Course Syllabus

choi's AP syllabus link :

https://docs.google.com/document/d/1Qg0LxUAI8h24fET3ihyIzPuddYxXdsq1Pr5mDhXzVyw/editLinks to an external site.

 

AP 2D Studio art 

2023-24

 Seanha Choi

 Room number:406

 Email: schoi@sandi.net

Phone: 619-470-0555 ext.4406

Tutoring hours and location: 

4th period by appointment at 406

 

Overview

   The AP Studio Art course emphasizes the making of art as an ongoing process that involves the student making informed and critical decisions about their work. Through brainstorming, research, and planning in sketchbooks and visual journals students will be able to work toward that goal. Through individual critiques with the teacher as well as class critiques and written reflections about their artistic process, students will be able to speak about their work and the work of others with critical eyes.

    Students will develop a portfolio that is composed of three components—Quality, Concentration, and Breadth as outlined in the AP Studio Art course description and the Studio Art poster. Students will be expected to develop mastery in concept, composition and execution of ideas.

     In constructing the portfolio, students will explore critical characteristics of creative thinking. Students learn how to seek out creative problems that are interesting and challenging and use goal-setting, informed decision-making, and problem-solving skills to pursue their own artistic interests in an informed way. Students are responsible for demonstrating mastery at using the elements of art to organize the principles of design in their work.

     Students must provide AP 2D level of art portfolio at the end of the school year to earn a higher grades for the class. 

 

AP 2D & DESIGN PORTFOLIO

   This portfolio is intended to address two-dimensional (2-D) design issues.

The principles of design (unity/variety, balance, emphasis, contrast, rhythm, repetition,

proportion/scale, figure/ground relationships), articulated through the visual elements (line, shape, color, value, texture, space), help guide artists in making decisions about how to organize the elements 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, illustration, painting, and printmaking. Video clips, DVDs, CDs, and three-dimensional works may not be submitted. As the students develop their work for the Breadth, Concentration, and Quality sections of their portfolio, approaches to 2D design will be studied in relation to art and design history. Design examples from nature as well as ones that are man-made will serve as the basis for study and ideation for artwork. Students will work from observation, memory, and imagination to create work that is original and speaks in a voice that is meaningful for them.

  • Students will use sketchbooks as a tool for planning, brainstorming, and problem-solving.
  • Students will use observation of the natural and the man-made world to inform 2D design.
  • Students will use narration and storytelling as a framework for 2D design.
  • Students will use pictorial and visual symbols and text as a means of communication design.
  • Students will use the elements of art and principles of design as a means of conveying a message.
  • Students will use illumination to emphasize and clarify the essentials in design and communication.
  • Students will be challenged to develop their own personal work. Students will develop mastery of concept, composition, and execution of their personal ideas and themes.
  • Students will also understand that art-making is an ongoing process that uses informed and critical decision-making to determine outcomes to problems. Students will be expected to develop a comprehensive portfolio that addresses each of these issues in a personal way. Formulaic solutions to problems are discouraged.

 

Timeline of Study and Portfolio Development

 

Fall Semester

  During the fall semester, we will build upon the themes of work described in the Summer Assignment focusing on building up the Breadth section of the portfolio.

  Students will work from observation, memory, and imagination on artwork that is figurative, representational, and abstract always using the elements of art (line, shape, light, color, form, texture) as tools to build works grounded ideas and principles of design(balance, proportion, rhythm and movement, variety, emphasis, and unity.)

Format

 Students will work on drawings, paintings, prints, collage, mixed media, digital art, photography, printmaking, illustration, fabric design, and graphic design work on a variety of surfaces.

Media

 Wet and dry media –pencil, ink(brush and pen), charcoal, pastel( chalk and oil), watercolor, tempera, acrylic and oil paint, digital and black and white photography, fabric, and paper.

Sustained Investigation 

 Students will be working in the summer and through September on ideas and research for their Sustained Investigation theme. Early in the fall students will confer with the teacher on their progress with the Sustained Investigation ideation. By the beginning of the middle of September, students should have a focus and rationale for their theme and begin planning the work. By January, students should be halfway done on the Sustained Investigation pieces, giving themselves enough time for work to develop, change and progress in order to produce a body of work that is of high quality and artistic integrity.

 Students will be documenting their work as they build up a digital portfolio, for the AP Portfolio requirements as well as for use in college and art school applications.

