published
or photographic
sources or the work
of other artists that
are poorly rendered;
there is no
discernable
student voice or
individual
transformation

There is little evidence

of accomplishment
demonstrated in the five
drawings, overall the
work demonstrates
weak quality

Overall, the five

drawings lack
accomplishment
and are of poor
quality

EXAM PREP:
I have a camera available for taking photos each day here in the studio. You may use the computers
in the classroom to upload your images to the Dropbox folder I created for you (see email from me for
details) You will need to use Adobe Photoshop outside of class time to prepare your images and
place them in Dropbox. Please check your folder to see which works are already there to save you
time.
Computer lab 303 is reserved for April 30: 11:40-12:25 and May 1: 1:00-1:45 for our class. There is
NO Photoshop on these computers so your images must be previously prepared and saved in your
Dropbox folder. These times are intended for you to use for uploading your work to the AP site. You
will need to bring your completed artwork catalog with you on these dates.
In the next few weeks you will receive your AP registration and login information. You will be paying
for your examination as well (approximately $95.00). If your family is experiencing financial hardship,
please see me for assistance in finding alternate ways to pay for the exam. Scholarships are
available. We will find you the financial resourcesyou have worked too hard to not take the exam
because of financial concerns.
CRITICAL INFORMATION:
Enrollment in this course requires you to take the AP Drawing Exam (portfolio submission). If you do
not intend to take the exam you need to go to the counseling office today to find a different class to
take for this semester.
SENIOR AWARDS NIGHT:
Each senior will have panel space to put up 3-4 works for senior awards night. Your quality works will
not be eligible for this as they will already be packaged up and sent off to the AP college board.

MAJOR COURSE DEADLINES: CRITICAL to your success!

Week of March 9: Begin Photographing artwork. Photos need to be amazing quality to best represent
your work. Photoshop tutorial to properly size your images in preparation for uploading
Weeks of April 6 and April 13: Critiques to determine final portfolio choices, select 5 quality pieces,
and finish any photographing of artwork
Thursday, April 9: All Artist Statements due to Mrs. Sawyer. Please print a copy and turn in
Thursday, April 23: All Quality Works turned in to Mrs. Sawyer for matting (earlier is better!)
April 30, May 1: Upload all digital work to AP site this is your EXAM
Seniors Only: May 5 Set up Senior Awards Night Show
May 14 East Arts WalkWork from everyone will be displayed

JANUARY
Sunday

Monday
4

11

NO SCHOOL

Tuesday
5

Wednesday
6

13

14

*Hand out
semester 2
paperwork
*open studio
until 4:30 in 123

12
1st critique of
work with
scoring
examples 25pts

18

25

19

NO SCHOOL

Thursday

Friday
8

Saturday

*Signed contract
due 25pts
*Scholastics sig.
sheets due
Breadth Block
Modified
contour hands,
portraits, objects

Add Glue lines to

one drawing from
yesterday if you
ran out of time

10

15

16

17

Breadth Block
DayPainted
Drapery Study

20

Review of studio
work- 4hours
min. 25pts

26

27

21

22

Breadth Block
Tadashi Pepper:
Graphite, coffee, acrylic

28

2nd critique of
work with
scoring
examples 25pts

23

RSVP for museum

tomorrowyou
will complete a
piece in white
charcoal on
black paper

29

30

24

Meet me at the
Denver Art
Museum! Flesh-nfabric drawing
10:30 Hamilton
Bldg. Family
welcome, pay on
your own

31

Breadth Block
Superb Still Life in
conte, charcoal

FEBRUARY
Sunday

Monday
1

Tuesday
2

10

11

17

18

24

25

Review of
studio work4hrs min. 25pts

Wednesday

Thursday

Friday

Saturday

12

13

14

19

21

21

26

27

28

Breadth Block
Hallways at East
burn out the pen

3rd critique of
work with
scoring
examples 25pts

15

22

16

NO SCHOOL

23

4th critique of
work with
scoring
examples 25pts

NO SCHOOL

Review of studio
work- 4hrs min.
25pts

MARCH
Sunday

Monday
1

Tuesday

Wednesday

Thursday

Friday

Saturday

10

11

12

13

14

Review of
studio work4hrs min. 25pts

Review of
studio work4hrs min. 25pts

15

16

17

18

24

25

19

20

21

26

27

28

Review of
studio work4hrs min. 25pts

22

23
Review of
studio work4hrs min. 25pts

29

Set personal
goals for spring
break

30
Spring Break

31
-----------

---------------

---------------

----------------

--------------

APRIL
Sunday

Monday

Tuesday

Wednesday

Thursday

1
------------

--------------5

------------

----------

13

14

15

19

20

21

22

26

27

28

29

make final
portfolio and 5
Quality works
selections

12

NO SCHOOL

2
----------

Review work
completed
over break
25pts

Friday

Saturday
3

----------

4
----------

10

11

16

17

18

Previewed 1st
draft-Artist
Statement due Printed copy
50ptsno pts
awarded for late
work

