INTRODUCTION TO ART
ART IN MOTION
ART IN MOTION 2
CERAMICS
PRINTMAKING
AP 2D
AP 3D
AP DRAW

AP Studio Art: 2D Design
2019 PORTFOLIOS
AMANDA
​CHUM
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CONCENTRATION STATEMENT
Q1:
The central idea of my concentration investigates the relationship between personified objects harmonzing with nature. Each piece implements representations of nature through repetitive linework and graphic colors.
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Q2:
My concentration explores textures, bold colors, and detailed linework. The stationary objects are offset by rhythmic lines creating a free-flowing aesthetic. I drew out the linework by hand and added in the colors digitally. For some, I painted the background and then added the linework digitally. I use negative space in order to balance the compostion and focus the gaze. The smoke-like linework in 2 and 8 very successfully controls eye movement. In images 7 and 10, the figure stands in a dynamic pose to emphasize the feeling of empowerment and dominance over the background. The bright and bold analogous colors I used balanced each other in images 1, 3, and 11. Similarly, the complementary colors used in images 2, 8, and 10 contrast the background from the focal point. I initially filled the background with imagery (6, 9, & 12), but came to see that pieces with more negative space were more successful compositions (1, 3 & 11). My 11th composition is the most successful because it represents my interests in detailed linework, simple colors, and negative space.
ELIAS 
​CAMPOS
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Q1:
The central ideas of my concentration is the use of vibrant and complementary colors with a nod to pop art. Contour drawing to emphasize the volumetric nature of the form, and close-cropped portraiture to focus directly on the subject.
 
​Q2:
The use of vibrant colors is reminiscent of the work of Andy Warhol referencing the use of color in his culturally expressive pieces. All my pieces have contrasting colors however 9,10,11, and 12 are the boldest, making them the most successful compositions in the series. I started my series with a straight ahead, naturalistic angle, as in compositions 2, 5, 8, and 12. I evolved into using more dynamic angles to make the juxtaposition of negative and positive space more visually compelling. Contour lines are used in lieu of shadows along the bold angles of the faces, as in 2, 3, 7, and 8. However the pieces that best represent the volumetric nature of the form are 9, 10, 11, and 12. 
APRIL
​LI
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Q1:
The central idea of my concentration is the rediscovery and human memory through the merging of both photography and printmaking to create a tonal dissimilarity between recovery and loss through color, unity, and contrast.
 
​Q2:
The work in my concentration demonstrates the exploration of my idea through the merging of printmaking and photography. For example, in concentration 1, I used a photograph of the Mojave Desert and printed triangles in order to unify the composition through color editing and superimposing. In Concentration 2 , 8, and 9, I experimented with different colors and different environments, such as city and mountain landscapes, which often creates contrast between real/fake. As for Concentration 3 and 5, I tried to change the color of the prints to black and white, but it remained dark, and I had to change the colors to fit, but as I continued to work, I began to tone down the composition and change the lighting of the photographs so I could improve both contrast and the intent of the composition.
TIMOTIUS
​MAYONTO
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Q1:
My concentration focuses upon ugly, horrific hand studies. I wanted to approach form in a more distorted, abstracted manner to manipulate the mood. I created a series of observational drawings which were then digitally colored or painted in watercolor. Borrowing from minimalism, I create compositions with bold negative space forcing an absolute focus on the hand itself.
Q2:
At the outset, I was focused on color and unity as seen in images 1 and 2. As I continued, the concentrations took on more extraordinary risks and explored different styles. I began focusing on different shapes and abstract backgrounds to achieve the final product, as demonstrated in images 3 - 12. In the end I wanted the pieces to feel weird and unordinary. To achieve this I peeled back flesh to reveal muscle or broken bones internally by using uncomfortable angles. For the second half of the concentrations, I used blue skin to heighten the feelings of weirdness. I chose blue for the color of the hand because it contrast the color red which I used to represent the reveal musculature. I also downsized the circle to the point where it looks like the hand can possibly hold it, better integrating the graphic with the representational form. The color change of the circle to different shades of pink is there to contrast the color blue. I also used a little bit of transparency to further reveal the hand with a more indepth shadow inside the circle. In the end, concentration 11 most successfully creates an uneasy, awkwardness through the use of a contrasting, limited color palette and bold negative space, reaching out into total emptiness.
ISABELLA 
​NAVA-HOLSTEIN
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Q1:
My concentration explores the relationship between fat womxn and the rest of the world. Religious symbols in combination with a limited, romantic color palette, similar to those used in the renaissance, reinforces the rebirth of a community of people who have been previously labeled as ugly and are now reclaiming their power. Showing the figures naked represents vulnerability, and explores the idea of a fat body being natural, beautiful, and alluring.
Q2:
I wanted my concentration pieces to explore fat bodies as they relate to heaven and earth by using motifs common in the catholic religion. I used simple backgrounds for my first pieces as seen in pieces 1, 2,  and 3. I then experimented with color and texture in the backgrounds of pieces 4 and 5. In piece 5, specifically, I used the spontaneity of the paint splatter to contrast with the sultriness of the body. Things such as angel wings, a crucifix, and halos all work to create unity within the concentration. The bodies in 8, 9, 10, 11, and 12 are painted in colors that contrast the background of the piece. This is to create emphasis, and to focus the viewer’s attention on the bodies. Pieces 2, 5, and 7 are painted in natural skin colors to reconnect the pieces to nature and create variety within the concentration. Piece 9 exemplifies the relationship between heaven and earth by creating contrast from the soft background with the striking green of the bodies. The flowers adorning the figures unite the piece to the rest of the concentration by bringing forth aspects of the earth and connecting them to the bodies.
VALENCIA
MINGKID
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Q1:
My concentration juxtaposes birds and their human equivalents. Each piece has both humans and birds portrayed in a stylistic, semi-realistic, cartoon style. The color palette of the main human of the piece is derived from the bird.
 
