VTG+Reviews+Long+Version

__The following questions refer to Vertical Team Guide as a whole: __ ** 1) **** Are the contents of the Vertical Team Guide sufficient and complete? Please briefly comment on which elements are integral to the Guide and how well they are represented. Which aspects of the Vertical Teams Guide are most helpful to teachers?   **   · What seems most useful in concept is the presentation of lessons that work at different skill levels and examples of actual student work. This gives the teacher examples to follow and modify based on their own classes. In practice though, the artworks presented in the guide are often problematic. Many works seem to be rather arbitrarily assigned to emerging, proficient or advanced. Often work executed poorly but in challenging materials is held up as advanced when successful work in humble materials is said to be emerging. The conflation of degree of difficulty with success is present throughout many of the examples. · I do not feel, at this point, after using the guide for many years, that it is as complete as it could be. The information at the beginning is very beneficial and explains the original intent for establishing Vertical Teams and Pre-AP as well as why the AP program better prepares students for college. I think the lists of artists provided, the images for both students and teachers to see, the samples of individual lesson plans as well as samples of concentrations and breadths are all very beneficial. Some teachers fail to see the usefulness of the three holes punched in the book. I took my book apart, put it in a 3 ringed binder, slipped the cover in to the clear cover of the binder and am able to remove certain pages for use in the classroom and workshops. I hope the next guide also has the holes ready for a notebook. · I am happy with the contents in general. It might prove interesting to have some added essays introduced into the guide from leaders in the art education field to address various approaches to curriculum in relationship to sequential learning from middle to advanced levels in secondary school. I also find it interesting to think beyond the current focus and address the aspect of the AP student transitioning into the college level introductory courses and beyond. There are various sections throughout the guide that I would like to expand upon or change due to editing errors, current knowledge and current best practice. · The visuals are most helpful to me, along with the categories of emerging, proficient and advanced. ** 2) **** Which aspects of the content of the Vertical Teams Guide are insufficient or incomplete? Please provide examples of additional topics that should be included and/or current content that should be expanded upon.  **   · I found it surprising that the lessons were presented as examples of possible assignment topics without addressing the underlying issues of composition, values, focal point development, exploration of depth, textural shifts. If a teacher was to give her students an assignment about portraiture without first addressing how to create a dynamic composition, how to create a sense of space, how to manipulate value, to name just a few issues, most of her students resulting work would be weak, at any grade level. The guide seems to take it for granted that someone is teaching the basic nuts and bolts of visual thinking and image construction. If I was a beginning teacher I am not sure I would be able to clearly communicate why some work works better than others. As an AP teacher most of my time is spent reintroducing and reinforcing basic issues of composition, movement and negative space. The strong examples in the guide are a successful because they thoughtfully engage the negative space, have strong focal points, orchestrate movement, as well as good ideation. · In short- The descriptions of lessons should be explicit about how to teach visual thinking and compositional skills. The focus of the projects is too often only on a technique, not what makes a strong piece in that technique. · I think one of the most beneficial things we could provide the teachers and students would be a CD with the entire printed book, images especially. I would still produce the book in print and add the CD for the teachers to use in their LCD projectors. The written materials could be uploaded on a computer and printed for handouts, etc. · I think it is time to add lists of possible concentrations for the three portfolios, not as a prescriptive list but only as suggestions of things that have worked throughout the years. I know both teachers and students especially need help with the 2D Design concentrations. The 2D Design submissions out-numbered the Drawing portfolio this year. The choices for a Concentration in 2D Design were off target because many students did not know how to choose a topic. The sample lesson plans and images of artwork already provide ideas for the Breadth sections. · There were many complaints at the Reading this year about the poor quality of the 3D work being submitted and the poor attempt to create an EXPLORATION of a topic in the Concentrations. · I think more information on APCentral.collegeboard.com should be printed and (1) emphasis given to the Discussion Groups,(2) written info on how to locate RUBRICS, (3) written information on how to locate the Gallery of previous artwork samples and (4) written information for digital submission. Much of this is needed for the official AP Art Instructor and they are definitely part of the Vertical Team. · I believe the guide needs some updating to include more contemporary artists. There is also a major trend in art education and education in general to include social justice issues into the various curricula. In fact this year’s National Art Education Conference was devoted to social justice as a main topic for the entire conference. I also would like to see references to various web sites for artists and art movements as suggested references. With the development of “Art: 21”, a new world of postmodern appreciation has opened up. The AP Central site was just getting started when this publication was coming out so there is no reference to the images that are provided on that site. · More lesson ideas from digital 2D   ** 3) **** Do the contents of the Vertical Team Guide reflect current best practices in art education? Please briefly explain why or why not:   **   · I’m not entirely sure. Part of best practices addresses creating challenging curriculum and presenting multiple ways of advancing students of with differing learning styles. I suppose the guide does succeed in large part in reflecting best practices. If administrations were to adopt the model of vertical teams advancing towards AP level art classes then schedules, budgets, class sizes would all improve for the average art instructor. Is this happening?    · I do believe the contents are appropriate for today’s art classes. However, much more could be added in the three areas (Drawing, 2D Design and 3D Design). More information about design, Computer Programs, Computer Drawing tools and the proper use of such tools in the drawing portfolio, more Contemporary artists on the list, contemporary design samples, and appropriate Pre-AP and AP Art Vocabulary lists would be wonderful. With the economy the way it is today, money is short for art programs and students cannot afford to purchase a lot of supplies. For that reason, it would be wonderful to add more 3D projects that are lost-cost to cost-free (paper, wire, wood, cardboard, nylon, papier mache, newspaper, tape, found objects and non-conventional materials.  
 *  In reading the Guide, I found the contents to be sufficient, in particular the definition, structure, and overview of a Vertical Team, along with the methodology of building a portfolio. Some visual examples were stronger than others. Of particular note, were examples done by the same student through time. The visual examples and lessons plans are most helpful to teachers trying to develop a Vertical Team.
 * This was my first read of the document as I teach college rather than high school. I thought that the document was quite complete. I am unfamiliar with the term “habits of mind” and wonder if this is standard College Board terminology. On page 3, when the “habits of mind” phrase is used, I wonder if something about commitment to the process shouldn’t also be included.
 * The aspect of academic honesty or appropriation of images would be a beneficial addition. At the Reading we often see work that is not original to the student artist. The rubric deals with this as “Appropriation and the Student ‘Voice.’” This is an important consideration in terms of originality. It has become more of an issue as grabbing digital images has become more commonplace.
 *  I believe the Quality Section (page 16) could be expanded upon, especially the Proficient student example. Some digital examples are included in 2D Breadth, but perhaps you might consider including examples in 2D Concentration. Another aspect of digital imagery to consider would be the use of the drawing tablet for artistic expression in the Drawing Portfolio. This is currently being discussed in the electronic discussion group. Consider revising the artist list (pages 18‐19).
 * Since the portfolio is now predominantly digital, I think that the change of format and its implications should be covered. Every time I read “slides” it felt old.
 * The trend in college art and design studies is more interdisciplinary than it had been. Since the ability to successfully navigate the complexity of the interdisciplinary means that students need skills in a number of visual disciplines, this might be brought up as an “Advanced” possibility.
 *  Yes, for the most part, they do. There is discussion on resources, materials, the importance of the sketchbook in the artistic process, along with theory, criticism, and art historical inquiry (as seen in the lesson ideas).
 * Since the portfolio is now predominantly digital, I think that the change of format and its implications should be covered. Every time I read “slides” it felt old.
 * The trend in college art and design studies is more interdisciplinary than it had been. Since the ability to successfully navigate the complexity of the interdisciplinary means that students need skills in a number of visual disciplines, this might be brought up as an “Advanced” possibility.
