AP 2-D ART AND DESIGN
Ruby McKellar
The Philadelphia Free Library
Grandville High School, Grandville, Michigan, USA
Height: 8", Width: 10" | Idea(s): Printing in B&W (universal thru time) represents persistence of historical architecture/traditions. | Material(s): Etching ink on paper. Range of values creates dramatic contrast. | Process(es): Drypoint intaglio printmaking. Etched image in plexiglass, inked, ran through printing press. | Citation(s): American printmaking: nps.gov/articles/000/printmaking-in-the-american-colonies.htm | Curatorial Note: Intricate line work and carefully developed areas of value and texture guide the viewer’s eye through this detailed architectural rendering. The composition balances structural precision with organic elements, creating a thoughtful and cohesive depiction of the building within its environment.
STUDENT STATEMENT
Does your art connect to or take inspiration from any past or present art styles, techniques, or traditions? If yes, how?
I used drypoint intaglio printmaking, which involves etching a design into a hard surface (in my case, plexiglass), rolling the etched surface with ink, and running it through a printing press with a sheet of damp paper to create a print. This technique was invented in the 15th century and was widely used to distribute rhetoric during the American Revolution.
What inspired you to choose the inquiry (big idea or question) for your Sustained Investigation?
I’ve always been fascinated by architecture. As a young child, I spent hours drafting floor plans for houses and other imaginary buildings. My mom gave me the book A Field Guide to American Houses for my birthday when I was about 10 or 11 years old, which I was absolutely enamored with at the time. I believe that architectural styles and features can tell us a lot about the cultural climate in which a building was designed and constructed. For example, the influence of European philosophy on the early American Republic is reflected in the strong European architectural influences of 18th- and 19th-century buildings. Conversely, modern brutalist architecture reflects the current cultural rebellion against traditional ideas and standards of beauty.
How did your inquiry change, grow, or shift as you created more artwork?
I began my investigation using pen and graphite to recreate historical buildings in an achromatic color scheme. Later, I revised my inquiry to include modern buildings, incorporating bright colors and more organic shapes to represent new ideas and innovation.
Material(s): Ballpoint pen (initial sketch). Etching ink (deep blacks contrast with white background). | Process(es): Sketched photo with pen, etched image into plexiglass plate, multiple attempts in printing press. | Digital Tool(s) used: Google Slides for collage | Curatorial Note: Intricate line work and the development of value and texture move the viewer's eye across this traditional depiction of an architectural structure and its environment.
How does this artwork connect to the inquiry you explored in your Sustained Investigation?
The Free Library of Philadelphia, as depicted in my print, officially opened in 1927 after 36 years of planning and development. It is a physical embodiment of the core American values of free speech and open discourse.
In what ways did your art teacher support your growth as an artist?
My art teacher, Mr. Johnson, did an excellent job of exposing us to new styles, techniques, and mediums while also providing plenty of opportunity for creative liberty.
What advice would you share with future AP Art and Design students about developing an inquiry?
Pick a topic for your inquiry that you are genuinely passionate about. Create deadlines for yourself to stay on track and stick to them. Document all of your research, practice, and experimentation along the way (ALL of it—it will come in handy when you start putting your portfolio together).
LEADER STATEMENT
Adam Lancto
Principal
Grandville 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)?
I am most proud of our AP Art and Design program because it empowers students to discover their authentic artistic voices while engaging in rigorous creative inquiry. The program challenges them not only to refine their technical skills but also to think critically, reflect deeply, and communicate ideas that are meaningful to them and their communities. Year after year, I am inspired by the portfolio work our students produce—it showcases not just talent, but growth, resilience, and a commitment to personal expression. Equally important is the way our teacher fosters an environment where every student feels encouraged to take risks, explore diverse perspectives, and support one another’s journeys as artists. The program’s impact extends beyond art; it builds confidence, independence, and problem-solving skills that serve our students in college, careers, and life.
What actions or priorities have you implemented to strengthen visual arts programming at your school?
We have encouraged teachers and students to go on field trips to local art exhibits to gain firsthand experience. Likewise, students are able to display their art not only in the school but around the community as well. Each year the school partners with the City of Grandville to display student art in local businesses during the annual Art & Chocolate Walk around the city. Derek has also developed a spring art show that can showcase our students’ artwork for other students, parents, and community members at the school.
What advice would you share with other school leaders about building and sustaining strong AP Art and Design programs?
Make sure that you find ways to make the students’ art visible throughout the school and community. Support outside artists’ coming in to the school to talk to students, encourage college programs to come in to talk to the students, and allow students to take field trips out to visit and see art in action. Lastly, find a passionate educator who is willing to pour their love and passion for art into their students.
TEACHER STATEMENT
Derek Johnson
Visual Arts Teacher
Grandville High School
How often did your class meet?
The AP class meets for 58 minutes each day. This course runs a full school year (two semesters).
Please describe the structure of your AP Art and Design course.
Our AP course is combined with Honors Art, with a student body of mostly 11th and 12th graders. The honors students work together with the AP students for most of the first semester and, by the second semester, AP students are working independently on their portfolios while honors students continue developing prompt-based projects.
How did you guide students in developing and refining their inquiry statements and portfolio direction during their Sustained Investigations?
Students are encouraged to explore and really dive into the subjects they are passionate or curious about. College Board has done a really nice job of pulling some student portfolio examples and reader notes with a range of proficiency and success. Having my students look at previous student evidence from my own graduates has also been a helpful place to start the process and understand the expectations. Throughout the year, students assess whether or not they have been successful in conveying an answer to the original inquiry questions through written reflection and peer critique.
In what ways did you structure opportunities for practice, experimentation, and revision
into your curriculum?
We start the year off with a unit of abstract expressionism and focus on the experience of art making as a physical and human experience. Breaking some preconceived notions about how long it takes to make art, we create a fully realized piece within a 45-minute (or less) time period. Using mediums that “move” more quickly, we explore the amount of time each of us is willing to work on one piece until we are ready to move on. The goal is for students to become more aware of themselves as the agents of revision and how sometimes the process is the journey.
How did you scaffold writing into students’ art making and thinking processes?
Making sure students have access to key concepts and terminology is important, especially with a wide range of student experiences and knowledge about art. I find that students can more easily reflect and write about their own artwork when they can practice writing about someone else’s art first. So, when we look at art together, I will always model how I’m hoping they will observe art with a more critical eye. We use a makeshift, salon-style gallery in class to practice formal analysis with the help of a graphic organizer–type chart. It’s a good review of those elements and principles for some and first-time information for others. Then, for each project in class, the expectation includes written evidence about each student’s art experience, from planning to final reflection using the common key concepts and terminology.
How did you use critiques and peer interaction to support growth in both Sustained Investigations and preparation for Selected Works?
Students have a few interactions throughout the year with each other’s work at different stages. Presenting their works in progress gives them a chance to practice documentation skills and discuss their processes. Peers give either written or verbal feedback and may ask questions that require discussion and further exploration. A culture of positive support and trust in the classroom makes these more meaningful exercises, so students do not make judgments or suggestions until we’ve established some of that positive community vibe.
What advice would you offer to other AP Art and Design teachers?
Building a classroom culture that supports each student in a positive way can seem undervalued and get less attention than curriculum expectations, but it is critical for students to trust themselves and each other, given the vulnerability that comes with sometimes very personal or serious subject matter. Confident students are not only going to take more risks—they are more likely to encourage their peers as well. Invest in fun, out-of-classroom experiences for building those connections.
Ruby McKellar