All 5 Quality
works turned in
to Sawyer 50pt

23

Class in computer
lab. Work on artist
statements or
upload works

24

25

30

May 1

May 2

Lab 303
reserved

UPLOADS MUST
BE COMPLETED
ON AP SITE!
Lab 303
reserved

MAY
Sunday

Monday

Tuesday

Wednesday

Thursday

Friday

Saturday
1

UPLOADS MUST
BE COMPLETED
ON AP SITE!
Lab 303 reserved

4
May the fourth
be with you!

5
Senior awards
night---3-4
artworks per
senior on
display

10

11

12

13

14

15

16

East Arts Walk

5:30-8:00

17

24

18

19

25

26

Seniors: Take
home all
artwork and
personal
supplies

NO SCHOOL

31

8;00 Senior
Checkout

20

21

22

23

27

28

29

30

NO SCHOOL

7:00 Graduation

June 1

Finals

Finals

Finals

Finals Make-up

AP STUDIO ART: DRAWING Portfolio Requirements (taken from AP College

Board sitethis is how your work will be scored by AP )
Portfolio Requirements at a Glance
The portfolio for Studio Art: Drawing requires submissions in three distinct sections.
SECTION I:
Five actual drawings; maximum size is 18" x 24"
Quality
SECTION II:
12 images; some may be details
Concentration
SECTION III:
12 images of 12 different works; one image of each is submitted
Breadth
There's nothing quite like looking at actual art work, so the first section of the portfolio consists of
five works that are limited only by size -- they have to fit into the 18-by-24-inch portfolio envelope.
On the other hand, there's a limit to how much actual work can be physically accommodated for
scoring, so the other two sections of the portfolio are submitted as digital images. Although digital
images provide a less direct view than looking at actual works, they also offer a tremendous
advantage: documenting art work in this way means that students are free to work as large as they
like for the rest of the portfolio.

DRAWING PORTFOLIO
-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

ETHICS, ARTISTIC INTEGRITY, PLAGIARISM

Any work that makes use of (appropriates) photographs, published images and/or the work of other
artists must show substantial and significant development beyond duplication. This is demonstrated
through manipulation of the formal qualities, design, and/or concept of the source. The students
individual voice should be clearly evident. It is unethical, constitutes plagiarism, and often violates
copyright law simply to copy an image (even in another medium) that was made by someone else
and represent it as ones own.
Digital images of student work that are submitted in the Drawing portfolio may be edited. However,
the goals of image editing should be to present the clearest, most accurate representation of the
students artwork, and to ensure that images meet the requirements of the Digital Submission Web
application. When submitting their portfolios, students must indicate their acceptance of the following
statement: I hereby affirm that all works in this portfolio were done by me and that these images
accurately represent my actual work .

SECTION I: Quality Rationale

Quality refers to the mastery of drawing issues that should be apparent in the concept, composition,
and execution of the works, whether they are simple or complex.
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 drawing
-The works should be on flat surfaces, such as paper, cardboard, canvas board or unstretched
canvas
-Students receive all the portfolio materials for submission of the Quality section in May
-Because of limitations imposed by the shipping and handling of the portfolios, work submitted for this
section must fit easily into the portfolio envelope, which is approximately 18" x 24"
-Works for Quality that are smaller than 8" x 10" should be mounted on sheets that are 8" x 10" or
larger
-To protect the work, all work on paper should be backed or mounted
-Mats are optional per AP, but I believe they are critical!!!
-Do not use reflective materials such as acetate or shrink-wrap because they cause glare that makes
the work difficult to see
-A sturdy, opaque overleaf that is hinged to one edge of the backing so that it may be easily lifted
provides excellent protection and is highly recommended
-Materials that may be smudged should be protected with fixative
-If the work is matted, a neutral color for the mat is advisable
-Works should not be rolled, framed, folded or covered with glass or Plexiglas
-The works submitted may come from the Concentration and/or Breadth section, but do not have to
-May be a group of related works, unrelated works or a combination of related and unrelated works

SECTION II: Concentration rationale

A concentration is a body of related works that demonstrate a students 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 drawing issues. The concentration should grow out of the students idea
and demonstrate growth and/or 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
students thinking, selected method of working and development of the work over time.

