AP DRAWING
Height: 5”, Width: 6”, Depth: 17" | Idea(s): "Break yourself fighting 4 wholeness" symbolizes the destruction wrought by correction over acceptance | Material(s): Stoneware clay, acrylic paint wash, leather hyde, jute rope, encaustic wax, natural stone eyes | Process(es): Created a ceramic ram to structure as a harness and compose image as an icon of passion | Curatorial Note: This playful and technically complex composition captures the chaos of an interior space through detailed rendering and layered visual storytelling. A strong range of value enhances the illusion of form, while the creative use of perspective—zooming in and out across the picture plane—adds depth and variety. The arrangement of overlapping objects, mechanical diagrams, and character illustrations invites the viewer to explore the scene from multiple vantage points.
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 draws inspiration from everyday urban sketches, loose sketchy lines, and technical drawing, in combination with semi-realistic stylization of characters, which makes an interesting contrast in their realistic surroundings. The constructed line work and the fish-eye perspective are two notable things seen before that I used to create my artworks.
What inspired you to choose the inquiry (big idea or question) for your Sustained Investigation?
My inspiration for my inquiry stemmed from my interest in everyday places—particularly, places that I frequently visit, such as grocery stores, classrooms, and apartments. Originally coming from my childhood experiences, I had a peculiar nostalgic feeling every time I was in the moment of these mundane spaces, whether it was the environment or the architecture. I wanted to explore that feeling further, capturing the moment of time of the space while building a narrative behind it.
How did your inquiry change, grow, or shift as you created more artwork?
I developed my storytelling when I included my original characters in the pieces. Before, the artworks never had an individual or group of people, but rather a first-person view of whatever was surrounding them, and they were often alone (e.g., empty classroom, bedroom). The characters really added a personal touch to my portfolio, and I think adding them played a major part for storytelling in the mundane environment.
How does this artwork connect to the inquiry you explored in your Sustained Investigation?
It has a place that I’m well familiar with, being my dad’s garage. Every time I saw the clutter and a random laundry basket on top of more crates, it gave personality and story to this place. I added one of my original characters, interacting (refer to the camera) as if they’re part of the space, and one with it reflecting my personal experiences of being in that exact moment.
How did you revise or strengthen your written inquiry statement while building your portfolio?
When I started this portfolio, I wasn’t sure what direction I wanted to go or where to start off. Then I found out about urban sketches; I really adored the style of those with loose line trajectory. So, I revised my inquiry statement over time by specifically stating my unique takes, such as exaggerated perspective; narrating my personal moments; adding my own characters; and adding controlled chaos to paint a stronger picture for my inquiry, while knowing what the viewer will expect.
How did you make your short, written statements about each artwork (ideas, materials, process, citations) clearer so others could understand your intentions?
When I wrote my statements, I was limited in words due to the word count cap at a hundred. So, I worked my way around this by getting straight to the point of the subject. What ideas do I need to mention that are absolutely crucial? How can I condense/explain my varying process in one or two sentences that are still comprehensible? I realized that having a limitation encouraged me to become more concise, and it served a beneficial outcome: Less is more.
In what ways did your art teacher support your growth as an artist?
I appreciate everything my teacher guided me through. When I was feeling stuck or lost in the AP class, I would always refer to her; she told me where materials were, recommended what resources to use in my art projects, and most importantly she helped me as much as she could to reach my potential to pass the AP assessment (like tweaking my Sustained Investigation written evidence). I want to give thanks to her as both a teacher and a mentor. I was able to discover a topic that I loved doing and I developed as an artist, discovering what my passion is. She is really open to encouraging people to pursue their style, interest, or topic, which makes me feel grateful to have her as a teacher.
How did your school leaders (like your principal, assistant principal, or counselor) support you as an art student (examples: visiting your class, attending art shows, or talking with you about your goals)?
My school leaders played a major role in my art journey: They gave me supportive reassurance of my skills, which I once doubted. They often visited my classes, attended the art shows I was in, and talked to me about my career after I graduate. I felt optimistic to continue pursuing my drawing and design passion, something I needed to hear during times of uncertainty.
What advice would you share with future AP Art and Design students about developing an inquiry?