 

Spring Semester

 Students will focus their efforts on the Sustained Investigation portion of the portfolio, including research, artist study and written reflection, and artist statement of their rationale for their concentration.

 Students will continue to build their portfolio documentation digitally. In January they will have a plan for their Sustained investigation work in place in the form of a timeline, the approximate format, media, and content of the work to be produced. This timeline will be like an outline for a research paper and will aid with the time management of such a large output of artwork in a relatively short span of time. This will also aid the students in reaching their goals for the AP Portfolio successfully.

 

AP Studio Art 2D Design Portfolio

 

Section I: Selected Works 

This section of the AP Art and Design Portfolio Exams offers students the opportunity to make and present works of art and design with minimal constraints. Each work is expected to demonstrate skillful synthesis of materials, processes, and ideas. Students should carefully select works that best demonstrate their skillful synthesis of materials, processes, and ideas. The submission can be a group of related works, unrelated works, or a combination of related and unrelated works. These works may also be submitted in the Sustained Investigation section, but they don’t have to be. Along with each work, students are required to submit written responses to prompts about the work. Responses are evaluated along with the images that students submit. The most successful responses in terms of assessment are those that are clearly related to the images of work submitted, that directly and completely address the prompts, and that provide further evidence of skillful synthesis of materials, processes, and ideas shown in the work. Responses are not evaluated for correct spelling, grammar, or punctuation. 

    There is no preferred (or unacceptable) material, process, idea, style, or content. Students should be the principal artist or designers of the work they submit. If work involved collaboration, the student submitting the work needs to have made all key decisions about materials, processes, and ideas used and needs to have performed the activities that produced the work.

REQUIREMENTS AND PROMPTS 

Submit five works that demonstrate: 

2-D skills (depending on the type of portfolio submitted) 

Synthesis of materials, processes, and ideas for each work, state the following in writing: 

  1. Idea(s) visually evident (100 characters maximum, including spaces)
  2. Materials used (100 characters maximum, including spaces) 
  3. Processes used (100 characters maximum, including spaces)



SCORING CRITERIA 

The five works will be evaluated collectively and holistically based on the following three scoring criteria:

  1. Make works of art and design that demonstrate 2-Skills.
  2. Make works of art and design that demonstrate the synthesis of materials, processes, and ideas.
  3. Identify, in writing, materials, processes, and ideas used to make works of art and design.

 

Section II: Sustained Investigation 

    This section of the AP Art and Design Portfolio Exams offers students the opportunity to make and present works of art and design based on an in-depth investigation of materials, processes, and ideas done over time. The sustained investigation is guided by questions. It involves practice, experimentation, and revision using materials, processes, and ideas. The Sustained Investigation section is expected to demonstrate skillful synthesis of materials, processes, and ideas. Works from the Sustained Investigation section may also be submitted in the Selected Works section, but they don’t have to be. Along with each work, students are required to submit written responses to prompts about the work. Responses to these prompts are evaluated along with the images that students submit. The most successful responses in terms of assessment are those that are clearly related to the images of work submitted; that directly and completely address the prompts; and that provide evidence of inquiry-based sustained investigation through practice, experimentation, and revision. Responses are not evaluated for correct spelling, grammar, or punctuation.  

   

REQUIREMENTS AND PROMPTS 

Submit 15 images that demonstrate: 

  1. Sustained investigation through practice, experimentation, and revision 
  2. Sustained investigation of materials, processes, and ideas 
  3. Synthesis of materials, processes, and ideas 
  4. 2Dskills (depending on the type of portfolio submitted) 

State the following in writing: 

  1. Identify the questions that guided your sustained investigation 
  2. Describe how your sustained investigation shows evidence of practice, experimentation, and revision guided by your questions (1200 characters maximum, including spaces, for response to both prompts)

    

    Questions that guide the sustained investigation are typically formulated at the beginning of portfolio development. Students should formulate their questions based on their own experiences and ideas. These guiding questions should be documented and further developed by students throughout the sustained investigation.




Identify the following for each image: 

  1. Materials used (100 characters maximum, including spaces) 
  2. Processes used (100 characters maximum, including spaces) 
  3. Size (height × width × depth, in inches) 

  For images that document process or show detail, students should enter “N/A” for size. For digital and virtual work, students should enter the size of the intended visual display.

