What process would most effectively challenge students' ability to concurrently investigate kinetic energy transfer concepts from physics while applying them creatively within their sustained investigation artworks?

Constructing mobiles powered by solar panels that visually represent energy flow through shifting forms based on viewer interaction.

Creating static sculptures representing forms associated with energy symbols found in physics textbooks without kinetic movement.

Designing paintings depicting different types of energies as abstract patterns fail to involve actual energy transfer processes physically present in the work itself.

Assembling collages using photospheric images related to kinetic energy sources without constructing a mechanism to harness or show energy transfer.

In examining societal gender roles through fiber arts, what methodological approach can provide a critical commentary?

Integrating unconventional materials like metal into traditional quilting processes.

Employing typical sewing techniques to construct customary quilt patterns.

Focusing solely on fine embroidery work depicting floral motifs common in domestic settings.

Weaving tapestries based only upon historic examples without modern contextual elements.

Which element can an artist manipulate to create emphasis on a specific part of their artwork?

The size of the canvas or paper

The texture of the materials used

In printmaking, how could an artist express the narrative of industrialization's impact on nature?

Juxtaposing mechanical motifs with organic forms within etchings or lithographs.

Focusing on traditional pastoral landscapes without human-made structures.

Producing identical prints showing pristine wilderness scenes untouched by industry.

Emphasizing bright color schemes associated solely with technological advancements.

In a sustained investigation focusing on environmental impact, how might an artist's choice in medium reflect the concept most effectively?

Repurposing industrial waste materials to create artworks.

Utilizing traditional oil paints on primed canvas surfaces.

Sculpting using new blocks of pure Carrara marble.

Drawing with commercially-produced charcoal sticks on paper.

Which approach reflects a deeper level of inquiry when selecting cultural techniques for a thematic body of work?

Analyzing how each technique conveys specific themes related to its culture’s values or experiences.

Imitating popular artworks from various cultures without further exploration or adaptation.

Choosing random global techniques merely based on visual appeal rather than thematic relevance.

Solely focusing on perfecting one's skill in using foreign tools without thematic integration into the work.

What technique might an artist use to explore the concept of chaos in a series of paintings?

Intentionally disjointed compositions with erratic brushwork.

Symmetrical layouts with harmonious color palettes.

Repetitive patterns with controlled line work.

Precise geometric shapes arranged in a grid structure.

How might Minimalist concepts impact students’ decisions regarding simplicity vs complexity when formulating compositions during their sustained investigations?

By prompting thoughtful reduction of elements to amplify meaning rather than merely stripping down complexity for aesthetic purposes.

By enforcing complex arrangements with excessive detail as necessary components for communicating profound meaning.

By dictating the adoption of ornate decorative motifs from past centuries irrespective of thematic relevance.

By mandating uniformity and repetition exclusively, disregarding any variations or deviations across series works.

Which of the following material choices by an artist would best exemplify the theme of transience in a series of sculptures?

Using ice that will melt over time.

Carving durable granite that resists weathering.

Casting bronze figures for outdoor installation.

Assembling steel structures with welded joints.

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4.2 Sustained Investigation Rubric

6 min read•october 27, 2020

Sherry Ross

Scoring Rubric for Sustained Investigation

Requirements and Prompts

Submit 15 images that demonstrate:

through practice, experimentation, and (P,E,R)
of , , and
of , , and
2D/3D/ (depending on the type of portfolio submitted)

State the following in writing:

Identify the Inquiry or Question(s) that guided your
Describe how your shows evidence of practice, experimentation, and GUIDED BY your Inquiry or Question(s). (1200 characters maximum, including spaces, for a response to both prompts)

Questions that guide the are typically formulated at the beginning of portfolio development.Students should formulate their Inquiry or Question(s) based on their own experiences and . These guiding questions should be documented and further developed throughout the .

The Rubric

Scoring Criteria - Let's break it down!

Row A

Row A deals with your Inquiry, "the process of asking questions in order to seek, to search, and to discover". As you can see, this score point assesses whether or not you IDENTIFY an inquiry and if your work is a visual answer to the inquiry.

