Present: Communication and the AP Drawing Portfolio
AP Drawing Topic 7 7:36 English narration · English + 中文 subtitles burned in
Chapters
Transcript
You spend a year drawing.
你画了一整年。
Then, in May, everything you made leaves the room.
然后五月一到，你做的一切都离开了这个房间。
The reader who scores your work never meets you, and never sees your paper.
给你评分的人从未见过你，也从未见过你的画纸。
They see one photograph on a screen, and about a hundred characters of your writing.
他们看到的，是屏幕上的一张照片，和大约一百个字符的文字。
The photograph and the words are not paperwork.
照片和文字不是走过场的材料。
<slow>They are your portfolio.</slow>
它们就是你的作品集。
Seven parts today.
今天讲七个部分。
How the portfolio is built.
作品集是怎么构成的。
The two sections in turn: the Sustained Investigation, and the Selected Works.
然后依次讲两个部分：持续探究，以及精选作品。
The writing that goes with them, and the photographs that carry them.
接着是配套的文字，以及承载作品的照片。
The scoring guidelines.
再讲评分标准。
And last, the rules about honesty — because breaking one cancels everything else.
最后是关于诚信的规则——因为违反其中一条，前面的一切都会作废。
This is the whole exam.
这就是整场考试。
There is no timed paper: the portfolio is the exam, uploaded digitally through the AP Digital Portfolio in early May.
没有限时的笔试：作品集本身就是考试，在五月初通过 AP 数字作品集平台以电子方式上传。
On the left, the Sustained Investigation — fifteen images of works and process, plus your written evidence.
左边是持续探究——十五张图，既有作品也有过程，再加上你的书面证据，占百分之六十。
Sixty percent. On the right, the Selected Works — five works, each with a short identification.
右边是精选作品——五件作品，每件配一段简短的作品信息，占百分之四十。
Forty percent. Weigh your time the same way.
请按同样的比例分配你的时间。
This is a study by Albrecht Dürer — a working drawing, not a finished picture.
这是丢勒的一幅习作——一张工作稿，而不是完成的作品。
A page like this belongs among the fifteen.
像这样的一页，完全可以放进那十五张图里。
Students lose marks by sending fifteen finished pieces, because finished pieces hide the thinking.
很多学生交了十五张完成品而失分，因为完成品把思考过程藏了起来。
A journal spread, a half-finished work, a detail shot of your marks: these prove practice, experimentation and revision — the rubric's own words.
一页速写本、一件画到一半的作品、一张自己笔触的特写： 这些能证明练习、实验与修改——正是评分标准的用语。
The Sustained Investigation is fifteen images, and readers go through them in order.
持续探究是十五张图，评卷人会按顺序看下去。
So build an arc.
所以要构建一条线索。
The opening starts by stating your question, in pictures.
开头几张用图像提出你的问题。
The middle shows the tests: materials you tried, ideas you dropped, pieces you reworked.
中间几张展示你的尝试：试过的材料、放弃的想法、重做过的作品。
The end shows how far you went.
结尾几张展示你走了多远。
And process images count among the fifteen.
过程图也算在这十五张里面。
Order them on purpose.
要有意识地安排顺序。
Now the writing.
现在说文字。
Two short prompts carry the investigation: state your inquiry, and describe how it developed — about one thousand two hundred characters together.
两道简短的提示题支撑起整个持续探究： 说明你的探究问题，并描述它是如何发展的——两段加起来大约一千二百个字符。
Say the question in your first sentence.
在第一句话里就把问题说清楚。
Name your materials precisely.
准确写出你用的材料。
And obey the relevance rule: if your text could sit under someone else's portfolio, it is too general to score.
还要遵守相关性规则：如果你的文字放到别人的作品集下面也说得通，那就太笼统，拿不到分。
Good portfolio writing is almost never written in May.
好的作品集文字几乎从来不是五月才写的。
It starts here — in the journal, beside the drawing, on the day you made it.
它开始于这里—— 在速写本里，在画的旁边，在你动笔的那一天。
Sargent opened this sketchbook with notes on where he was and what he was after.
萨金特在这本速写本的开头写下了他人在哪里、想追求什么。
Do the same.
你也这样做。
Date the page, name the material, write one line about what you were testing.
给这一页写上日期，写下材料，再写一行你当时在试什么。
The Selected Works are five works — only five — and they may come from the investigation, or from outside it.
精选作品是五件作品——只有五件——它们可以来自持续探究，也可以来自探究之外。
They are judged on two things: your drawing skills, and synthesis — materials, processes and ideas arriving as one thing.
评分只看两件事：你的绘画技能，以及综合能力——材料、过程与想法融为一体。
At the size a reader sees this Ingres portrait, the quality has to land immediately.
在评卷人实际看到的尺寸下，这幅安格尔肖像的质量必须立刻显现出来。
A clever idea will not rescue weak craft.
聪明的想法救不了薄弱的功夫。
Select the five with fresh eyes: choose for range as well as strength; the five should cover the whole skills list.
选择时既要看强度，也要看范围：五件作品合起来应该覆盖整张技能清单。
An observational piece, drawn patiently from life.
一件写生作品，耐心地对着实物画。
A chiaroscuro drama, where light and deep dark tell the story.
一件强烈明暗对比的作品，让光与深沉的暗替你讲故事。
An expressive figure, in a different material, that moves.
一件富有表现力的人物作品，用另一种材料，画面是动的。
A tonal study built from value alone.
一件只靠明暗建立的调子习作。
And a synthesis piece, where the idea and the materials arrive together.
还有一件综合性作品，想法与材料同时到场。
Five different strengths — not five copies of one trick.
五种不同的强项——而不是同一个绝活的五个版本。
Every work carries the same three fields.