SCORING CRITERIA 

The 15 images are evaluated collectively based on four scoring criteria. Each of the four scoring criteria is evaluated separately and assigned an independent score. The final score for the Sustained Investigation section is calculated based on the relative weight of each of the four scoring criteria. The four scoring criteria along with their corresponding skills and section weighting is as follows:

Scoring  Criteria

Section Weighting

1

Formulate and identify in writing questions that guide a sustained investigation.

20%

2

Demonstrate written and visual evidence of practice, experimentation, and revision guided by questions in a sustained investigation

30%

3

Make works of art and design that demonstrate synthesis of materials, processes, and ideas.

30%

4

Make works of art and design that demonstrate skills.

20%

 

The list of possible Sustained Investigation topics is infinite. Below are examples of Sustained Investigations. 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 a children’s book
  • Development of a series of identity products (logo, letterhead, signage, and so on) for imaginary businesses
  • 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




Student Responsibilities, Assessment and Evaluation

 The requirements of the Two-part AP Portfolio are clear and will aid in setting challenging but attainable creative goals for projects in Studio Art. Deadlines and keeping up with the requirements of the portfolio and the classwork will help students attain those goals. Students utilize a set of standards in which they are able to gauge their progress and work toward their goals. These standards are both the standards for the Visual and Performing Arts Standards of the State of California as well as the standards for the Advanced Placement Portfolio Exam.

Attendance and Work Ethic

 Students must demonstrate the ability to come into the studio on a daily basis and engage in their art-making. Sometimes a teacher-directed class activity and other times more independently based and focused work toward creatively solving problems they have developed. All students of AP Studio Art require that due dates be met. When questions arise, it is the responsibility of the student to meet with the instructor.

 Students in this studio must complete all in-class assignments of which include the artistic ideation process, in-, and out-of-class projects, reading, and research. All students are expected to have sketchbooks at all times and to develop these sketchbooks as ongoing visual journals for class-directed, independent work and to document the mandatory ideation process for all projects.

 Students are responsible for the upkeep and management of the collected body of formal drawings. A drawer will be assigned so that all projects can be secured. Students are responsible for the formation of their digital portfolio with technology help from teachers at school as needed.

Written Requirements

 As an ongoing practice students will write reflections on their original artwork and process as well as reflections on works of art in museums and communities.

 All students will write a paper on a specific art or design historical period and/or a specific area of interest. This paper will connect with their concentration theme and will help to inform the student and aid the development of their concentration artwork.

 Critique guidelines will be provided for writing a paper that includes the cultural, social, political, and contemporaneous art movements.

Critiques

 Critiques are a required component of the course. Each student will participate in individual critiques with the teacher, which will provide one-on-one dialogue and help them learn to analyze and discuss his or her individual artwork. Students are also expected to engage in group critiques with their peers, faculty, and guest artists. During critiques, students will be expected to use the vocabulary of art to discuss the work on display or exhibition.

 Students will have ongoing instructional conversations with their teacher, while they are actively engaged in the creation of their drawings to assess the strengths and weaknesses in their work and provide positive encouragement.



Assessment and Evaluation

All grading rubrics are based on the most current AP Studio Art 2D Scoring Guidelines.

Each student will have a copy of the most recent scoring guidelines.

Work will be assessed for:

  • Use of 2-D design elements and principles in artwork
  • Evidence of decision making, experimentation, and risk-taking in artwork
  • Evidence of originality, invention, and student voice in design thinking and execution of work
  • Technical skill with materials and media

Execution:

The use of materials and craftsmanship

  • Does the student exhibit knowledge of the materials and tools?
  • Does the student use good craftsmanship in the artwork?
  • Do the student’s choice and use of material support, strengthen, and clarify the message of the art?

Composition:

  • How the work is put together, organized, developed, and constructed using the elements of art and principles of design
  • Does the work exhibit a confident usage of the elements of art to put forth the principles of design to make a clear, confident, and original artistic statement?

Concept:

The idea behind the work

  • Does the work of art speak for itself visually?
  • Is the original voice of the artist evident in the art?
  • Is the art original and not derivative in concept and execution?

Grading is based on:

  • Design assessments
  • Timely completion of portfolio requirements
  • Sketch-visual journal
  • Written reflections, museum-artist critiques
  • Digital documentation of work
  • Attention, Attendance, and use of class time
  • Participation in critical discussion
  • Proper safe use of materials and equipment
  • Cleanup duties and storage of work

 

Ethics, Artistic Integrity, and Plagiarism

 Any work that makes use of (appropriates) other artists’ works (including photographs) and/or published images 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 student’s 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 one’s own.