If I had advice to give to future AP Art students who are taking the class, I would say the following: Discover what you truly love, a genuine passion for what you want to make for your year-long theme. I think we tend to fall into the pit of trying to perfect our craft to the best or grasping onto a subject only to impress the eyes of others, out of fear of pursuing one’s actual interests. But ideally this course is about your own growth, your Sustained Investigation. You will make mistakes, and that’s okay—that’s just part of the Sustained Investigation. You’re not meant to produce perfect results; rather, it’s about figuring out your limits, your style, what processes you took, and most importantly what you like. Find whatever interests you, and expand on that idea, where it’ll become unique to yours truly. Trust me: It is the best thing you can do to fulfill yourself and your art, and that is what AP is really about.
Process(es):
pre-stage sketches before creating the garage piece. Experimented with technical parts and angles. | Digital Tool(s) used: Google slides was used to compile these two sketches together.
My inquiry stemmed from my interest in everyday places, particularly places that I frequently visit, such as grocery stores, classrooms, apartments, etc. I intend to make the flow of the space, the way it is laid out or how every object is placed in a certain way, to create a story, mood/feeling such as (nostalgia, controlled choas,clutter, etc.)
TEACHER STATEMENT
Dr. Jennifer Leipham
Art Educator
James Lick High School
How often did your class meet?
The class meets for 50 to 60 minutes, five days a week.
Is AP Art and Design taught at your school as a separate course, or is it combined with other art classes? Please describe the structure of your AP Art and Design course.
By combining AP Drawing, AP Art and Design, and Art 2 and 3: Drawing and Painting in a single studio, we create a powerful peer-mentoring structure. This mixed-level format not only enriches the learning experience but also allows us to offer more sections, increasing overall student enrollment.
How did you guide students in developing and refining their inquiry statements and portfolio direction during their Sustained Investigations?
We launch the process in August by having students create inspiration boards (digital or physical) to provide a clear visual of their intended path. Students follow this up by submitting a Sustained Investigation proposal that outlines their subject matter, materials, and style and includes a draft of their inquiry statement. Examples of all steps of the development process and past student work are also shown. My next step is a one-on-one meeting to review their inspiration and written proposal. This meeting ensures I fully understand their vision, and we focus on making the proposed topic both clear and unique. We deeply explore the student’s “why”—a topic must align with a genuine passion and be flexible enough to allow for necessary shifts throughout the year. Students then plan their compositions and content using 15 thumbnail sketches. These sketches often serve as the first few slides of their final SI submission. The benefit of these plans is that students can quickly transition between pieces, having already mapped out their direction for the year. Even if a sketch isn’t used, this upfront planning is essential for continuous forward progress. For students enrolled in consecutive AP courses, we begin their next year’s topic development in May or June, allowing them to utilize the summer to create initial pieces. The two most critical elements for a successful investigation are starting early and grounding the work in the students’ natural and passionate interests.
In what ways did you structure opportunities for practice, experimentation, and revision into your curriculum?
Experimentation is a core component of the program, starting with the introductory courses in 9th grade. We encourage students to “play” with materials and try everything, through both less formal instruction on new materials and styles and student-led workshops where they teach each other various materials and techniques. To emphasize the process over just the final product, students submit process photos every Friday. This practice allows them to document every step of their creative journey, ensuring that all phases of experimentation are recognized and recorded.
How did you scaffold writing into students’ art making and thinking processes?
We scaffold writing into students’ art making and thinking processes by starting with early scaffolding in our initial courses. These courses incorporate reflections and short write-ups that are accessible to all students, establishing the routine of connecting thought to the final product. We also provide modeling by using numerous examples of student and professional artist statements as references. These models demonstrate how students can effectively articulate their intent, process, and connection to content. The process is then reinforced through formalization of all Selected Works assignments, where the final submission requires both a title and a cohesive artist statement or write-up. This final step forces students to synthesize their ideas, justify their formal choices, and articulate their Sustained Investigation to a broader audience.
How did you use critiques and peer interaction to support growth in both Sustained Investigations and preparation for Selected Works?
Collaboration is key to our process. Students work in collaborative table groups, which naturally encourages continuous discussion about their creative process. For more involved Selected Works projects, we formalize this feedback in two ways: I lead a critical friends protocol partway through the project, and students complete digital peer review critiques using our online grading platform when they have finished their piece. In all peer feedback, the primary focus is on providing constructive input using the framework of “likes,” “wonders,” and “next steps.” Students are always encouraged to revise and resubmit their artwork after receiving this feedback or after I have assessed their pieces. To facilitate this, time is specifically built in for revision and resubmission at the end of every grading period and again at the end of each semester, when students prepare their final digital portfolios for display.
In what ways did you integrate digital tools or technology into students’ creative processes?