​Q2:
Working on my first concentration, I knew that rock pigeons are usually associated with urban environments and with that in mind, I decided to give the person urban street-wear. While looking at the finished version, I noticed that the cartoon style I used made the people and birds huddled together look cramped, so for the next work, I decided to draw a bit more realistically. Seeing how it was successful, I attempted to go further with the thin lines and a painterly style. After finishing the next work, I realized the painterly style did not fit with my cartoon style. So for the next few concentrations, I decided to compromise with a style that allowed me to keep my bold lines and include some hints of painterly features. Examples of this are seen in 5, 8, 9, and 11, my most successful concentrations and the best represent of my project's intentions. 
KACIE 
​NGUYEN
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Q1:
My concentration uses a tattoo style to depict nature & skeletons. I use bright, solid colors to graphically focus the view on the main idea of the composition. The imagery used ranges from skeletons to animals to plants, combining designs to explore the beauty of death along with life.
 
​Q2:
I had the initial plan of creating a concentration that would mimic the similar styles and linework of a tattoo while juxtaposing death & life imagery. The lines are used to create patterns and give a sense of depth. The whole concentration uses solid bright colors to make the main subject pop. Later in the concentration, I improved upon the graphic representation of the earlier skulls (6 and 7), by then adding stippling shading techniques and increasing the sense of form in my work like pieces (5 and 12). Piece 12 most successfully uses depth and negative space while juxtaposing the skull as death imagery with the blossoming flowers as symbols of the beauty of nature and life.
ANDREW
​PEREZ-MICHEL
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Q1:
Central concepts through my concentration include the use of graphic and vibrantly colored tentacles and modern architecture. The organic forms include various analogous and complementary colors alongside digital photography.
 
​Q2:
The exploration of my idea is represented by translucent tentacles that surround and interact with architecture. At the beginning of my concentration process, the tentacles were placed throughout the composition, as in 2-4. As I went on, the arrangement of the tentacles seemed more fluid and had one source, as in 9-11. In image 10, the tentacles appear to come from one body. In contrast, in image 4, the tentacles come from multiple bodies. I kept a repetition throughout all my pieces, but I felt that it was also important to keep a degree of variation. Composition 1 most successfully juxtaposes the color and forms of the tentacles to the building, using rhythm and movement to contrast with the stillness of the architecture.
2018 PORTFOLIOS
QUALITY PORTFOLIO
CAITLIN
SANTOS
AP SCORE