 Any work submitted in the Portfolio that incorporates digital or photographic processes must address issues such as those listed above, as well as mark-making. Using computer programs merely to manipulate photographs through filters, adjustments, or special effects is not appropriate for the Drawing Portfolio.

 Digital images of student work that are submitted in the portfolios may be edited; however, the goals of image editing should be to present the clearest, most accurate representation of the student’s 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.”

 

BIBLIOGRAPHY

 The following bibliography is provided to serve as a resource for ideas and conceptual understanding.

No single book or resource on this list should be considered adequate to serve all interests or purposes.

Selective reading and research are basic tools for student training and development.

 

Art History and Theory Art History Surveys

Arnason, H. H. History of Modern Art: Painting, Sculpture, Architecture, Photography. 4th ed.

New York: Harry N. Abrams, 1998.

Davies, Penelope J. E. et al. Janson’s History of Art. 7th ed. Upper Saddle River, N.J.: Pearson

Prentice Hall, 2007.

Gilbert, Rita, and William McCarter. Living with Art. 7th ed. Boston: McGraw-Hill, 2005.

Gombrich, Ernst H. The Story of Art. 16th ed. London: Phaidon, 1995.

Janson, H. W., and A. F. Janson. A Basic History of Art. 6th ed. Englewood Cliffs, N.J.:

Prentice Hall, 2003.

Kleiner, Fred S., and Christin J. Mamiya. Gardner’s Art Through the Ages: A Concise

History. New York: Thomson Wadsworth, 2006.

Mittler, Gene A. Art in Focus. 5th ed. Mission Hills, Calif.: Glencoe, 2006.

Stokstad, Marilyn. Art History. 2nd ed. 2 vols. Upper Saddle River, N.J.: Pearson

Education, 2008.

Theory and History: The Western Tradition

Arnheim, Rudolf. Art and Visual Perception: A Psychology of the Creative Eye. New ver., exp.

and rev. ed. Berkeley: University of California Press, 2005.

Arnheim, Rudolf. The Genesis of a Painting: Picasso’s Guernica. Berkeley: University of California

Press, 1980.

Beam, Mary Todd. Celebrate Your Creative Self: More than 25 Exercises to Unleash the Artist

Within. Cincinnati: North Light Books, 2001.

Chadwick, Whitney. Women, Art, and Society. 4th ed., rev. and exp. The World of Art Series

. London: Thames and Hudson, 2007.

Chipp, Herschel B. Theories of Modern Art: A Source Book by Artists and Critics. Contributions

by Peter Selz and Joshua C. Taylor. rev. ed. Berkeley: University of California Press, 1996.

Driskell, David C. Two Centuries of Black American Art. Catalog notes by Leonard Simon. Los

Angeles: Los Angeles County Museum of Art; New York: Knopf, 1976; distributed by Random

House.

Feldman, Edmund Burke. The Artist. 2nd ed. Englewood Cliffs, N.J.: Prentice Hall, 1995.

Forbes, Dennis. Studios & Workspaces of Black American Artists. N.p., 2008.

Hobbs, Robert Carleton, and Gail Levin. Abstract Expressionism: The Formative Years.

Ithaca, N.Y.: Cornell University Press, 1981.

Hughes, Robert. American Visions: The Epic History of Art in America. 2nd. ed. New

York: Knopf, 1999.

Jensen Thiessen, Ollie. A Life on Paper: The Drawings and Lithographs of John Thomas

Biggers. Denton, Tex: University of North Texas Press, 2006.

Lippard, Lucy R. Mixed Blessings: New Art in Multicultural America. New ed. New

York: Pantheon, 2000.

Livingston, Jane, and John Beardsley. Black Folk Art in America, 1930–1980. 2nd ed.

Jackson, Miss.: University Press of Mississippi for the Corcoran Gallery of Art, 1989

Loran, Erle. Cezanne’s Composition: Analysis of His Form with Diagrams & Photographs

of His Motifs. 3rd ed. Berkeley: University of California Press, 1985.

Mayer, Ralph. The Artist’s Handbook of Materials and Techniques. 5th ed. Revised and

updated by Steven Sheehan. New York: Viking, 1991.

Muybridge, Eadweard. Animals in Motion. New York: Dover, 1957.

Muybridge, Eadweard. The Human Figure in Motion. New York: Dover, 1994.

Ragans, Rosalind. ArtTalk. 4th ed. Mission Hills, Calif.: Glencoe, 2005.

