AP DRAWING
Kaylen Saucedo
Twisted Wonderland
President Theodore Roosevelt High School, Honolulu, Hawaii, USA
Height: 10.5”, Width: 7.75” | Idea(s): Eerie wonderland with a warped carousel and floating cards symbolizing the viewers fate. | Material(s): I used graphite, color pencil, gouache, and acrylic. | Process(es): I experimented a lot with layering different colors and using paint for the lights and finer details. | Citation(s): Reference photo is from Pinterest: https://pin.it/4WSYuaoA6 and card images are from google. | Curatorial Note: The pre-existing image is digitally warped to emphasize the carousel interior, enhancing its surreal atmosphere. Layered applications of gouache, acrylic, and colored pencil are used to shade larger areas, draw attention to the focal point, and generate visual energy and movement through the dynamic placement of falling cards and glowing lights—all contributing to the creation of an intentional “alternate universe.”
STUDENT STATEMENT
Does your art connect to or take inspiration from any past or present art styles, techniques, or traditions? If yes, how?
My art leans toward a realistic style while emphasizing exaggerated color and value. This piece incorporates techniques such as blending and layering colored pencil with acrylic paint and gouache to achieve depth and vibrancy. I also used Photoshop to overlay images onto a photo of my drawing, creating my own unique references for the piece.
Which elements of art were most important in this artwork, and how did you use them to communicate your ideas?
The elements that were most important in this piece for me were color and value. To create an eerie wonderland, I carefully considered which colors would best suit the environment. I chose vibrant reds and yellows to maintain a sense of realism while also making the scene intimidating and unnerving. Value was crucial for guiding the viewer’s eye to the front of the image, as well as for enhancing shadows and emphasizing the eerie background and sides of the carousel.
Which principles of design guided your choices in this artwork, and why?
I used certain principles of design in this piece, including balance, unity, variety, emphasis, movement, and proportion. I aimed to keep the image balanced while making it asymmetrical, guiding the viewer’s eye through the movement of the cards and additional elements like the claws at the top and the teacups. The cards also added variety, each featuring unique designs with their own meanings. Value helped create emphasis by drawing attention to the front of the carousel, where it is the brightest. Proportion was essential for maintaining a sense of realism, even though the carousel is twisted and distorted, and movement brought the eerie, unsettling theme to life.
I researched various architectural styles and explored which creatures, colors, and lighting best complimented them, using movement to bring the scenes to life.
How did applying design skills (elements and principles) help you strengthen both the look (formal qualities) and the meaning (conceptual direction) of your portfolio?
The elements and principles of art are what bring this image to life. The formal qualities help it appear both realistic and whimsical, creating an otherworldly effect. Without certain elements, such as color and movement, the piece would not stand out or convey the same feeling. The conceptual direction is guided by my use of variety, particularly through the unique designs of the cards, along with the addition of the teacups and the hand, which add depth and complexity to the scene.
Can you give a specific example of how you revised an artwork to better apply a drawing and/or design skill?
Whenever I revise an artwork, I try to push it further by incorporating additional elements or principles that make the image stronger. In this piece, I noticed that the teacups weren’t standing out enough and felt flat. The colors were too dull and lacked depth, so I used color and value to enhance them. By introducing brighter pinks and darkening the space beneath the teacup with gouache, I was able to create a floating effect.
Which drawing and/or design skills do you rely on most often in your work, and how do they support your artistic style or message?
I usually rely heavily on my technical skills when working with colored pencil, aiming for a smooth and realistic look that still feels stylized. I achieve this by applying strong pressure when coloring and spending significant time layering colors to build depth and richness. In addition, I incorporate other techniques to enhance the piece further, such as using gouache for darker shading and applying small touches of acrylic to emphasize brighter highlights. This combination of methods allows me to balance realism with a unique, expressive quality.
In what ways did your confidence in art making grow during AP Art and Design?
Completing the required AP Drawing pieces helped me gain confidence in my ideas and taught me to create high-quality work under time constraints. I learned to quickly sketch and develop concepts while refining them throughout the process. Adjusting the sizes of my artworks also challenged me to preserve detail and intricacy, even in smaller pieces, strengthening both my technical skill and creative decision making.
What kinds of critiques and feedback did you receive in AP Art and Design, and how did they help you strengthen your use of design and/or drawing skills?
A lot of the feedback I received focused on refining my art pieces. My teacher often advised me on which colors would help my work stand out and whether the proportions were accurate. She also offered ideas to complement my own concepts, always helping me push each piece to its full potential.
What advice would you share with future AP Art and Design students about building drawing and/or design skills?
I think time management is key to succeeding in any AP Art class. If you’re like me and spend a lot of time thinking through ideas and refining your pieces, it can help to compromise on something to save time. For me, I made my artworks smaller, which allowed me to maintain my attention to detail while creating pieces that were less time-consuming.
Material(s): I used graphite. | Process(es): I curved the reference photo and made a card reference by editing the images onto my drawing. | Digital Tool(s) used: Picsart | Citation(s): Reference photo is from Pinterest (original creator unknown) and card images are from google.
TEACHER STATEMENT
Jamie Kumashiro
Fine Arts Teacher
President Theodore Roosevelt High School
How often did your class meet?
A typical week had the AP Art and Design class on Monday, Tuesday, and Thursday. Monday classes were 45 minutes long and Tuesday/Thursday classes were 1 hour and 15 minutes long.