 * Webb’s theory of Knowledge and the 21st Century Skills need to be included

** 4) **** Do the Vertical Team contents of the Guide address challenges typically faced by studio art teachers and students? If yes, please identify which challenges are addressed, and how. If no, please delineate challenges which should be addressed and recommend approaches for doing so.  **   · The guide presents a model of structure and focus to art curriculums. Isolated, ungrounded art classes tend to be less effective in educating students about the issues of art making than well supported, multi level programs that have a sequential, spiraling curriculum. This is a question better answered by teachers who have made use of the guide in their programs. Has there been a survey conducted to gather this information? The data would be very useful in addressing the strengths and weaknesses of the guide on the ground. · As mentioned in the previous response, I think more information is needed “in writing” for locating information at AP Central. I present on average 4 – 6 AP workshops in the summer and many participants ask for help in locating the Rubrics, samples of artwork, and instructions on Digital submission. Since the AP teacher is part of the VT, they definitely could use help in written info in the guide pertaining to Digital registration, digital uploading, changing pixels, labeling work and submitting the work and portfolio digitally. This information is desperately needed as part of the VT guide even though the instructions are emailed to the AP teachers.  <span style="color: #5f497a; font-family: 'Cambria','serif'; font-size: 12pt;"> ** <span style="font-family: 'Cambria','serif'; font-size: 12pt; line-height: 115%;">5) **** <span style="font-family: 'Cambria','serif'; font-size: 12pt; line-height: 115%;"> Is the Vertical Teams Guide more helpful for beginning or experienced teachers, or equally helpful for both? Do you recommend revising any aspects of the content toward increasing benefits to beginning or experienced teachers?   **   · The presentation of project ideas is probably most useful to beginning teachers, but the lack of real description of how to teach students to make successful work would hamper the usefulness of the guide.    · I have noticed for the last 15 years or longer that new art books have created confusion in providing lists of elements and principles of design. Authors have taken it upon themselves to add to and/or change the list. If you compare 5 art books, you will most likely come up with 5 different lists of the elements and principles of design. We need a published list in the book that we can all agree on. These principles need to be defined and perhaps explained how they are used differently in the three portfolios. · I think a better quality of paper is needed so the color of the images can be printed with richer color. I also think the images should be larger and newer ones replace those old ones to create new interest in a new guide! · I think it is useful to both. Our district uses it in middle and high schools as a teaching tool <span style="font-family: 'Cambria','serif'; font-size: 12pt; line-height: 115%;"> <span style="color: #5f497a; font-family: 'Cambria','serif'; font-size: 12pt; line-height: 115%;"> ** <span style="font-family: 'Cambria','serif'; font-size: 12pt; line-height: 115%;">6) **** <span style="font-family: 'Cambria','serif'; font-size: 12pt; line-height: 115%;">Is the organizational structure of the VTG effective? Please briefly explain why or why not:  **   · It could be clearer. The sections near the end seem tacked on and the organization is a bit random feeling.    · It is a little difficult to follow. Perhaps tabs on the edges of different sections of the book might help. I am sure there could be a better way of organizing the new guide but this one has worked well so far.    · I would put lesson Ideas with the section they relate to instead of at the end, and add some methods of conducting critiques for teachers since many teachers have difficulties with that process <span style="color: #5f497a; font-family: 'Times New Roman','serif'; font-size: 12pt; line-height: 115%;"> <span style="color: #5f497a; font-family: 'Times New Roman','serif'; font-size: 12pt; line-height: 115%;"> ** <span style="font-family: 'Cambria','serif'; font-size: 12pt; line-height: 115%;">7) **** <span style="font-family: 'Cambria','serif'; font-size: 12pt; line-height: 115%;">Are the three levels of student (emerging, proficient, advanced) represented in the guide appropriate? Is it clear, from the contents of the guide, how vertical teams could be structured for these three levels?  **   · The three levels seem artificial and, they way examples are presented, they are unhelpful. There is confusion in the guide between lack of sophistication in content and simplicity of materials. The content of the guide does not clearly indicate how the teams could or should be constructed for the various levels. The curriculum suggested in the guide could be very similar at all levels with varying expectations due to differences in development, skills, and experience. The key is better examples and better explanations of the lessons. · I really like having the samples of the three levels on the same page. I think it provides us with a quick observation of what the three levels of work looks like and works wonderfully with Pre-AP level teachers as well as AP students. Seeing the difference in the levels of work done on the same assignment was a __brilliant__ idea and this should be kept in the book. · Yes, appropriate and clear. · I do find the levels clear in most aspects. Remembering that each level of student has a low and a high end. Sometimes promised examples did not come through and others had to be used in place of what was expected. <span style="font-family: 'Cambria','serif'; font-size: 12pt; line-height: 115%;"> ** __<span style="font-family: 'Cambria','serif'; font-size: 12pt; line-height: 115%;">The following questions refer to the student work samples in the VTG (p.20-94): __ ** ** <span style="font-family: 'Cambria','serif'; font-size: 12pt; line-height: 115%;">1) **** <span style="font-family: 'Cambria','serif'; font-size: 12pt; line-height: 115%;"> Are the examples of student work appropriate for each level and skill set? Why or why not?  **   · Many are appropriate and some are weak, especially in the area of showing “Advanced” samples of student work. I think the ones on 66, 68, 70, 79, 82, 87, 91 and 93 need to be replaced with better images. The other images are wonderful but have been around a long time so new images might influence renewed interest in the guide.     · We could use more than one page on examples of how to submit CARTOONS in a portfolio. The ones on Page 25 are excellent. I remember seeing that work at the Reading. I think a few more samples of different styles of appropriate cartoon illustrations would be very beneficial. We fight the battle every day of students wanting to submit cartoons. They need ideas on how to do this properly. · The examples seem appropriate and well chosen. · Yes, they represent what was available and being taught at that particular time and place. Each level has a high and low end that in representation. I have heard from many art educators that they use the guide when discussing their student’s level of understanding for any given portfolio. Some samples seem to close to one another but there is that high and low end for each level of emerging, proficient and advanced. · They seem to be, we need more digital examples <span style="color: #5f497a; font-family: 'Times New Roman','serif'; font-size: 12pt; line-height: 115%;"> ** <span style="font-family: 'Cambria','serif'; font-size: 12pt; line-height: 115%;">2) **** <span style="font-family: 'Cambria','serif'; font-size: 12pt; line-height: 115%;">Do the examples of student work include sufficient supporting information? If yes, please briefly comment on what information is most useful. If no, please provide examples of what information should be provided.   **   · No, the information needs to more clearly explain the underlying point of the assignment. What is the goal? How do the students succeed? Illustration is not a useful assignment, jewelry casting is a way of making an object, but does not speak to how to make a strong cast piece but not a reason to    · The brief explanations are wonderful. So far, the amount of information given has been sufficient for me.    · The text with the examples had to fit the sequence that is being explored with the samples that had been collected. Some formal analysis could be useful…maybe. It needs to be up to the individual teacher on how they need to interpret the information to their students or how they need to analyze it to themselves. This is something that I have not heard from teachers when they use the guide. It would be an interesting questionnaire to send out to teachers to see how they have used the guide or if it has been useful to them and their curriculum. I feel the middle school teachers are not as well aware of the guide as the secondary teachers. · Provide dimensions and materials when possible, those are most helpful <span style="color: #339a66; font-family: 'Cambria','serif'; font-size: 12pt;"> <span style="color: #339a66; font-family: 'Cambria','serif'; font-size: 12pt;"> <span style="font-family: 'Cambria','serif'; font-size: 12pt; line-height: 115%;">3) ** <span style="font-family: 'Cambria','serif'; font-size: 12pt; line-height: 115%;">Is it clear how the examples of student work can be used as pedagogical tools? Please briefly explain **** <span style="font-family: 'Times New Roman','serif'; font-size: 12pt; line-height: 115%;">:  ** <span style="font-family: 'Cambria','serif'; font-size: 12pt; line-height: 115%;">    · Examples of student’s work are an essential tool for teaching. They must be well chosen, with differences in skill levels more clearly explained.    · It is to me and I have never heard anyone complain about how to use the images or the VTG as a teaching tool. I have had many middle school art teachers compliment the images and explain how they have used them in their class room. “A picture is worth a thousand words”. These images provide easily detected skill levels of emerging, proficient and advanced level work. Having them on the same page enables the viewer to immediately see how the different levels would handle the same assignment and shows wonderful examples of breaths and concentrations. · If we would go digital, the images would look much better. I have never been happy with the images on the poor quality paper, however it is much easier to grab a book from a shelf then put a CD or DVD into the computer when trying to illustrate a point quickly to a student. · Teachers use the VT Guide to help them understand at what level students should be performing. We use the VT Guide as examples and non-examples for students to help set the bar for excellence within our district. The visual examples can be used as activating strategies to start a new unit and as part of the critique process for students to use as comparisons for their won work. The visual journal strategies can be incorporated.