3
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Q1:
​​Through the subject of keys, my concentration focuses on the symbolism of keys conjured by humanity with the intention of portraying either direct or indirect symbolism associated with my subject. Keys are not only referred to as objects that open and close things, but throughout the ages, keys can also relate to ideas such as possibilities, freedom, or even death. Given that my concentration is intended to invoke symbolism, I chose to unify them with a combination of abstraction and cubism.
Q2:
​​Some of my works demonstrate how I position my subject—keys—within the negative space I’ve crafted and that allows me to relate to some of the themes I’ve chosen for each respective piece. In composition #4, it depicts a key that’s designed to look like a flying insect that incorporates movement as it leaves a trail of color that leads down to a gray-toned cage. Aside from playing around with my negative space, I’ve also incorporated deep hues to unify the compositions. Over the course of my time in constructing each piece, I’ve decided to refine my linework and color them as mainly white or yellow and this serves to craft a sense of sophistication that may not be seen in some pieces because those pieces were a few of the first ones that I made. I believe the last few compositions were more dynamic in color and somewhat more complicated in symbolism because I wanted to experiment with how well I could convey the rest of my themes if I made them more contrasting or variable with added variety. 
CHRISTINE
​YUAN
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AP SCORE

5
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Q1:
My concentration focuses on using cats as my focal point in order to explore different compositional choices and styles. Texture, bold color palettes, and the feline subject matter unify my portfolio.
Q2:
By using scale, texture and color scheme, I explore the texture of cat fur in different visual styles. In my paintings (images 1, 6, 7, 9), I used differences in scale to create dominance, with the cat overpowering other elements in the composition. With an enormous cat, those compositions are more playful as compared to my other pieces. It is fun to see something you’re familiar with in a different size and perspective from what you are used to. In those drawings, I also used rougher brushstrokes and more textures than my other paintings.
In other works, I created dominance using contrast and highlights, make my characters seem as if they are glowing. Inspired by children’s book illustration style, images 2, 3,and 4 use a graphic approach to coloration, as compared with images 1, 6, and 9.
By purposely incorporating more negative space into my compositions, I learned how to control visual eye movement by balancing the negative space around the cat (images 5, 8, 9, 10, 11, 12).
EMILY
​HUYNH
AP SCORE

3
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KELLY
​WONG
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Q1:
​​The central idea of my concentration is the movement of transportation. My concentration is styled upon integrating aspects from minimalist and modernist styles, and it clearly demonstrates its roots through a limited color palette, and arrangement of abstract shapes. I wanted to capture the movement of the transportation modes by using balance and pattern. The patterns move the eye through the piece, and the imbalance of the composition make the piece move through the negative space. 
Q2:
​​The work in my concentration demonstrates the exploration of my idea through the eventual addition of greater elements and principles of art. For example, image 1 was my first composition, and does not exhibit much experimentation. It primarily consists of shape and movement, with the geometric figures gradually decreasing in size to the supposed origin of the shapes further back. On the other hand, image 3 tests balance and movement. The greater positive space and triangle makes the composition seem to move towards the right. The majority of my pieces use balance in this way as well. The orientation of the shapes and the positioning on the paper were all meant to convey that, as seen in image 5, 7, 12. Free-falling through space is an idea that is thoroughly repeated throughout the concentration. Next, image 2 shows my exploration with the relations between organic and geometric shapes, as well as the movement of the shapes. It was the only one designed in this way. The three shapes layered on top of each other are meant to exhibit their twisting and turning in space. Finally, image 9 is the most prominent example of using line to show movement. The white lines boldly direct the eye towards a direction like in image 6, but with shapes.
LESLIE
​KWAN
AP SCORE

5
QUALITY
BREADTH
CONCENTRATION
CONCENTRATION STATEMENT
Q1:
​Using depth and movement, I depict real spaces with personal significance in a floating dream-like manner.
Q2:
By using a narrative style to approach the portfolio, I tell an episodic story of my connection to spacial tropes with the motif of a visiting spirit. I chose a one-point perspective technique for the pieces to create an illusion of space and depth. The compositions are mostly asymmetrical to complement the movement created by the floating objects. I implemented a surrealistic style when rendering said objects, which is seen when they are distorted or are textured to resemble plastic or clay. After the first four pieces, I used hard pastel in an attempt to exaggerate the hazy feeling, but the medium failed to recreate that texture. Instead, the elements of the pieces became too blurry and unclear. Because of this problem, I went back to using acrylic paint for the rest of the portfolio, which solved it. The colors in the pieces as a whole contribute to the mood giving a whimsical and dreamlike quality to the pieces. All of the elements work together to create a resemblance to dreams.
LINA 
​LI
AP SCORE

