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

AP Studio Art: Drawing

2021 PORTFOLIOS
MOYA
​HOARD
AP SCORE

5
SELECTED WORKS
SUSTAINED INVESTIGATION
WRITTEN EVIDENCE
My concentration investigates different events in a world within a sci-fi setting, through atmospheric environments, light and shade, rendered forms, the illusion of depth, eye movement, and compositional space.
I started out depicting characters with a cinematic framing in mind (1-3) and then shifted towards environments with less focus on portraiture and more focus on landscape (4-15). I enjoyed the course of the curves and bright accents in 6, so I echoed this in 7. In 8 & 9, I experimented with a simpler, graphic style. The lines and forms create eye flow and contrast, but I missed the cinematic depth, so I applied more gradations and values onward. I liked the arches' fluid control of eye movement (6), so I repeated this in 11, using the tree spiraling throughout the work as a guide. The disk in 12 looks intriguing, so I repeat this in 13, adding more details to the machine. In 14, I control eye movement through strong shapes and stark lighting. Splashes of red unify the work. Inspired by the machinery in 13, I made this the main theme of 15. My most successful pieces are 11-15, as the framing, forms, lighting, and line quality create strong and immersive compositions.
SYDNEY
​SOOHOO
AP SCORE

4
SELECTED WORKS
SUSTAINED INVESTIGATION
WRITTEN EVIDENCE
My concentration is focused on the way hands hold and interact with different objects, but is also focused on said objects themselves. This is shown with various values for lighting and shadow, mark making, as well as the rendering of the object itself,  with the simplicity of the hands in more of my later pieces. 

In my concentration, I investigate how hands interact with one or more objects, while using detail with graphite or colored pencil to juxtapose the rendered volumes of objects against the contour drawing. In 1-6, I presented interactions with hands and objects, and I gradually made the hands have more contrast as seen from 3-7 to control the focal point of the compositions. I used a more simplistic style for the hands in 7-15, which I also noticed makes the pieces feel lighter and brings more attention to the object(s) that they're holding. My most successful compositions control the viewer's eye through repetition, contrast rendered volumes with contour drawing, and accurately depict textures using light and shadow.
MIGUEL
​MAYA
AP SCORE

3
SELECTED WORKS
SUSTAINED INVESTIGATION
WRITTEN EVIDENCE
In this Concentration I wanted the main theme to be about emotions, mostly love and pain. I do this by making these trippy and surreal pieces where the character is the center focus to put emphasis on emotions I want the piece to have . To convey this feeling in my pieces I mostly use different limited color palettes. My first limited palette is an analogous color palette mostly of red, purple, blue; these colors can be mostly seen in 3,4,9, and 13. My other limited color palette is a complementary color palette, I use palette mostly in 1, 5, and 11. I use these two color palettes throughout my concentrations to bring out emotions I want the viewer to feel. Another way I bring out these emotions is through my character design by making these cartoon characters that match that trippy feel I make in my pieces, these designs can be seen in 2, 3, 9, and 11. Another way I use my character design to create these surreal pieces is by how I place the characters, I do this by making my characters the main center focus to convey the feeling I
want the pieces to have. I do this in 1, 4, 6, and 10. By doing this it creates the main idea that I want my concentration to have.
RACHEL
​QUACH
AP SCORE

3
SELECTED WORKS
SUSTAINED INVESTIGATION
WRITTEN EVIDENCE
My concentration focuses on figures in motion with the subject matter being aquatic and terrestrial animals. Each piece controls eye movement through detailed linework and volumetric forms while utilizing a limited color palette to create contrast. 

My concentration explores linework, movement, and contrasting colors. My initial compositions use light colored backgrounds, pairs of creatures in motion with flowing lines to emphasize movement (1, 2 and 3). The curves and detailed linework help move the viewer’s eye throughout the composition along with the creature moving in space. In compositions 6 and 7, I shift the emphasis of the movement to the background. The background carries the visual flow of the composition more than the creature. This different approach also communicates my idea as the motion controls eye movement around the creatures. In my most successful compositions of 11 through 15, these pieces use a limited color palette to create contrast. The animals are also more detailed and refined. The movement created in these compositions have a better flow.
KYLE
​KOK
AP SCORE

3
SELECTED WORKS
SUSTAINED INVESTIGATION
WRITTEN EVIDENCE
1. My investigation explores character driven portraiture, understanding the anatomy that structures limbs, as well as how to shade and highlight values with pen. The characters are placed in active poses to display movement and personality with visual tension. My characters have an other-worldly fantasy aesthetic, which allows me to try out different textures in materials and proportions with limbs along with new ideas.

