AP DRAWING
Makenna Yazzie
Balance
Chandler High School, Chandler, Arizona, USA
Mesa Community College in Mesa, Arizona, United States
Height: 11”, Width: 13” | Material(s): Graphite on Paper | Process(es): Me on a music note tightrope, holding a flute like a bar, walking carefully to convey stress | Curatorial Note: This inventive composition reimagines a musical note as a tightrope, using the structure of the score to break up space and visually express the tension of stress. The softly rendered, detailed self-portrait creates a focal point through contrast and invites close attention, offering a unique and thoughtful interpretation of how music can be symbolically incorporated into personal narrative.
STUDENT STATEMENT
What steps did you take to begin this artwork, and how did you develop it as you worked?
Before starting any artwork, I always create thumbnail sketches to get my idea down and explore different compositions, subjects, and values to see what works best. For this piece, I spent time deciding what I wanted the focus to be. I battled between the topics of stress and band. I eventually chose the latter. Once I made that decision, I created a bigger sketch of my favorite thumbnail and added more details to get a clearer vision of the final piece. During this process, I made some changes to the composition in my final sketch after receiving feedback from my teacher, which helped strengthened the overall piece. Once I was satisfied with my idea and sketch, I took reference photos of myself to use throughout the drawing process. As I continuously worked, I focused on the details of my shirt, hair, and shoes, making sure they stood out and didn’t get lost in the black space of the note and lines.
What lessons, assignments, or classroom activities helped you gain new ideas or understand processes that shaped your portfolio?
I learned how to use the basics in art during my first year of high school in my drawing and painting classes. Of the materials we experimented with that year, colored pencils stood out to me the most. I loved the complete control I had over my pieces when I used colored pencils, and, because of that, I was hesitant to experiment with anything else. When I joined AP Drawing, I wanted to get to work with colored pencils immediately. I used them in my first piece, and I thought it turned out really well. After that, I decided that colored pencils would be the main medium in my portfolio. While planning for my second piece, my teacher talked to our class about experimenting with materials and how we as artists can grow from it. I took his advice to heart and decided to take the leap and experiment with acrylic paint, which was a medium I was extremely unfamiliar with. My painting journey definitely has had its ups and downs, but I pushed through and I decided to make some of my other pieces in graphite as well, a medium I was also inexperienced in. Both teachers in my art classes influenced the mediums I worked with in my portfolio, helping me create more variety and pushing me to grow as an artist.
My works consist of hypothetical moments of myself that reflect my emotional experiences. Through self-portraits, I explore the relationship between my inner thoughts and myself, creating a visual biography of my emotions within the past year.
How did you revise or make changes to your work as your ideas developed?
While planning this piece, I took a lot of time figuring out what I wanted it to say and what it should focus on. From the start, I knew I wanted to make a band-centered piece about how it was affecting my life at the time. I sketched out a variety of thumbnail ideas of the different approaches I could go with while making this piece. One of the biggest things I played around with was what the tightrope should be, whether a flute, a music bar, or just a regular tightrope. I considered how I wanted to be portrayed in the piece as well, debating on including my band uniform. At one point, I thought about taking my idea a different direction, focusing on the overall stress in my life rather than just band, but in the end, I decided to pursue my original idea instead, and, with some feedback from my teacher, I was finally able to bring it all together into the finished piece. This is the usual process I take when I normally plan out my ideas and work.
How did critiques or feedback help you revise or improve your artwork?
I always appreciate feedback and welcome critiques when it comes to my artwork. They help me view my work from a new perspective, recognize what’s successful, and notice areas I could improve in. I make an effort to consider and incorporate feedback when possible. When I showed my teacher, Mr. Burget, my sketches for my Balance piece, he gave helpful feedback that strengthened the overall composition and meaning of the piece. Because of his critique, my final work looked more focused and cleaner. The change made the piece look less busy and put emphasis on the music note, which represented how large and consuming band had been in my life. It also gave the piece a mysterious and ominous atmosphere, which I really liked.
What advice would you share with future AP Art and Design students about practicing, experimenting, and revising?
My advice for future AP Art and Design students is to be open-minded and willing to try new things. Don’t be afraid to ask for feedback or change things up in your art process. Be open to experimenting with materials, and make “rough drafts” of your pieces using different mediums to see what works best. When I first joined AP Art, I was completely dead set on using only dry materials like colored pencils and charcoal, mediums I was already familiar with. I realized quickly that it would take an unrealistic amount of time for me to complete my projects, especially with my chosen inquiry. I gave acrylics a try and I found a new love for it, using it in most of my newer pieces. If I hadn’t taken that leap to experiment with acrylic, my work wouldn’t have turned out as strong as it did.