For instance, if the inquiry identified is "How can I use the translucent properties of oil paint to represent the beautiful variety of skin tones through underlying colors in portraits of POC?", possible points could be broken down like this:

1 pt: You state your inquiry (Guiding Question) and your visual evidence was unrelated paintings in various media. There might be a portrait in there, there might be an oil, there might be a POC, however, they aren't ALL aligned with your inquiry. You didn't support or demonstrate the inquiry statement with the visual evidence. Alternatively, you don't give an actual INQUIRY, but possibly just wrote something like "I wanted to get better in my art".

2 pts: You IDENTIFY the inquiry and may show art that doesn't necessarily showcase portraits of POC, maybe it's all portraits - but not all POC or all done in oil. It relates but doesn't ANSWER your question. The visual evidence demonstrates awareness and an attempt at showing the inquiry but is not entirely successful.

3 pts: You IDENTIFY the inquiry, and it is clearly evident that the question GUIDED all of the work. Your visual evidence SUPPORTS the idea of the inquiry - there are all oil paintings of POC. but there might be uneven success - this means some of the work might be of a better/lesser caliber than others.

Row A counts for 12% of your overall score and is represented by "SI-A" in the self-grading formula above.

Row B

Row B deals with Practice, Experimentation, and (P,E,R)

Practice—the repeated use of , , and/or
Experimentation—TESTING , , and/or
—making a purposeful change, connection, or improvement

Breaking down the score points, please notice Row B seems to dovetail nicely with Row A. If you don't have a (guided by inquiry), you can't practice, experiment, or revise it. Make sense? 😉 😎 For the example above, the things you might address for this row would be things like mixing shades, practicing applying paint in a glazingtechnique (building up thin layers of paint to create depth), trying , posed vs. candid portraits, different compositions and backgrounds, etc.

1 pt: You DO SHOW any or all of the P, E, R, but your work does not show a . Using the example inquiry given for row A, you might have tried a variety of techniques but say you did a variety of paintings - maybe portraits, landscapes or still life, and they might not be in oil.... so it doesn't tie to your .

2 pts: Your P, E, or R relates to the SI (notice that you have an SI here, which differs from point 1) AND your written evidence RELATES to your visual evidence. So you have the SI, and it is tied to your visual evidence, similar to the Row A score point 2. So you have an idea, you tried some stuff, but it's still not solid. Example - You try creating different skin tones, but they aren't for POC, it relates.... but it's not the evidence you need for what you wrote.

3 pts: Your P, E, or R is not only obvious but what you learned from it DRIVES the work and you are able to articulate it in the written evidence. Your P.E.R all aligns with and revolves around the different ways you used of oil paint to create varied portraits of POC.

Row B counts for 18% of your overall score and is represented by "SI-B" in the self-grading formula above.

Row C

Row C deals with the , , and (M, P, I).

—Physical substances used to make works of art and design
—Physical AND conceptual (thought, planning, organizing, etc) activities involved with making works of art and design
—Concepts used to make works of art and design (that can be evident virtually or in writing)

For this score point, you need to show how you conceptualized the work, what you used to help plan or visualize it, and the physical media you chose to create it.

1 pt: Little to NO evidence that M, P, and I work together. So, if you just "paint stuff" - that is the use of a material(M). Simplistic, right? 🤔 It doesn't show that you planned or picked (P) painting for any reason other than you just wanted to paint (no idea). There's nothing tying everything together except a media.

2 pts: Visual relationships between M, P, and I become evident. Here, let's say you created those same paintings (M) of different things but added sketchbook evidence showing you tried different things as well. That becomes a process (P). You are showing the relationship of M and P visually.

3 pts: The evidence supports that ALL THREE (M, P, and I) components are working together as a result of your choices. This is . So, for this.... you created paintings (M), you used your sketchbook (P), and then decided to make them all portraits (Idea - following your SI guided question)

Row C counts for 18% of your total score and is represented by "SI-C" in the self-grading formula above.