 * <span style="line-height: normal; 0in margin: 0in 0in 0pt; mso-layout-grid-align: none; mso-list: l8 level1 lfo6;"> The overview of the Vertical Team highlights the potential challenges of working together as a group, with administration, and within the community. These are all natural issues. As far as the student work shown, it may not be clear enough for some individual classroom teachers as to strategies to bring their students from one level (emerging, proficient, advanced) to the next level. The ideas are addressed more completely in the lesson ideas than in the portfolio lesson sketches. Maybe that’s the point?
 * <span style="color: #5f497a; line-height: normal; 0in margin: 0in 0in 0pt; mso-layout-grid-align: none; mso-list: l8 level1 lfo6;"> I believe this is a sound guide that does address issues faced by most visual art teachers. The move to more use of digital media does need to be addressed. <span style="font-family: 'Cambria','serif'; font-size: 12pt;">
 * <span style="line-height: normal; 0in margin: 0in 0in 0pt; mso-layout-grid-align: none; mso-list: l11 level1 lfo7;"> It is probably more helpful for beginning teachers as far as structure, however, as an artist and teacher, I myself am inspired by the work, leading to new ideas for my students in the future. It serves as a helpful review even for the experienced instructor.
 * <span style="line-height: normal; 0in margin: 0in 0in 0pt; mso-layout-grid-align: none; mso-list: l11 level1 lfo7;"> Continue offering a variety of lessons, as art teachers are asked to teach a variety of levels/courses. I have been doing a vertical lesson structure with my own students, some of whom have been in my class for three years!
 * <span style="line-height: normal; 0in margin: 0in 0in 0pt; mso-layout-grid-align: none; mso-list: l12 level1 lfo8;"> For the most part, it is. I found the College Board information well written and clear. The portfolio descriptions were equally clear, so much so that I plan to read from the guidebook on the first day of school to my AP class! Why no Quality images? After the section about Building the Portfolio, I felt the other information could perhaps be arranged differently for presentation. (maybe after the lesson ideas or under another heading of topics to consider?)
 * <span style="line-height: normal; 0in margin: 0in 0in 0pt; mso-layout-grid-align: none; mso-list: l12 level1 lfo8;"> The structure seems fine to me. As visual learners, looking at numerous pictorial examples becomes the most beneficial aspect of the guide.
 * As I said, I never looked at this document before. I thought it was very well organized. I imagine that the last section with the Lesson Ideas would be very especially useful to teachers who are planning their curriculum. I especially appreciated the lists of artists that accompanied the lessons.
 * // I thought this was successful.  //
 * This very clear and I hope that this does not change, think we can update information and visuals but stay true to the emerging, proficient and advanced concepts <span style="font-family: 'Cambria','serif'; font-size: 12pt; line-height: 115%;">
 * The level was appropriate; but in some cases the Emerging examples seemed at a higher level than I would have expected.
 * <span style="line-height: normal; 0in margin: 0in 0in 0pt; mso-layout-grid-align: none; mso-list: l10 level1 lfo11;"> Some Lesson Sketches provide more information than others of emerging, proficient, and advanced skills, which could be helpful to the reader. They might benefit by all having a similar format. The lessons ideas cover the transition between skill levels and provide the reader with clear specifics as to how the work fits the category.
 * Generally, I would say yes. I think that publishing a portion of the student’s concentration statement would help the viewer see this from the student’s point of view. It would also reinforce the place writing and criticism plays.
 * In the 3D section, I would try to find an example of installation work. If it needed to replace a portfolio, I think you could eliminate one of the ceramic ones.