Material(s): Sketches, planning, and reference photos. Piece is graphite pencil on paper. | Process(es): Rearranged and altered composition during planning stage. Goal was to indicate walking on tightrope
TEACHER STATEMENT
Robert Burget
Art Teacher
Chandler High School
How often did your class meet?
Our class met about five hours per week—Monday, Tuesday, and Friday for about one hour and Wednesday for 2 hours.
Please describe the structure of your AP Art and Design course.
I call the course Honors Art. I have International Baccalaureate students combined with AP 2-D and AP Drawing students. They are interested and passionate about art making, so the divisions in curriculum and requirements melt away.
In what ways did you structure opportunities for practice, experimentation, and revision
into your curriculum?
In my class, students learn that sketchbooks aren’t just side projects—they’re where ideas learn to walk. We build time for experiments and revisions right into our weekly rhythm. Makenna really took to that process: she filled page after page with color tests, notes, and tiny redraws before settling on her final compositions. Her discipline turned experimentation into habit, and her confidence grew with every revision.
How did you scaffold writing into students’ art making and thinking processes?
Writing is woven into our art making. Students annotate sketches, jot short reflections, and write quick “why this matters” notes after critiques. Those small bits of writing keep their ideas from drifting away. Makenna used her annotations almost like a conversation with herself—she questioned choices, recorded what worked, and connected her imagery to personal memories. That writing helped her artwork feel more intentional and honest.
How did you use critiques and peer interaction to support growth in both Sustained Investigations and preparation for Selected Works?
Critiques in our room are simple and kind—we gather around, look closely, and talk about what’s working and what’s unclear. Peers learn to give observations before advice. Makenna listened closely during those sessions, jotting down quiet notes and later adjusting her work with care. Her classmates often pointed to her pieces as examples of calm persistence and thoughtful revision.
What did you learn from working with your students, and how did you connect their learning to real-world opportunities or creative careers?
Every year, I’m reminded that students teach the teacher, too. Working with Makenna reminded me how far steady work and humility can take a young artist. We talk often about how creative careers grow out of reliability—meeting deadlines, revising, and showing up for the hard parts. Her success in reaching the AP Exhibit shows students that consistent craftsmanship and curiosity open real doors beyond the classroom.
What advice would you offer to other AP Art and Design teachers?
Keep it human. Give students room to fail safely and to think out loud on paper. Structure helps, but heart matters more. If they trust you enough to take creative risks, their best work will surprise you. I’ve learned to celebrate the process as much as the final portfolio—because somewhere in those long afternoons of sketching and revising, real artists start to appear.
PRINCIPAL STATEMENT
Greg Milbrandt
Principal
Chandler 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)?
As principal, I am incredibly proud of our AP Art and Design program for the creativity, dedication, and excellence it inspires in both our students and teachers. This program provides students with a powerful outlet for self-expression while challenging them to think critically, push boundaries, and refine their artistic voice. The collaboration between students and teachers creates a vibrant culture of innovation and mutual respect, where creativity thrives and confidence grows. Seeing our students’ work recognized and celebrated—both on campus and beyond—reminds me daily of the profound impact the arts have in shaping thoughtful, passionate, and well-rounded young people.
What actions or priorities have you implemented to strengthen visual arts programming at your school?
Some of the actions and priorities implemented to strengthen our visual arts program include expanding access to advanced courses like AP Art and Design, providing students with more opportunities to showcase their work through on-campus galleries and community exhibitions, and investing in updated materials and technology to support modern artistic techniques. We promote field trips to enhance creative vision, helping our students gain confidence and a deeper appreciation for the role of art in the world around them.
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 about building and sustaining a strong AP Art and Design program is to start by valuing the arts as essential to a well-rounded education—not as an elective, but rather as a cornerstone of creativity, critical thinking, and student voice. Invest in passionate, skilled teachers who can inspire and challenge students, and give them the resources and trust to innovate. Create authentic opportunities for students to showcase their work and connect with the community, which builds pride and visibility for the program. Finally, maintain consistent support—from scheduling and funding to recognition and celebration—so the program continues to grow, evolve, and thrive year after year.
Makenna Yazzie