Rosenblum, Naomi. A World History of Photography. 4th ed. New York: Abbyville Press,

2007.

Shahn, Ben. The Shape of Content. 7th ed. Cambridge: Harvard University Press, 1994.

Slive, Seymour. Drawings of Rembrandt, with a Selection of Drawings by His Pupils and

Followers. New York: Dover Publications, 1965.

Tufte, Edward R. Envisioning Information. 11th printing. Cheshire, Conn.: Graphics

Press, 2006.

Zelanski, Paul, and Mary Pat Fisher. The Art of Seeing. 7th ed. Upper Saddle River,N.J.: Pearson

Prentice Hall, 2007.

 

Theory and History: Beyond the Western Tradition

Cahill, James. Chinese Painting: Treasures of Asia. 3rd ed. Geneva: Booking International Press,

1995.

Dockstader, Frederick J. Indian Art of the Americas. New York: Museum of the American Indian,

1973.

Dwyer, Jane Powell, and Edward B. Dwyer. Traditional Art of Africa, Oceania, and the Americas.

San Francisco: Fine Arts Museum of San Francisco, 1973.

Feder, Norman. American Indian Art. New York: Harry N. Abrams, 1995.

Fisher, Angela. Africa Adorned. London: Harvill Press, 1996.

Kirk, Malcolm, and Andrew Strathern. Man As Art: New Guinea. San Francisco:

Chronicle Books, 1993.

Kleiner, Fred S., and Christin J. Mamiya. Gardner’s Art Through the Ages: Non-Western

Perspectives. 12th ed. New York: Thomson Wadsworth, 2006.

Mackenzie, Lynn. Non-Western Art: A Brief Guide. 3rd ed. Englewood Cliffs, N.J.: Prentice Hall,

2006.

Meyer, Anthony J. P. Oceanic Art. Edison, N.J.: Knickerbocker, 1996.

Newman, Thelma R. Contemporary African Arts and Crafts: On-Site Working With Art

Forms and Processes. London: Allen and Unwin, 1974.

Paz, Octavio. Mexico: Splendors of Thirty Centuries. New York: Metropolitan Museum

of Art, 1990.

Sieber, Roy. African Textiles and Decorative Arts. New York: Museum of Modern Art,1974.



Art Magazines and Journals

Art in America

The International Review of African American Art

Art News

Studies in Art Education

Two-Dimensional Design

Albers, Josef. The Interaction of Color. Rev. and expanded paperback ed. London: Yale University

Press, 2006.

Berger, Arthur Asa. Seeing Is Believing: An Introduction to Visual Communication. 3rd ed. New

York: McGraw Hill Education, 2008.

Birren, Faber. Principles of Color. Rev. ed. West Chester, Pa.: Schiffer Publications, 1987.

Hale, Nathan Cabot. Abstraction in Art and Nature: A Program of Study for Artists, Teachers,

and Students. New York: Dover, 1993.

Hellmuth, Claudine. Collage Discovery Workshop. Cincinnati: North Light Books, 2003.

Hornung, David, Color: A Workshop Approach. New York: McGraw-Hill, 2004.

Itten, Johannes. The Art of Color. 6th ed. New York: John Wiley, 2004.

Itten, Johannes. Design and Form: The Basic Course at the Bauhaus. 3rd rev. ed. New

York: Van Nostrand Reinhold, 1990.

Itten, Johannes. Elements of Color. 4th ed. New York: John Wiley, 2003.

Koenig, Becky. Color Workbook. 3rd ed., Upper Saddle River, N.J.: Pearson Prentice

Hall, 2009.

Landa, Robin, Rose Gonnella, and Steven Brower. 2D: Visual Basics for Designers.

Clifton Park, N.Y.: Thomson/Delmar Learning, 2007.

Lauer, David A., and Stephen Pentak. Design Basics. 7th ed. Boston: Thomson

Wadsworth, 2008.

Martinez, Benjamin, and Jacqueline Block. Visual Forces: An Introduction to Design.

2nd ed., Englewood Cliffs, N.J.: Prentice Hall 1995.

Ocvirk, Otto G., Robert E. Stinson, Philip R. Wigg, and Robert O. Bone. Art

Fundamentals: Theory and Practice. 11th ed. Boston: McGraw-Hill Higher

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Perrella, Lynne. Artists’ Journals and Sketchbooks: Exploring and Creating Personal

Pages. Gloucester, Mass.: Quarry Books, 2004.