 * <span style="line-height: normal; 0in margin: 0in 0in 0pt; mso-layout-grid-align: none; mso-list: l2 level1 lfo12;"> There is a broad range of examples presented and the guide is rich in visual information. I believe the examples give both specific information and allow for personal creative approaches in the service of teaching or instruction. There is no preferred style or content, and as stated “the materials used to make the marks are endless, as are the concepts of subject matter the students can choose.” (p.15)

** __<span style="font-family: 'Cambria','serif'; font-size: 12pt; line-height: 115%;">The following questions refer to specific sections of the VTG: __ ** ** <span style="font-family: 'Cambria','serif'; font-size: 12pt; line-height: 115%;">1) **** <span style="font-family: 'Cambria','serif'; font-size: 12pt; line-height: 115%;">Do the lists of recommended professional artists (p.18-19) for each portfolio represent a diverse sample from the field? Is it clear how the work of these artists can be used as a teaching tool?   **   · The list is useful but should be updated and expanded. A lesson for teachers showing ways to teach from historical and contemporary examples would be useful.    · It is wonderful for teachers to have this list available. The list could be longer. It is NOT clear how the artists can be used other than they are listed under Drawing, 2D Design and 3D Design.   <span style="color: #339a66; font-family: 'Cambria','serif'; font-size: 12pt;">   ** <span style="font-family: 'Cambria','serif'; font-size: 12pt; line-height: 115%;">2)  **** <span style="font-family: 'Cambria','serif'; font-size: 12pt; line-height: 115%;">Are the resource and material guides (p.95-109) presented in a clear and effective way? Please briefly comment on which materials are most and least useful and why, or if there are other guides that should have been included but weren’t. **  · The guides on sketchbooks and journals seemed useful. The discussion of critiques is essential. Bloom’s Taxonomy seems less so. · Perhaps this is where the written information about digital submission, steps for taking photographing images, changing pixels, joining the AP discussion group, etc. could be added. · The resource and material guide could be expanded but I would suggest not getting into the subject of what materials can be used. This becomes quite prescriptive and leads to the idea of larger budgets get better scores <span style="color: #339a66; font-family: 'Cambria','serif'; font-size: 12pt;"> ** <span style="font-family: 'Cambria','serif'; font-size: 12pt; line-height: 115%;">3) **** <span style="font-family: 'Cambria','serif'; font-size: 12pt; line-height: 115%;">Are the lesson plans (p. 110-139) presented in a clear and effective way? Please briefly comment on which lesson plans are most and least useful and why.  **   · The framework is useful, but the lessons themselves should be updated and expanded.    · Most of the lessons are focused on technique and not on how to create a strong piece of art.    · Very few are successful as they are, most have inaccuracies in the actual skill and sophistication represented in the images and where they are placed as far as emerging ect…The descriptions in the text are not clear. Some of the projects themselves are problematic; wheel thrown ceramics is too broad a topic to be useful as a lesson. What about form, or texture, or imagery, or history, or function, does the teacher wish to teach using wheel thrown ceramics as a vehicle?    · Sculpture inspired by the paintings of Kandinsky both too specific and too broad. It would be more useful to use multiple sculptors who use abstraction expressively to teach about form, negative space and how abstraction can speak about the world. Hepworth, Moore, Arp, Brancusi, Naguchi · The self taught artist lesson doesn’t get at the power of outsider art but instead simply encourages poor craft without getting at the personal symbology and intense focus of the artists listed. · Yes, they are presented in a clear and effective way. I am pleased to see the Bloom’s Taxonomy in the book. · I heard at the NAEA convention last year that they had re-interpreted Blooms and that CREATIVITY is at the top of the list. The newest Bloom’s should be used in the revision of the VTG. · I like the idea of writing the lesson plans in a way that Emerging, Proficient and Advanced lessons can be created. Adding the list of suggested artists to study at the end of the lesson plan was a great idea and should be continued. · The Relief drawings using Glue are really poor examples and should be replaced or the lesson removed (p. 114-115) · Better images should replace the ones on page on 117 on how to use the computer to alter or manipulate images. They are too small to see and are weak pieces. · I do not dislike the lessons used in this sections but I think new images would be a great help. Some of the advanced pieces do not look advanced! The wheel thrown vessels are too similar. On page 131, the last 4 images are close to the same in skill level. The images on 139 are excellent. · I believe the lesson ideas, not lesson