每一件作品都要填同样的三个栏目。
Materials: what the work is made of.
材料：作品是用什么做的。
Processes: what you actually did to make it.
过程：你到底做了哪些动作。
Ideas: what the work is about.
想法：作品讲的是什么。
Each field is only about a hundred characters.
每一栏只有大约一百个字符。
So be specific.
所以要具体。
Mixed media tells a reader nothing.
"综合材料"什么信息也没给评卷人。
Compressed charcoal on gessoed board, lifted with erasers — that tells them everything.
"在刷过石膏底的板上用压缩炭条画，再用橡皮提亮"——这句话把一切都说清楚了。
The task: a Selected Work — a charcoal portrait drawn on a ground of torn newspaper.
题目：一件精选作品——一幅炭笔肖像，画在撕碎报纸拼贴成的底子上。
Write its three fields.
写出它的三个栏目。
Pause the video and write all three yourself. Ready?
先暂停视频，自己把三栏都写一遍。
Materials, first: compressed charcoal, torn newsprint, matte medium, paper.
好了吗？ 先写材料：压缩炭条、撕开的新闻纸、亚光媒介剂、纸。
Just the things you touched.
只写你碰过的东西。
Processes next: collaged the ground, then subtractive charcoal, erased back to the text.
再写过程：先拼贴底子，然后用减法炭笔，再擦回到文字。 动词，按顺序写。
Verbs, in order. And ideas: how words written about a person compete with the face.
最后写想法：别人写在一个人身上的文字，如何与这张脸争夺注意力。
Notice what this writing never does. It never describes what the image already shows.
注意这段文字从不做什么：它从不描述画面已经展示的东西。
Every mark you have earned now passes through a camera.
你挣到的每一分，现在都要经过一台相机。
Photography quality is portfolio quality.
照片质量就是作品集质量。
Photograph like it matters, because it does. A drawing worth a five, photographed with glare across it, reads as a three — and there is no appeal.
一幅本该得五分的画，如果拍出来有反光横在上面，看起来就是三分——而且没有申诉的机会。
So treat documenting the work as part of making it: fixative first, then photograph, then store the work flat.
所以把记录作品当成创作的一部分：先喷定画液，再拍照，然后把作品平放收好。
Four faults cost the most marks.
有四个毛病最费分。
First, keystone distortion: shoot from an angle, and your rectangle becomes a trapezium.
第一，梯形畸变：从斜角拍，长方形就变成了梯形。
Stand square to the work.
要正对着作品站。
Second, glare and shadows — use even, indirect daylight.
第二，反光和阴影——用均匀的散射日光。
Third, a loose or tilted crop: fill the frame, cut to the edge of the paper.
第三，构图松散或画面歪斜：把画面填满，裁到纸的边缘。
And fourth, washed-out values: check on a screen that your darks are still dark.
第四，明暗被拍平了：要在屏幕上检查，你的暗部是不是还够暗。
Photograph each work the week you finish it.
每完成一件作品，就在那一周把它拍掉。
Both sections are scored against published guidelines that climb a ladder of words: rudimentary, moderate, good, advanced.
两个部分都对照公开的评分标准打分，而标准的用词是一级一级往上走的： 初步、中等、良好、优秀。
Readers do not add up points.
评卷人不是把分数一项项加起来。
They score by preponderance of evidence, and give one score from one to five.
他们权衡证据的总体倾向，最后给出一个一到五的分数。
Read the rows yourself: inquiry; experimentation and revision; skills; synthesis.
自己去读那些评分维度：探究；实验与修改；技能；综合。
Score your own portfolio each term — the gaps are your to-do list.
每学期给自己的作品集打一次分——找出的差距就是你的待办清单。
One last rule, and it is absolute: the portfolio must be your own work.
最后一条规则，而且是绝对的：作品集必须是你自己的作品。
If you work from a photograph you did not take, or another artist's picture, you must move far beyond copying — and add a citation in that image's fields.
如果你参照的是别人拍的照片，或者别的艺术家的画，你必须远远超出复制的程度—— 并在那张图的信息栏里注明出处。
Generative artificial intelligence may not make your work: policy allows it only as a documented exploring tool, never as the artwork.
生成式人工智能不可以替你完成作品：政策只允许把它当作有记录的探索工具，绝不能当作作品本身。
Plagiarism cancels scores, and your teacher must certify the work is yours.
抄袭会取消成绩，而且你的老师必须签字证明作品出自你手。
Four marks students throw away.
四个学生白白丢掉的分。
One: reshoot anything you hesitate over.
第一：只要你对一张照片有一点犹豫，就重拍。
Two: fill every caption field with something exact; empty fields are free marks, handed back.
第二：每一个信息栏都填上确切的内容；空着不填，等于把送到手的分又还回去。
Three: if your written evidence could sit under someone else's portfolio, it is too generic — tie every sentence to your own images.
第三：如果你的书面证据放到别人的作品集下面也成立，那就太笼统了—— 让每一句话都扣住你自己的图。
And four: cite every reference photo you did not take.
第四：凡是不是你自己拍的参考照片，都要注明出处。
Thirty seconds of typing removes a real risk.
三十秒的打字就能消除一个真实的风险。
Four things to carry away.
带走四件事。
Sixty and forty: fifteen images with writing, five works with identifications.
六十和四十：十五张图配文字，五件作品配作品信息。
Shoot it well — a five photographed with glare reads as a three.
把照片拍好——一件五分的作品拍出反光，看起来就是三分。
Be specific; if your writing would fit another portfolio, rewrite it.
要具体；如果你写的东西放到别人的作品集里也说得通，就重写。
And keep it honest.
还要保持诚实。
Make the drawings.
先把画画出来。
Then let them be seen properly.
然后让它们被好好地看见。