AP 3-D ART AND DESIGN
Height: 20, Width: 16, Depth: 1 | Idea(s): I wanted to show me looking into a different future. | Material(s): mixed media on canvas | Process(es): I took multiple reference images before editing them together in procreate | Digital Tool(s) used: procreate | Curatorial Note: The idea for this piece floored me when I read it—looking into a different future is such a powerful and relatable concept. The work is beautifully rendered and speaks for itself, capturing the emotional weight of needing to find another reality, one that feels possible and personal. It’s a striking visual statement about hope, escape, and reimagining what lies ahead.
STUDENT STATEMENT
Which materials and processes did you combine, and how did they work together to strengthen your ideas?
I combined acrylic and oil paint, chalk pastel pencils, colored pencils, and alcohol markers to create my piece. Doing so allowed me the creative freedom to experiment with different elements and see how they worked together. It also provided a sort of organized chaos to the piece that I think supports the message I was trying to portray.
How did critiques or feedback from your teacher or classmates help you strengthen synthesis in this artwork?
It helped to get different perspectives of the art piece. It’s hard to judge your own artwork, so it was beneficial to see what others thought to see if I needed to shift anything or correct any mistakes.
How did you decide which artworks to include in your Selected Works submission, and what qualities made them stand out?
I decided to include the art pieces I was the proudest of and that showcased the most range of skill. If I tried a new material or created a new work I really liked the composition and/or meaning of, I would put it to the side. I also used my peers’ and teachers’ opinions of which works they liked best to help narrow it down.
How can I explore the relationship between memory and reality through the use of color and texture.
What do your Selected Works show about your growth as an artist?
My Selected Works show the evolution of my artwork. My artwork, in its time, has begun to stretch beyond the threshold of stagnation. The more art I did, the more I began to experiment with new ideas and practices that allowed me to show my designs in a new light.
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?
Through the process of creating synthesis and curating my Selected Works, I learned that my artistic voice is strongest when I trust my intuition and allow concept and emotion to guide my choices. While I wanted my artistry to shine through each piece, I didn’t want my overthinking and intentions to conceal and overpower my ability to truthfully express ideas.
TEACHER STATEMENT
Elizabeth Knodle
Art Educator, MAE
Walnut Hills High School
How often did your class meet?
Our AP Art class meets daily for 50 minutes. Madison created this work in her own time in response to an all-call art competition for the state of Ohio Congressional Art Competition. Her piece, titled Future Vision, was selected by an impartial group of artists assembled by U.S. Rep. Greg Landsman. The work is currently on display in the U.S. Capitol Building in Washington, D.C., for one year.
Please describe the structure of your AP Art and Design course.
Our AP Art course is a combination of mixed years and mixed AP portfolios. It is very independent in nature.
How did you guide students in developing and refining their inquiry statements and portfolio direction during their Sustained Investigations?
Students began developing their inquiry statements through mind mapping, reflection questionnaires, and weekly written responses to clarify their interests and direction. Ongoing artist research supported the development of personal voice and stylistic growth. Regular one-on-one meetings allowed for continuous feedback, helping students refine both their inquiry and the visual coherence of their Sustained Investigation over time.
How did you help students strengthen technical skills and apply design knowledge (elements and principles) while also developing creative problem-solving habits?
At the start of the year, students engage in skill-building projects that integrate artist research and structured planning, reinforcing foundational techniques. We review the elements and principles of design alongside the contemporary principles of art to ensure a strong conceptual framework. Weekly mixed-media sketchbook assignments provide low-risk opportunities for creative experimentation, encouraging students to apply design knowledge while developing problem-solving strategies through exploration, reflection, and iteration of their personal ideas.
In what ways did you structure opportunities for practice, experimentation, and revision
into your curriculum?
Sketchbooks are used consistently for planning, practicing techniques, and experimenting with materials. Students are encouraged to revise and resubmit work following formal critiques to improve both their grades and the overall quality of their pieces. In April, rather than producing new work, many choose to reimagine earlier pieces using more innovative approaches—exploring alternative materials or making significant compositional changes to better align with their artistic intent.
How did you use critiques and peer interaction to support growth in both Sustained Investigations and preparation for Selected Works?
Critiques and peer interaction are integral to our studio practice. Students engage in weekly one-on-one meetings with me, mid-project peer pair-shares, and “gallery walks” to receive formative feedback in a supportive setting. We also implement the TAG method (tell something positive, ask a question, give constructive advice) for written critiques throughout the semester. At the start of each quarter, we establish that critique is a tool for growth, not criticism, fostering a constructive and reflective classroom environment.
What did you learn from working with your students, and how did you connect their learning to real-world opportunities or creative careers?
I learned that students can demonstrate the same passion and commitment to art making as professional artists. To connect their learning to real-world opportunities, we visit local museums and galleries and actively submit to student exhibitions. Many students also participate in ArtWorks, a local organization that employs youth to create public murals each summer.
What advice would you offer to other AP Art and Design teachers?
Prioritize regular one-on-one check-ins to keep students on track for completing their work by mid-April. Set a firm internal deadline at least a week before the official AP submission date to allow time for class-wide portfolio reviews. Emphasize the importance of documenting progress, and ensure each piece is fully resolved. From day one, have students build a digital portfolio to organize and store high-quality images of their work.
Madison Scruggs