plans are understandable to the art educator. They are not prescribed but developed so any teacher with any budget could redesign any idea to fit their individualized curriculum. Full formal lesson plans would be very directive and might become a major influence in determining what is being taught within the various school systems/curriculums. They all could be remastered with new student work and topics to be explored. This certainly would prove useful in getting some socially relevant lesson ideas into the guide. <span style="color: #943634; font-family: 'Cambria','serif'; font-size: 12pt; line-height: 115%;"> ** <span style="font-family: 'Cambria','serif'; font-size: 12pt; line-height: 115%;">Additional feedback **<span style="color: #943634; font-family: 'Cambria','serif'; font-size: 12pt; line-height: 115%;"> · If the guide is going to be updated, please allow the time to fully explore the samples that are being collected. // __ Kay Wilson __ // would have some excellent suggestions on how to set up the consultants that would be working on the guide. A random group was selected for the last guide and that proved to be not productive to the development of this publication. A few of the individuals, 3 besides me, listed did the major work and gathered the majority of the samples. When the guide was developed, we also did not have the three portfolios illustrated yet in place so samples in some of the areas were much weaker then others. I would like to see these be redeveloped in the future. There were only 2 portfolios offered at the time, Drawing and General Studio Art. 2D and 3D were not offered yet. · I also never cared for the paper the guide is printed on. The images are compromised due to the quality of paper. It would be good to have a digital version in the future. I have been working on converting all the images from the workshops and guide into digital representations. · Another thought for the guide could be a digital update that could encompass many of the additions that have been mentioned earlier. This could include digital images of the work previously used in the guide. Let’s see what the other reviewers have in mind and if they feel the guide needs only some minor changes, it might be a wonderful addition to what The College Board already has in place. <span style="color: #339a66; font-family: 'Cambria','serif'; font-size: 12pt;">
 * <span style="line-height: normal; 0in margin: 0in 0in 0pt; mso-layout-grid-align: none; mso-list: l0 level1 lfo16;"> The list is attempting to represent a diverse sample, but it needs to be edited/updated. Why is the Drawing Portfolio list shorter than the others? There may be a better way to present the information so it could be a more effective teaching tool.
 * <span style="line-height: normal; 0in margin: 0in 0in 0pt; mso-layout-grid-align: none; mso-list: l0 level1 lfo16;"> Some of the information on page 17 is now dated since slide sets are no longer used for dispersing information. The artists referenced could easily be expanded with some extended lesson ideas for further investigation at the various levels. Some of these techniques were developed for the VT Studio Art workshops.
 * The list looked good and useful to the teacher. Since some digital drawing is now allowed, perhaps some artists who draw digitally could be added. I am sorry that none come to mind immediately.
 * <span style="line-height: normal; 0in margin: 0in 0in 0pt; mso-layout-grid-align: none; mso-list: l6 level1 lfo15;"> They are clear, but honestly, when I got to this part of the guide, I was wondering why all of a sudden the information was there. It didn’t seem to “flow” from the previous section in terms of readability, at least in my case. Do you want to include Blooms Taxonomy on its own or perhaps include more strategies for developing lessons?
 * I liked these pages. If the instructors had the images on CD, they could create powerpoint lectures. In the same light as the sketchbook and journaling, the teachers and students could be encouraged to create on-going digital portfolios. This would emphasize the growth process. [note: this comment refers to the resource and material guides, as well as the lesson plans]
 * <span style="line-height: normal; 0in margin: 0in 0in 0pt; mso-layout-grid-align: none; mso-list: l7 level1 lfo14;"> Yes, I believe that they are presented clear and effectively. Here are some which I consider worth noting: 2D Design Lessons that spark interest: Fact and Fiction p. 118‐119, Quilt Inspired ArtWork p. 110‐111. 3D Design Lessons that spark interest: Self Taught Artist p. 120‐121, Sculpture Inspired by Kandinsky p.124‐125. Drawing Lesson that spark interest: Personal Still Life p. 132.
 * <span style="line-height: normal; 0in margin: 0in 0in 0pt; mso-layout-grid-align: none; mso-list: l7 level1 lfo14;"> The above are most useful to me because they offer interesting topics for student expression. Others, while useful, rely on more typical visual problems seen more frequently in the classroom. I can clearly see why they are included in the guide and would be most helpful in establishing the link in the vertical team.