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

AP Studio Art: Drawing

2018  PORTFOLIOS
DIEGO
​ALVEAR
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
QUALITY
BREADTH PORTFOLIO
CONCENTRATION PORTFOLIO
JACOB 
​VAN OOSTEN
QUALITY PORTFOLIO
BREADTH PORTFOLIO
CONCENTRATION PORTFOLIO
JOSIAH
​CHRISTENSEN
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
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.