AP DRAWING
Height: 11”, Width: 14” | Idea(s): My little dog Oliver loves me unconditionally, as I do him. When I am feeling insecure he is there. | Material(s): Canvas Board, Acrylic Paint. Surface Manipulation, Rendering Form, and Illusion of Depth are evident | Process(es): Sketched on canvas board, then methodically painted each stroke of his curly fur and adorable face. | Curatorial Note: This painting radiates warmth and affection, capturing the deep bond between the artist and their pet. The expressive brushstrokes and rich color choices reflect both technical skill and emotional connection, making the comfort this companion brings during a difficult time beautifully tangible.
STUDENT STATEMENT
How did you bring together different ideas, influences, or inspirations in this artwork?
I brought together a mood of comfort with my dog and bed. I was able to portray the mood through my techniques, like building depth with layers, color, and value.
Which materials and processes did you combine, and how did they work together to strengthen your ideas?
I used acrylic paint on canvas board. I used transparent layers to build up depth, using more opaque layers toward the end of the piece. My ideas for this piece were to convey a cozy scene, so I used the acrylics to build up layers and warmth throughout the piece.
When surrounded by positive influences, I allow myself space to be creative and am more at peace with myself and surroundings.
How did you decide which artworks to include in your Selected Works submission, and what qualities made them stand out?
I chose my best works, the ones I was proudest of. I didn’t choose my Selected Works based on how well they conceptually fit my Sustained Investigation, but rather on how well they represented my artistic ability. I chose pieces that I liked looking at.
Did you revise or refine any artworks before submitting them as Selected Works? If yes, what changes did you make and why?
Yes—although I didn’t only revise pieces to be Selected Works, but also did so throughout the creation of my entire portfolio. I went back to almost every piece in my portfolio at some point to change something to make it stronger, conceptually, compositionally, or simply visually. So, some of my Selected Works had revisions, not because I altered them to be Selected Works but rather because I altered them to be, overall, stronger.
What did you learn about yourself as an artist in the process of creating synthesis and curating your Selected Works, and how will you use that learning in the future?
I think I learned to have both humility and confidence in my art. I became open to admitting which pieces were weaker versus stronger, to looking at my art objectively. I learned to see where pieces needed work and where they didn’t need work. I think this will help me in the future as an artist, as I can better improve my work if I’m working alone without anybody to critique it.
TEACHER STATEMENT
Kimanne Core
AP Drawing and AP 2-D Art and Design Teacher
New Canaan High School
How often did your class meet?
We have a rotating block schedule so that some weeks we meet two times and others three times.
Is AP Art and Design taught at your school as a separate course, or is it combined with other art classes?
It is a separate course
Please describe the structure of your AP Art and Design course.
My AP Art and Design course combines both AP Drawing and AP 2-D Art and Design.
In what ways did you structure opportunities for practice, experimentation, and revision into your curriculum?
Practice begins with a sketchbook comprising compositional thumbnail sketches, color mock-ups, and any reference material before starting a work. Once we review the ideas and sketches, students experiment with media that best communicates that idea. If a work needs modification or revision, images are shot before and after, with notations. Revisiting a “finished” work can take place any time throughout the school year. In this way, the AP curriculum gives creative strategies to nurture creativity and student voice. Isabelle’s sketchbook is a prime example, as her sketchbook was her “playground” for practice and experimentation for sketches, thumbnails, and color studies.
How did you scaffold writing into students’ art making and thinking processes?
Initially, students brainstorm and discuss with me ideas for their Sustained Investigation with a written reflection description. I emphasize the need for the idea to be personal and unique to each student, with myself as a resource. My students create their own school website, where they upload their written ideas, processes, and modifications or revisions, along with images of that work in progress and finished piece. They also write about the idea, process, materials, and size; what has been altered from the original concept and why; and what they have learned from making the piece and how it will affect the next piece going forward.
How did you use critiques and peer interaction to support growth in both Sustained Investigations and preparation for Selected Works?
An informal classroom setting allows students to discuss among themselves what they are working on, which, in a comfortable setting, encourages students to share ideas freely. Often, fellow students have great insights or advice for their peers. I treat the Selected Works section of the portfolio as if it were a gallery exhibit, with the student deciding which five pieces are most successful both in concept and skillset. I give my input and rationale as well, but ultimately it is their decision. Though they do not have to be from their Sustained Investigation, often they are. In this section, the written portion is critical in understanding the impetus for creating the artwork in order to achieve synthesis in the Selected Works section.
What did you learn from working with your students, and how did you connect their learning to real-world opportunities or creative careers?
What I learned from Isabelle is the power of quiet resolve along with drive and focus and making art a priority, both inside and outside the classroom. When I first had Isabelle earlier in a painting class, she was rather shy. It was a pleasure and joy to watch her blossom into a confident, talented artist who thoroughly enjoys the art-making process, especially as it pertains to the AP Drawing curriculum. Because of her involvement with the AP Art and Design class, many pieces from her portfolio have won numerous exhibition awards, including Scholastic. Isabelle also received a fully-paid tuition scholarship for an art course last summer because of the quality of her work. She also has contributed to the school community by creating beautiful wall murals in the art classroom while collaborating with other art students.
What advice would you offer to other AP Art and Design teachers?
My advice to other AP Art and Design teachers is to create an interactive classroom environment where students can share ideas and critique each other. Often, fellow students have great insights or advice for their peers. Make sure you do your utmost to spend one-on-one time with each AP Art student every class period, offering professional advice and asking questions. Finally, time management is critical to a successful outcome. I create a due date timeline for the whole year, which includes specific deadlines for sketches, process work, and finished work, respectively, for each piece. Adhering to this schedule helps keep students on-task and also helps with grading and managing a class of independent-minded artists.
Isabelle Kelly