REQUIREMENTS
-For this section, 12 digital images must be submitted, some of which may be details.
-All images should be labeled with dimensions (height X width) and material
-The Digital Submission Web application incorporates space to include this information
-Regardless of the content of the concentration, the works should be unified by an underlying idea
that has visual and/or conceptual coherence
-The choices of technique, medium, style, form, subject and content are made by the student, in
consultation with the teacher
-The Web application for development and submission of the Concentration and Breadth sections is
available in late January
-The Concentration section includes spaces for a written commentary describing what the
concentration is and how it evolved, which must accompany the work in this section
-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.
Longer responses are not necessarily better than shorter ones.

EXAMPLES of Concentrations:
A concentration could consist of a group of works that share a single concept for example, an indepth 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 that have
been submitted in the past. They are intended only to provide a sense of range and should not
necessarily be considered better ideas.

 A series of expressive landscapes based upon personal experience of a particular place

A personal or family history communicated through the content and style of still-life images
Abstractions from mechanical objects that explore mark-making
Interpretive self-portraiture and figure studies that emphasize exaggeration and distortion
A project that explores interior or exterior architectural space, emphasizing principles of
perspective, structure, ambiance created by light, etc .
A series of figurative works combining animal and human subjects drawings, studies and
completed works
An interpretive study of literary characters in which mixed media, color and form are explored
The use of multiple images to create works that reflect psychological or narrative events
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.
-When preparing to upload Concentration (Section II) images, the student should give some thought
to the sequence of images on the Web page. There is no required order; rather, the images should be
organized to best show the development of the concentration. In most cases, this would be
chronological.
-Students may not submit images of the same work that they submit for Breadth. Submitting images
of the same work for Concentration (Section II) and Breadth (Section III) may negatively affect a
students score.

SECTION III: Breadth rationale

The students work in this section should demonstrate understanding of a wide range of drawing
concerns, such as drawing from observation, work with invented or nonobjective forms, effective use
of light and shade, line quality, surface manipulation, composition, various spatial systems and
expressive mark-making. Students must therefore be actively engaged with these concerns while
thoughtfully composing their art. The work in this section should show evidence of conceptual,
perceptual and expressive development, as well as technical skill; thus, the students work should
demonstrate a variety of drawing skills and approaches.
REQUIREMENTS
-For this section, students must submit a total of 12 digital images of 12 different works
-Details may not be included
-All images should be labeled with dimensions (height x width) and material
-The Digital Submission Web application incorporates space to include this information
-As a whole, the students work in this section should demonstrate exploration, inventiveness, and the
expressive manipulation of their work, 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 a single medium for example, if the portfolio consists entirely of charcoal

drawings the work must show a range of approaches, techniques, compositions and subjects.
An enormous range of possibilities exists for this section.
-Following is a list of possible approaches. It is not intended to exclude other ways of drawing.
The exploration of various spatial systems, such as linear perspective, the illusion of threedimensional forms, aerial views and other ways of creating and organizing space
The exploration of various subjects, such as the human figure, landscape and still-life objects
The exploration of various kinds of content, such as that derived from observation, an
expressionistic viewpoint, imaginary or psychological imagery, social commentary, political
statements; and other personal interests
The exploration of the arrangements of forms in a complex visual space
The exploration of different tools, materials and processes to represent form and space, such
as rendered, gestural, painterly, expressionist, stylized or abstract form
The exploration of expressive mark-making
-Students may not submit images of the same work that they are submitting for the Concentration
section. Submitting images of the same work for Concentration (Section II) and Breadth (Section III)
may negatively affect a students score.

Please complete fully and return this page to Mrs. Sawyer by

Thursday, January 8, 2015.

25 points

East High School Visual Art Expectations

AP Studio Art
By signing below, I acknowledge understanding of what will make this a successful experience
and I agree to adhere to all rules and regulations designed for this class as well as those imposed
by East High School and Denver Public Schools.
_____I agree to have my artwork considered for display in school displays and local or district
exhibitions and online to promote the East art department.
_____I understand that by being enrolled in this college level class, I am required to take the AP
exam and that I will be creating a personal portfolio to submit as my AP College Board
Examination. I understand if this is not my intent, I need to see my counselor immediately to find

a different course for this semester.

____I understand where to locate portfolio exemplars, scoring definitions, and detailed AP College
Board requirements
____I agree to work outside of class time (minimum of 4 hours per week) until my portfolio is
completed
____I understand I will need to photograph, edit and upload all images of my artwork to the
Dropbox folder created for me.
____I understand all work must be uploaded on the AP website no later than Friday, May 1

Student Name: ______________________________________________

Signature: __________________________________________________ Date: _______________

Parent/Guardian Name: _______________________________________

Signature: __________________________________________________ Date: ______________

Please contact Mrs. Sawyer at justine_sawyer@dpsk12.org if you have any questions or concerns.