The digital portfolio build is at the core of their art-making journey. It stewards almost every important critique. By constantly taking progress photos, my students can see and reflect on their progress. I guide my students to think of their photos as a second set of eyes, and whatever the viewfinder sees and captures is open to evaluation. I ask them to self-critique surface, subject–thesis correlation, breadth of technique, and intentionality with each of their Sustained Investigation artifacts. With their quality artworks, I ask my students to simply answer, “Is this what best represents your skillset, with said photo of that specific technique?”
How did you manage classroom resources and materials to support art making?
We ensure a fully supported creative environment through strategic purchasing and grants. Ongoing grant and proposition funding allows us to procure a greater variety and higher quality of materials, specialty equipment, and up-to-date technology. This helps us stock diverse media, ensuring every student can pursue their chosen artistic path without material limitations. Effective organization is critical to maximizing the accessibility and longevity of our resources. All materials are stored in clearly labeled, accessible areas, organized by media. This structured system minimizes downtime searching for supplies and teaches students responsibility, as they are expected to retrieve and return materials properly. A core goal is fostering a self-sufficient classroom culture. Students are taught proper material handling and cleanup from the beginning, encouraging respect for the supplies and the shared studio space. We use a student-led system for distributing and collecting common materials, and I empower students to utilize classroom equipment independently after receiving proper training. This self-sufficiency promotes ownership, keeps the creative flow uninterrupted, and allows me to dedicate more time to individual instruction and critique.
What did you learn from working with your students, and how did you connect their learning to real-world opportunities or creative careers?
One of my favorite parts of the process is helping students connect their topic to something they're passionate about and genuinely want to study. Not all students pursue creative careers, but the skills they gain—in time management, problem-solving, revision, and precision—are highly valuable in any profession.
What advice would you offer to other AP Art and Design teachers?
Start strong by instilling a growth mindset and essential skills immediately when students enter the class as 9th graders. To cement the importance of the art-making process, intentionally allow time for revisions and resubmissions from the very beginning of the course. This practice creates an ongoing understanding that the process is as valuable as the final product. To ensure students gain the depth and breadth of knowledge required for a unique AP portfolio, backward-plan your curriculum from the AP level down to intermediate and beginning classes. Similarly, backward-plan your deadlines for the year, ideally allocating two to three weeks per piece. Initiate the development and exploration process in May for the upcoming school year. This allows students to enter the fall with a head start on taking photos, sketching, and creating pieces with intention. Additionally, establish a consistent method for students to photograph their artwork starting in 9th grade, enabling them to build a comprehensive digital and physical portfolio throughout high school. To actively push exploration, consider implementing an activity like 10-minute student-led workshops on a variety of materials and techniques. It’s truly worthwhile to dedicate a week to letting students play with various materials, as they learn a great deal from their peers during this focused play. Maintain flexibility with materials and surfaces to meet diverse student needs. Some students will thrive with a mixture of digital and physical materials, while others truly excel with one particular medium. If you notice students are struggling with time management, have them use a smaller surface; remember that bigger isn’t always better.
PRINCIPAL STATEMENT
Honey Gubuan
Principal
James Lick 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)?
Our AP Art and Design program empowers students to explore creativity as a form of identity, voice, and academic rigor. I’m most proud of how it has become a space where students translate personal experiences into thoughtful, high-quality portfolios that reflect both technical skill and artistic growth. The program’s success is rooted in a dedicated teacher who fosters a culture of reflection, risk-taking, and excellence—helping students see themselves not just as art students, but also as confident creators and emerging professionals.
What actions or priorities have you implemented to strengthen visual arts programming at your school?
To strengthen our visual arts programming, we’ve prioritized both teacher support and student opportunity. We have provided professional development and dedicated time for our art teachers to work directly with students at the AP level, ensuring individualized guidance and high-quality portfolio development. We also created a four-year visual arts pathway that allows students to build foundational skills and progress toward AP Art and Design. Additionally, we’ve supported student exhibits on campus and in the community, and partnered with local artists and organizations to host workshops that expose students to real-world creative practices. Together, these actions have elevated the visibility, rigor, and impact of our visual arts program.
What advice would you share with other school leaders about building and sustaining strong AP Art and Design programs?
My advice to other school leaders is simple: Support your art teachers, listen to them, and follow through. Building a strong AP Art and Design program starts with trusting the expertise and passion of your educators. Give them the time, resources, and flexibility they need to guide students through the creative process. Invest in professional development, provide opportunities for student showcases, and celebrate their work publicly. When teachers feel heard and supported—and students see that their art matters—the program not only thrives, but also transforms the school’s culture.
Kevin Vo