​2. My sustained investigation focuses on a singular character whose form is depicted with changing line quality, where weight and volume are held by line width. In 1-5, I experiment with different aesthetics for characters, trying out unique looks. Utilizing tenebrism in 11-13, I produce an isolated drama with
an unsettled look. They differ from the rest of my pieces, which focus on using pen for bold outlines and color values to shade them. In 6-9, I draw dragon-like creatures to create individual personalities for non-human entities. Of the four, 8 looks the most like a non-sentient creature akin to 14. My best compositions have a visual energy produced through movement and flow, all created through detailed changes in line quality.
2020 PORFOLIO
AMANDA
​CHUM
AP SCORE

5
QUALITY PORTFOLIO
CONCENTRATION PORTFOLIO
CONCENTRATION STATEMENT
My concentration investigates flattened contour drawings in abstracted spaces that are juxtaposed with value-laden volumetric forms. Each piece implements representational subjects, textures, and negative space to focus and refocus the gaze across the composition.

Using animals as my main subject, I thoughtfully cropped each piece to enable opportunities for negative space. The negative space that’s found in the animal’s eyes and structure help balance the composition and contrast with the graphite. I added gold embellishments to highlight specific parts of my subject’s original state. Initially, my first pieces focused on form through values as well as gold flower contours (1 and 2) but found that the more successful compositions have more flatness contrasting with the form (3, 4, 7, and 8). Most successfully, I found that combining flatness and detailed linework controlled the viewer’s eye movement (9 and 10).
2019 PORTFOLIOS
ALEJANDRO
​PASTEN
AP SCORE

5
QUALITY PORTFOLIO
BREADTH PORTFOLIO
CONCENTRATION PORTFOLIO
CONCENTRATION STATEMENT
Q1:
My concentration uses nonlinear structures to create a sense of harmony and unity, between controlled line and free color. In doing so, color became a central focus, as the greatest tie between the viewer’s attention and the piece.
 
Q2:
My concentration was rooted in two of my passions in drawing, line and color.  The lines were meant to create a sense of shape, rhythm and unity. They grasp your attention and control the viewer’s eyes as seen most successfully in images 3, 4, 8, and 11. The rhythmic lines direct the eye toward the organic, painterly and abstract colors that make up the background. Whilst  5, 9, and 10, had the best uses of color, 4 created a sense of harmony, and rhythm with cool shades  of blue whose flow and direction is complemented by the rhythmic linework.  
DENISE
​AU
AP SCORE

5
QUALITY PORTFOLIO
BREADTH PORTFOLIO
CONCENTRATION PORTFOLIO
CONCENTRATION STATEMENT
Q1:
The central idea of my concentration is fantasy which was inspired by children books and historical settings. I chose mediums associated with drawing because painting creates a new world rather than a second layer to reality. The elements in drawing relate more to dark children fairy tales and historical settings that serve as an undertone to the real world, while painting and color relates to the modern conception of fantasy of being taken away to another world.
 
​Q2:
My work demonstrates the exploration of fantasy by using different mediums and different historical settings. In images 6 and 7, Asian history is referenced and reappears indirectly in image 10 through the rocks. Image 10 can be considered a combination between Europe and Asia because of the dark setting, high contrast, and the style of flowing rocks. Smoke is a common element in fantasy and is used differently in images 6, 9, and 2 to visualize power, mystery, and destruction, respectively. Throughout the concentration, animals and humans are a common motif and are often seen living in harmony. In the past animals were spirit guardians of humans and fae wore the mask of humans. Different mediums and the sudden uses of color are used accentuate the different historical styles and transition the concentration to modern fantasy settings such as images 8 and 11.
LONDON
STEPHENS
AP SCORE

3
QUALITY PORTFOLIO
BREADTH PORTFOLIO
CONCENTRATION PORTFOLIO
CONCENTRATION STATEMENT
Q1:
Extremely abstracted backgrounds, reminiscent of topographic aerial photography, situate the pseudo zodiac emblems socially constructed relationship with the universe. Embraced in my work is intense surface manipulation involving thick layers of paint, gloss, silicon, and WD-40. The compositional structuring and chroma selection develops the astrological ambiance.
 