5
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Q1:
​My concentration investigates ways to visualize the stressful and morbid feelings of transitional states, such as the shift from teenager to adult or cultural shifts between countries and languages I experienced. The visual theme that connects my artwork is the relationship between the human figure and some invading or otherwise not germane objects. 
Q2:
​For my concentration pieces, stressful, morbid, and uneasy emotions become the structural guides for compositional arrangement. The close cropped framing of image 4 demonstrates claustrophobia. The cactuses sprout out of the head in image 8, spotted skin brought by the butterflies in image 9, the gem-like growths of image 10, and the snakes emerging from the head in image 11, all visually explore themes of infection and invasion. In images 1, 2, 3, and 4 visually explore personal fears, through portraiture, place and familiar objects. To create the morbid atmosphere in images 5, 7, and 11, I used bold, contrasting color schemes with macabre content. Wanting to make my concentration idea more clear and consistent, I decided to strengthen the relationship between human and unique objects, as seen in images 6, 8, 9, 10 and 11. 
            With the help of diverse media, bold color schemes, and odd juxtapositions, dramatic, stressful, and morbid feelings are visualized.  
QUALITY
LINDA 
​THAI
AP SCORE

5
BREADTH
CONCENTRATION
CONCENTRATION STATEMENT
Q1:
The central idea of my concentration stems from the aesthetic and innovation of retrofuturism. To me, retrofuture represents a dream of the future from the perspective of the past. With this idea in mind, I want to convey the modernist’s imaginative depiction of the future by blending the feelings of nostalgia and retro-style with futuristic technology and science fiction.
Q2:
Throughout my process, I aim to have my pieces follow a style that mimicked art-deco inspired principles such as geometric shapes, sharp and flat colors with minimum shading, intricate facets, airbrush effects and graphic features. I incorporate dated and contemporary elements focusing on limited color palettes and negative space in order to create unity and balance in my artwork. By using negative space, I isolate the main subject of my composition by controlling the viewer’s eyes and creating a vantage point that emphasizes heroic exploration (image 10, 11, and 12) and extreme perspective (image 9). When I began my concentration, I wanted to depict an accurate impression of retrofuturism in the mid 1900s by referencing historical popular culture and events such as film noir (image 1, 3 and 4) and the Space Age (image 10, 11 and 12). Overtime, I saw growth in my artistic endeavors and expertise evident by the contrast between the first few pieces (image 1 and 2) and the last few pieces (image 11 and 12). The beginning ones were more one-dimensional with substandard shading, mudane composition, and low-risk taking. But with more practice and research, I developed my own style by constructing facets that created the illusion of depth and form and complementing it with more dynamic compositions and sophisticated color choices.
NATALIE
THI
AP SCORE

3
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Q1:
​The nature of my concentration uses cardboard to print geometric and organic shapes, which creates texture within positive and negative space. Carving into the cardboard creates a print as well as cutting and pasting a collage to make a stamp. Using cardboard is significant because of the corrugated texture creating a pattern within the negative space that is simultaneously regular and uneven, producing an irregular layer of visual noise.
Q2:
​In the beginning of my concentration, I was interested in the print itself and the texture that was created as a result. In numbers 4, 5, 6, and 7, I was able to show how I manipulated the texture I wanted from the cardboard by either carving through the layers or cutting individual pieces out to make one whole piece. As I kept going through my concentration I had grown more interested in the printing plate itself because of the monotonous color and the layering of the cardboard as shown in 9 and 10.
RICA
​WONG
AP SCORE

4
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Q1:
​​In life everything revolves around ‘multiples’ of things, from societal views to how we categorize things in groups. From this, I was inspired to create art pieces that contained multiples of the same or nearly the same thing, while focusing on the spacing and flow of the composition. My concentration explores different patterns, motifs, abstract colors and shapes, to create a perspective that embodies ‘multiples’.
Q2:
​​In the beginning, I wanted to include many objects in order to create a motif in my art work, such as in my early works 3,5, and 6. I realized that I was able to create shadows, highlights, and shades by using paper-cutouts instead of solely screen printing. As you can see in images 6 and 7, I’ve tried to recreate shadows in an inorganic way, which was my second step in adding depth. Paper-cutouts provided greater freedom to use different light sources to cast shadows and create negative space. The abstract shadows created from the light source gave my concentration an interesting perspective. I experimented with creating images 8, 9, 10, and 11 by layering colored paper. I tried to use fun limited color palettes and colors that had great contrast but still felt unified across the portfolio. Images 8, 9, and 10 depict animals and their movement through different spaces. Using more than one creature allowed the artwork to create movement and flow within the compositional space. Towards the end, I decided to use bright color palettes, organic lines, and layering to amplify the freedom and playfulness in my artwork, especially evident in images 11 and 12. 
SAMANTHA 
​YOUNG
AP SCORE

