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Generate possibilities for investigation  (not assessed).

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Describe how inquiry guides investigation through art and design  (not assessed).

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Describe how materials, processes, and ideas in art and design relate to context (not assessed).

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Interpret works of art and design based on materials, processes, and ideas used  (not assessed).

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Investigate materials, processes, and ideas (not assessed).

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Document selection of materials, processes, and ideas to investigate.

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An experience is an event or occurrence. Experiences include interacting with actual surroundings; imagining abstract and fictional concepts; communication; and research. Reflecting on experiences often sparks questions and inspires investigation. Experiences can be documented by recording observations and perceptions related to an experience.

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Documentation is recording information. Documentation takes many formats, including images (e.g., drawings, photos, diagrams, videos), samples of materials, models, verbal description, and sound. Documentation related to works of art and design can be shared with viewers to affect interpretation and feedback about the work, which can further the artist’s/ designer’s understanding of viewer responses to their work.

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Viewers are people who look at a work of art or design (the artist or designer who made the work is also a viewer).

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Interpretation is understanding based on personal experiences and perspectives.

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Feedback is information about how someone responds to a work of art or design. Feedback can be spontaneous and informal or more formal and structured. Feedback can be a conversation, written commentary, and/or nonverbal (e.g., a physical reaction; a response presented by drawing). Ideally, feedback is constructive (useful).

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Documentation of experiences becomes a resource for the artist/ designer. Documentation can be shared with viewers; it can be presented as a work and/or as part of a sustained investigation.

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A sustained investigation through art and design is an inquirybased, in-depth study of materials, processes, and ideas done over time. Sustained investigation expands artists’ and designers’ awareness of possibilities for making. Investigation includes asking questions about materials, processes, and ideas within and beyond the disciplines of art and design. A question is words used to find information. Questions can be as simple as asking who, what, when, where, why, how, what if, and why not.

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Sustained investigation is guided by questions or inquiry. It involves research: discovering or verifying information. Investigation includes perception, curiosity, examination, discovery, imagination, interpretation, description, and conversation. Investigation can confirm and challenge thinking, revealing connections and opportunities.

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Researching investigations of artists, designers, and people working in other disciplines develops understanding of how inquiry guides the making of art and design. Research can be indirect, such as examining how a designer’s work shows evidence of inquiry, or direct, for example, talking with a physicist about questions they asked and how they investigated those questions.

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Examples of how inquiry guides sustained investigation through art and design can be documented by recording questions, lines of inquiry, investigative processes (e.g., practice, experimentation, revision), and outcomes (e.g., learning about materials, processes, and ideas and asking more questions). Documentation becomes a resource for the artist/designer. Documentation can be shared with viewers; it can be presented as a work and/or as part of a sustained investigation.

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Interpretation of art and design can be investigated by describing materials, processes, and ideas (components) of works of art and design, the context of works, and viewer responses to works.

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Context is information about when, where, how, why, and by who a work was made and viewed. Context affects how a work is interpreted by its maker and by viewers.

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The materials, processes, and ideas used to make a work of art or design influence the artist or designer making the work, and these components influence viewer interpretations. People associate what they perceive in a work with their own experiences, affecting their interpretation.

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By investigating how viewers interpret art and design based on materials, processes, and ideas, artists and designers can develop understanding of how people respond to work, including work that they make. They can also learn about their own interpretations of art and design.

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Investigations of viewer interpretation of art and design can be documented by recording questions, lines of inquiry, and investigative processes and outcomes (i.e., talking with viewers to learn how they interpret a specific material used in a sculpture). Documentation becomes a resource for the artist/ designer. Documentation can be shared with viewers; it can be presented as a work and/or as part of a sustained investigation.

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Artists and designers make work in the context of art and design traditions established throughout history by diverse cultures around the world. Artists and designers are influenced by work that they experience, and their work likely influences those who experience it.

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Artists and designers can connect their work with art and design traditions by comparing materials, processes, and ideas they use with those used by artists and designers who work in different contexts, from the artist or designer working next to them to prehistoric cave painters. Considering the context of each work—when, where, how, why, and by who the work was made and viewed—allows for the works to be related more appropriately. Comparing works of art and design reveals similarities and differences in materials, processes, and ideas, often highlighting distinctive aspects of each work.

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Developing awareness of art and design traditions can expand possibilities for thinking and making. When artists and designers relate their work to art and design traditions, they can decide whether to align with or challenge those traditions. Documenting influences of art and design traditions on work can demonstrate integrity by acknowledging references and influences.

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Documentation of how works of art and design relate to art and design traditions becomes a resource. Documentation can be shared with viewers; it can be presented as a work and/or as part of a sustained investigation.

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Works of art and design can be interpreted through the process of evaluation: using evidence to compare work with specific criteria, such as the artist’s or designer’s goals for making the work. Works in AP 2-D Art and Design, AP 3-D Art and Design, and AP Drawing portfolios are evaluated based on specific criteria stated within the scoring guidelines, involving relationships (connections) of materials, processes, and ideas.

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Works of art and design can be evaluated by: § Carefully and methodically observing the work, identifying materials, processes, and ideas (components) individually. Components can be pointed out, listed, and discussed using visual evidence from the work of art or design. § Focusing on one component and its visual connections to other components. For example, identify a material and a process used within the work and describe how they are connected visually within the work. Expand the focus, considering the ideas that were used—how are they visually related to the materials and processes? Are the relationships clear and strong? Do additional viewers interpret the relationships similarly? § Observing and reflecting on individual and combined effects of components within the work. § Considering how connections among the components could be strengthened to show synthesis: integration or coalescence of materials, processes, and ideas. § Identifying the use of specific skills within the work. For example, identify how color is skillfully used to emphasize shapes that are integral to a graphic design concept. § Considering how visual evidence of the skills used within a work could be strengthened.

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Communication between the artist/designer and viewers can inform evaluation of works of art and design. Evaluative decisions about relationships of materials, processes, and ideas of a work, whether made by the artist/designer or a viewer, should be supported by visual evidence within the work.

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Evaluation of art and design by considering relationships of materials, processes, and ideas may be spontaneous and informal, done by the artist or designer as they work, or may be more formal and structured, with feedback from peer reviews, group critique, a teacher, mentor, or client. Evaluating a work by considering relationships of materials, processes, and ideas develops understanding of how components interact to produce an overall effect, informing thinking and making.

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Documentation of evaluation becomes a resource for the artist/ designer. Documentation can be shared with viewers; it can be presented as a work and/or as part of a sustained investigation.

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Selecting materials, processes, and ideas to investigate may be intentional, based on experiences, interests, and availability of materials and tools. Selection can be spontaneous, open to experimentation and discovery, or strategic, focused on a question, hypothesis, or goal. Artists and designers consider inherent (observable, physical) and interpreted (determined by context, including personal and cultural perspectives of the artist/designer and viewers) attributes.

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Investigating materials, processes, and ideas beyond those traditionally used to make art and design can expand possibilities for thinking and making. Researching materials, processes, and ideas that diverse thinkers and makers use can inform artists’ and designers’ selections.

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Selecting one component to investigate can lead to questions about other components. For example, selecting a material to investigate can lead to questions about processes: how can the material be used? and ideas: what concepts and connotations are associated with the material?

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Selections of materials, processes, and ideas can be documented with images (e.g., drawings, photos, diagrams, videos); samples of materials, models, verbal identification, description, questions, and/or rationales; and/or sound. Documentation of selections becomes a resource for the artist/ designer. Documentation can be shared with viewers; it can be presented as a work and/or as part of a sustained investigation.

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What informs why, how, and what artists and designers make?