​Q2:
Starting the concentration process, I integrated the quasi-zodiac symbols into the background, forcing the viewer probe for their place in the composition to accentuate their intangible presence in the world. The result was a composition containing an exciting amount of visual tension, yet enabling ambiguous focus on the symbolism. Concentration eight marks the beginning of utilizing less color and more negative space to accomplish a clearer direction and focus.
2018  PORTFOLIOS
DIEGO
​ALVEAR
AP SCORE

4
QUALITY PORTFOLIO
BREADTH PORTFOLIO
CONCERTRATION PORTFOLIO
CONCENTRATION STATEMENT
Q1:
My concentration uses the human skeleton to investigate movement and rhythm. Inspired by medical illustration, my work takes a satirical approach to traditional arts imbuing the compositions with humor.
Q2:
The use of line quality in works 1, 7, and 11 reference medical illustration, taking a realistic drawing style and reinterpreting the figure in innovative ways. The severe vantage points in works 6, 7, and 11 move the skeletal figure away from medical illustration towards figuration, as if the skeleton has a life of its own. The line quality and extreme vantage points give these pieces a more humorus look, infusing traditional medical illustration with a satirical narrative composition. In terms of growth, works 1, 4, and 5, are more static as compared to images 3, 10, and 12. Wanting to better control visual eye movement, I started incorporating movement into the figure. Moving from those compositions, I used vantage point to increase the compositional eye movement and improve the negative space of the drawings.
ELLISA
​AU
AP SCORE

5
QUALITY
BREADTH PORTFOLIO
CONCENTRATION PORTFOLIO
JACOB 
​VAN OOSTEN
AP SCORE

5
QUALITY PORTFOLIO
BREADTH PORTFOLIO
CONCENTRATION PORTFOLIO
JOSIAH
​CHRISTENSEN
AP SCORE

5
QUALITY PORTFOLIO
BREADTH PORTFOLIO
CONCENTRATION PORTFOLIO
CONCENTRATION STATEMENT
Q1:
​​My concentration is focused on the grim nature of the road to Calvary. What I want to portray in my artwork is my technical skill in regards to figure and shape. Drawing inspiration from graphic novels, my works blend together to not only tell a story, but capture the raw emotions and depth of each moment as well.
Q2:
​​The work in my concentration demonstrates an exploration of my main idea through the use of art principles that tell a story and elicit emotions from the viewer. Throughout my concentration, I focused on the anatomy and historical accuracy of the figures. This can be seen in works, 6, 8 and 10. Works 3, 4 and 8 are all examples of implied movement in my concentration. My concentration is filled with emotion and drama. Those two are not complete without a sense of movement. As can be seen in works 11 and 12, I drew inspiration from graphic novels. At first I made my pieces like these two, and while they have their roots in graphic novels, they do not necessarily tell the viewer a story. Later works such as 3 and 4 really capture the effect that I was aiming for in the beginning but did not quite reach. They show the surface level emotions that we can all relate to, and at the same time, I believe that I successfully explored my main idea through the way that these pieces draw the viewer in and convey deep emotions such as anger, pain and the bleak nature of the story. 
KATIE
​KWOK
AP SCORE

5
QUALITY PORTFOLIO
BREADTH PORTFOLIO
CONCENTRATION PORTFOLIO
CONCENTRATION STATEMENT
Q1:
​​My concentration is focused on giant human figures and their interactions with architecture with emphasis on movement, depth, and contrast in texture and shape. For all my pieces, I worked with a monochromatic palette which allowed me to bring attention to the focal point through contrasting values or with a splash of color while creating a moody atmosphere. 
Q2:
​​The idea of my concentration stemmed from the combination of geometric and organic forms, specifically the natural curves of human figures and hazy textures contrasting the sharp appearance of architectural structures. For instance, in Concentration Piece #11 the fog and arch of the suspension cable soften the strong rectangular shape of the bridge. In #3, the pose of the human figure stands out against the strong trapezoidal shape of the window.
 
I also focused on controlling eye movement throughout my compositions by using repeating elements such as smoke/clouds and building components. In #2, the horizontal pillars surround the person, creating a claustrophobic atmosphere. In #1, the circular curves of the building are repeated on the person’s body which leads the viewer’s eye from the railing through the person’s neck to the ceiling.
 
As I progressed on my concentration pieces, I was intrigued by the juxtaposition of gentle, blurry markmaking and precise linework. This is explored in my concentration pieces such as #8 in which the watercolored smoke softens the sharp lines and edges of the skyscraper. Also, in #10 the fog fills the outdoors area and contrasts the corners of the surrounding building.