Pipes, Alan. Introduction to Design. Englewood Cliffs, N.J.: Prentice Hall, 2004.

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Roukes, Nicholas. Design Synectics: Stimulating Creativity in Design. Worcester, Mass:

Davis Publications, 1988.

Wong, Wucius. Principles of Color Design. 2nd ed. New York: Wiley, 1997.

Zelanski, Paul, and Mary Pat Fisher. Design Principles and Problems. 2nd ed. Belmont,

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Drawing

Bell, Julian. 500 Self Portraits. London: Phaidon, 2004.

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Publications, 1993.

Brown, Clint and Cheryl McLean. Drawing From Life. 3rd ed. Belmont, Calif.:

Thomson Wadsworth, 2004.

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Cody, John. Atlas of Foreshortening: The Human Figure in Deep Perspective. 2nd ed.

New York: John Wiley, 2002.

Enstice, Wayne, and Melody Peters. Drawing: Space, Form, Expression. 3rd ed. Upper

Saddle River, N.J.: Prentice Hall, 2003.

Goldstein, Nathan. The Art of Responsive Drawing. 6th ed. Upper Saddle River, N.J.:

Pearson Prentice Hall, 2006.

Goldstein, Nathan. Figure Drawing. 6th ed. Upper Saddle River, N.J.: Prentice Hall, 2004

Kaupelis, Robert. Experimental Drawing. New York: Watson-Guptill, 1992.

Loscutoff, Lynn Leon. Painters’ Wild Workshop: 12 Master Artists Help Expand Your

Creativity. Gloucester, Mass.: Rockport Publishers, 2002.

Laseau, Paul. Graphic Thinking for Architects and Designers. 3rd ed. New York: John

Wiley, 2000.

Mendelowitz, Daniel M., and Duane Wakeham. Guide to Drawing. 7th ed. Belmont,

Calif.: Thomson Wadsworth, 2007.

Mittler, Gene A., and James D. Howze. Creating and Understanding Drawings. 3rd ed.

New York: Glencoe, 2001.

Montague, John. Basic Perspective Drawing: A Visual Approach. 4th ed. Hoboken, N.J.:

John Wiley, 2005.

Nicolaides, Kimon. The Natural Way to Draw: A Working Plan for Art Study. London:

Souvenir, 2008.

Rawson, Philip S. The Art of Drawing. Englewood Cliffs, N.J.: Prentice Hall, 1984.

Ruby, Erik. The Human Figure: A Photographic Reference for Artists. New York: John

Wiley, 1999.

Simmons, Seymour, and Marc S. A. Winer. Drawing: The Creative Process. New York:

Simon and Schuster, 1992.

St. Aubyn, Jacklyn. Drawing Basics. 2nd ed. Belmont, Calif: Thomson Wadsworth, 2007

White, Gwen. Perspective: A Guide for Artists, Architects and Designers. 3rd ed. London:

Batsford, 2003.

Photography and Digital Imaging

Airey, Theresa. Creative Photo Printmaking. New York: Amphoto, 1996.

Barrett, Terry. Criticizing Photographs: An Introduction to Understanding Images.

4th ed. Boston: McGraw-Hill, 2006.

Blacklow, Laura. New Dimensions in Photo Imaging. 2nd ed. Boston: Focal Press, 1995.

Curtin, Dennis P. The Online Library of Digital Photography.

http://www.shortcourses.com Galer, Mark, and Les Horvat. Digital Imaging: Essential Skills. 3rd ed.

Boston: Focal Press, 2005.

Hart, Russell. Photographing Your Artwork. 2nd ed. Buffalo, N.Y.: Amherst Media, 2000.

Hirsch, Robert. Photographic Possibilities: The Expressive Use of Ideas, Materials, and

Processes. 3rd ed. New York: Focal Press, 2008.

Hirsch, Robert. Seizing the Light: A History of Photography. 2nd ed. New York:

McGraw-Hill, 2009.

Patterson, Freeman. Photography and the Art of Seeing. 3rd ed. Toronto: Key Porter Books, 2004

Schaub, George. Hands-On Digital Photography: A Step-by-Step Course in Camera

Controls, Software Techniques, and Successful Imaging. New York: Amphoto Books, 2007

Sheppard, Rob. Digital Photography: Top 100 Simplified Tips and Tricks. Hoboken, N.J.:

Wiley Publishing, 2007.