4
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Q1:
​​The central idea of my concentration is impermanence. In my artwork, I wanted to focus on the fact that all things eventually reach their end. I also implemented representations of time which play a major role in the idea of impermanence. I investigated the use of organic abstractions in my pieces to create flow and rhythm between objects. I used surrealist techniques, a contrasting warm and cool color palette, and line art to make bold figures throughout my work. 
Q2:
​​Initially my concentration was about the distinct ideas of life and death, and making effort to connect their differences. My use of watercolor creates a feeling of flow to mimic the coming together of the two subjects such as in works and 6 and 12. I became interested in the ethereal connection between the loose watercolor abstractions and the opaque figures, as seen in work 8 which became the centerpiece for my idea of impermanence. Using acrylic paint with a warm color palette, I created the hand that represents the living. I used watercolor with a cool color palette to give off a weightless feeling in the hand of bones representing death. One factor that plays a major part in life and death is time. Time is an idea I highlighted in work 5 where the exposed neck is also a clock on the inside to exemplify the fact that nothing lasts forever. Time is also shown in work 4 where I used a surrealist technique to make the terrarium into an hourglass. At first I struggled with my heavy-handedness when it came to watercolor which defeated the graceful movement I was going for, as seen in image 1. As I got more practice with the medium I was able to take control of the watercolor in my art to create a more weightless feeling which you can see in images 11 and 12. 
TIFFANY
​WEI
AP SCORE

5
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Q1:
​The central idea of my concentration revolves around the problems faced by teenagers today through the use of symmetric composition and a limited color palette. Each individual piece illustrates a different specific scenario or problem in which a teenager may encounter. 
Q2:
​​The teenage problems addressed are: bullying, peer pressure, high expectations, virtual reality obsession, body image, drug use, depression, excessive influence from social media, procrastination, college preparations, and pressure from parents. Having experienced and witnessed others come across these situations, I wanted to bring awareness to aspects that are otherwise looked over, ignored, or pushed to the side. Surrealistic representation coupled with arbitrary color choices unsettle the viewer, creating an uneasy relationship between the teenagers depicted and their environments. Symmetric compositions, borrowing from formal portraiture, focus the viewer centralizing the gaze. The color palettes, especially of compositions 4 and 7, help to reiterate the social problems depicted. 
When I first began to develop my concentration, I had difficulties tying my pieces together. Although pieces 1 and 2 depict social problems, their color schemes contrasted vastly against one another. I was also worried that certain pieces were too conceptual and failed to convey the message clearly. To combat these obstacles, I decided to reuse color combinations, compositions, and perspectives. For instance, pieces 5 and 11 depict a first person perspective, thus encouraging a greater sense of depth. 
WES 
​PHILLIPS
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Q1:
​Simple, unusual, and unique architecture that is visually entertaining and includes multiple perspectives and optical illusions. The entertainment of the compositions is aided by the depth, which is accomplished by the shadows and line work, and the limited, whimsical color palette.
Q2:
​The work in my concentration demonstrates the exploration of my idea in each of the ways which I described. Take composition number twelve for example. The line work creates the illusion of the building getting further away from us and the shadows provide us with the idea that some of the objects are round. The two color limited palette of baby blue and dark pink assists with making the composition entertaining. The building is simple in its shape, but it is also unusual and unique in the way that it is constructed. If you look at it from other angles, some of the stairs change the direction in which they lead (such as the stairs at the bottom of the composition). Then composition six. The darker two color limited palette including dark violet and coral makes the composition entertaining and the two infinity triangles are simple yet absolutely impossible since they cannot physically connect where they connect.
2017 BREADTH PORTFOLIOS
2017 CONCENTRATION PORTFOLIOS
JACOB
​VAN OOSTEN
AP SCORE

5
TAYLOR
PANNELL
AP SCORE​

3
NISA 
​ALAM
AP SCORE

3