Row D

Row D deals with your skills. You may review those skills here 2D/Draw or 3D. Please note that this is the only portion of this rubric that really addresses how well you actually DO the art. The majority of this rubric is about how well you THINK, EXPLORE, EXPERIMENT, and REVISE your guiding question. It cannot be understated how important it is that the guiding question comes first, as all SI work should spring from it! 🙌🏽

1 pt: Rudimentary (emerging or underdeveloped) skills. Be honest with yourself. If you need to improve, get to work. You can do it! 👍🏽

2 pts: Moderate (adequate) and good (proficient) skills. Lots of work falls here. Remember, it's a range in each band and this one tends to be big.

3 pts: Good (proficient) and advanced (highly developed) skills. Like other bands, place yourself where the majority of the work scores!

Row D counts for 12% of your total score. SI - D for the above formula.

Hopefully, this will help you score your work as you go, identify your strengths and weaknesses, using the rubric, to create the best portfolio possible. 🙌🏽 🥰 🎨

Sustained Investigation Examples

Here are some examples provided by the College Board. Practice using the rubric to evaluate them, since you will know the score - it's a great way to see if you grasp the rubric and to figure out what parts confuse you. At the end of each example, the give a rationale about why that work received the score.

As you practice with these examples, it's important for you to remember several things.

These are designed to demonstrate score points and there is a broad range of achievement within each band.
They are not listed so you can copy the work. This work is already created. You need to create the work only YOU CAN CREATE. 🥰. Show the what is important to YOU.
Do NOT compare yourself to these works. Artists come in all different skill levels, work across many media, and deal with different . Don't feel that your work is less than any work shown..... it's just different. Different is good! 🙌🏽 💯

🎨 Drawing Examples

📸 2D Examples

🏺 3D Examples

Key Terms to Review (13)

2D skills

: 2D skills involve creating artwork on a flat surface, such as drawing or painting. Artists use various techniques and materials to create two-dimensional representations of objects, people, or scenes.

3D skills

: 3D skills involve creating artwork that has depth and occupies physical space. Artists use various techniques and materials to sculpt or construct three-dimensional forms.

Compositional Unity

: Compositional unity refers to how all elements within an artwork work together harmoniously to create a sense of cohesion and completeness. It involves arranging visual elements such as line, shape, color, and texture in a way that creates balance and visual flow.

Drawing skills

: Drawing skills refer to the ability to accurately represent objects, people, or scenes through lines, shapes, and shading. It involves understanding proportions, perspective, and capturing details.

Glazing technique

: The glazing technique involves applying thin layers of translucent paint over previously dried layers on a painting surface. This method allows for subtle color variations and luminosity in the final artwork.

Ideas

: Ideas refer to the concepts, thoughts, or inspirations that artists use as a starting point for their artwork. They are the foundation upon which artistic creations are built.

Inquiry or Question(s)

: Inquiry or question(s) in art refer to the exploration of ideas, concepts, or themes through asking thought-provoking questions. It involves investigating different perspectives and seeking answers through artistic processes.

Materials

: Materials refer to the substances or tools used by artists to create their artworks. These can include traditional art supplies like paint, brushes, and canvas, as well as unconventional materials such as found objects or digital media.

Processes

: Processes refer to the methods and techniques employed by artists during the creation of their artworks. These can include specific steps followed in a particular order or unique approaches developed by individual artists.

Revision

: Revision refers to the process of making changes or improvements to a piece of artwork in order to enhance its quality or achieve the desired outcome.

Sustained Investigation

: A sustained investigation is a focused and in-depth exploration of a specific theme or concept in an artist's work. It involves the development and refinement of ideas over time, resulting in a cohesive body of artwork.

Synthesis

: Synthesis refers to combining different ideas, materials, or techniques into one cohesive whole. In art-making, it involves integrating various artistic elements or concepts into a unified composition.

Underpainting

: Underpainting is a technique in which an initial layer of paint is applied to a canvas before adding subsequent layers. It provides a foundation for the artwork, establishing values, tones, and overall color scheme.