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

AP Studio Art: Drawing

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.