Please describe the structure of your AP Art and Design course.
It depends on how many students sign up for the AP Art and Design course, but it is typically taught separately, with all Drawing, 2-D, and 3-D students in one period. Students can also take a directed studies course concurrently with AP Art and Design to give them more time to work on their portfolio. If there are fewer students signed up for the course, they may be mixed with ceramics students or general art students. The level depends on the class sizes at the time of class registration.
How did you guide students in developing and refining their inquiry statements and
portfolio direction during their Sustained Investigations?
Once my students established their inquiry, I had them “word vomit” their thoughts and ideas onto paper without worrying about character count or grammar. As they created their artworks, they documented the conceptual and technical process for each artwork to ensure alignment with their inquiry. Throughout this process, I had ongoing one-on-one conversations and asked targeted questions to ensure their ideas were accurately and effectively communicated in their writing as well as visually in their artworks. Any subsequent conceptual shifts in the artwork were explored and addressed to ensure the new direction remained deliberately connected to their initial inquiry. My students had formal checkpoints along the way: During First Draft (Quarter 2), students focus especially on the first prompt, ensuring that their written inquiry aligns to the artworks they have created so far. During Second Draft (Quarter 3), students edit and refine their first draft and make any necessary changes to their inquiry. They focus on the second written prompt, detailing how their Sustained Investigation developed through practice, experimentation, and revision. During Final Draft (Digital Submission), students finalize their inquiry statements and the written components for each artwork, ensuring that they are under the character count. Their inquiry is clear and concise and aligns with their artworks.
How did you help students strengthen technical skills and apply design knowledge (elements and principles) while also developing creative problem-solving habits?
Most of my AP Art and Design students already have a strong art foundation and strong technical skills. I continued to strengthen this by structuring the class as self-directed studio time, which allows for extensive practice and experimentation with various art mediums and design ideas. To develop creative problem-solving habits, I used individualized conversations with a mix of open-ended and clarifying questions to push students’ conceptual inquiries and experimentation. I also incorporated peer and class critiques to help students gain new perspectives and collaboratively resolve artistic challenges.
In what ways did you structure opportunities for practice, experimentation, and revision
into your curriculum?
At our school we integrate the art-making process of practice, experimentation, and revision into our art curriculum. I reemphasized the importance of this process to my AP Art and Design students and stressed that this is required to be documented in their portfolio. I provided my AP Art and Design students with extensive self-directed studio time and access to a variety of supplies and materials and encouraged them to experiment to see what best supported their inquiry. Revision was driven by constant individual feedback from myself combined with structured small-group and class critiques. My students used Google Slides to maintain documentation of their art-making process (brainstorming notes, sketches, research, and in-progress photos) for every artwork, which significantly helped in their final portfolio submission.
How did you use critiques and peer interaction to support growth in both Sustained Investigations and preparation for Selected Works?
Student growth was supported through informal teacher and peer feedback during studio time and structured, formal critiques. Critique formats varied throughout the year, including small groups by table or media (Drawing, 2-D, or 3-D) or as a whole class to provide a wide range of perspectives. The critiques ensured that my students could clearly articulate their Sustained Investigation inquiry to others as well as check if their artwork visually and conceptually aligned with that inquiry. Informal and formal feedback focused on art and design skills and the clarity of ideas and processes, directly strengthening students’ artworks for both the Sustained Investigation and Selected Works.
What advice would you offer to other AP Art and Design teachers?
It is so important to build relationships with your students early in the school year—both between you and your students as well as between the students themselves. A foundation of comfort, safety, and trust is necessary for them to be themselves, share their artwork, and engage in the honest, critical feedback that is required for AP Art and Design. I always emphasize to my students that my primary concern is not their final portfolio score. Instead, my focus is helping them to create a portfolio that they are genuinely proud of and that truly reflects their growth as an artist.
PRINCIPAL STATEMENT
Sean Wong
Principal
Roosevelt High School
What makes you most proud of your school’s AP Art and Design program and its impact on your students and teacher(s)?
What I am most proud of in our AP Art and Design program is how it cultivates a culture of respect, resourcefulness, and resilience that goes beyond the artwork itself. I’m incredibly proud of our students, like Kaylen, who exemplify resilience and resourcefulness by constantly experimenting, embracing critique, and revising their artistic vision to achieve growth. Their willingness to take ownership of their artistic journey reflects true responsibility. Equally, I am proud of our dedicated teachers, such as Ms. Kumashiro. Their respect for each student’s unique voice and their responsibility in providing tailored, challenging instruction are what make these opportunities for artistic growth so meaningful and impactful.
What actions or priorities have you implemented to strengthen visual arts programming at your school?
We cultivate a thriving visual arts program by ensuring students have robust opportunities for artistic growth across all four years, exploring diverse mediums like digital design, ceramics, and painting. Crucially, our dedicated teachers proudly serve as advocates for their students, ensuring their achievements aren’t just seen but also celebrated. They regularly share and display student work within our school and at public exhibitions to build both the student’s portfolio and the program’s connection to the broader community.
What advice would you share with other school leaders about building and sustaining strong AP Art and Design programs?
To successfully support an AP Art and Design program, school leaders must commit to sustaining both student opportunity and teacher empowerment. My core advice is to maintain robust program access and proactively invest in your teachers. Find creative solutions to provide teaching materials and professional development resources, ensuring they have the tools to expertly guide student talent.
Kaylen Saucedo
