AP 2-D ART AND DESIGN
Height: 8", Width: 11" | Idea(s): as my visual approach evolved and my editing technique refined, my photographic expression naturally aligned with the essence of my theme | Material(s): Cannon T4 | Process(es): I used the fog to my advantage, detailing the tree and grass while blurring out the background. | Digital Tools: Adobe Lightroom | Curatorial Note: This thoughtful and evocative photograph invites the viewer to question the dreamlike setting and consider whether the space is real or imagined.
STUDENT STATEMENT
Does your art connect to or take inspiration from any past or present art styles, techniques, or traditions? If yes, how?
When I visited London last December, we went to the Victoria and Albert Museum, where I saw some of Bill Brandt’s landscapes. I love the ethereal, timeless quality of his black-and-white landscape photography and was struck by something the writer Lawrence Durrell said about Brandt’s work: “The most consistent aspect of his photographs is the aura they give off. The atmosphere of a Bill Brandt photograph seems to seep, as it were, into your skin.” Brandt uses high-contrast light and dark to create a world of mists and vapors. Later the same week, we went walking on the Malvern Hills near my grandparents’ house. On this particular day, the clouds had rolled over the hills and around a beautiful tree. I took the photo on my iPhone and experimented with the contrast to try to capture the timeless feel of the day.
What steps did you take to begin this artwork, and how did you develop it as you worked?
I began by carefully evaluating the raw image, considering its inherent qualities and potential directions. Using Adobe Lightroom’s preset filters as a starting point, I explored various tonal possibilities until I found one that resonated with the atmosphere I envisioned. This initial filter served as a foundation rather than a final solution, providing a launching point for more precise adjustments. From there, I refined the image through deliberate edits, adjusting individual parameters until the photograph fully realized my vision. This working method evolved through self-directed study of Lightroom over time. As my technical proficiency has grown, I’ve gained greater independence in my editing decisions, though I still value presets as tools for initial exploration. The process strikes a balance between intuitive discovery and controlled refinement, allowing the image’s emotional core to emerge through a combination of experimentation and intention.
What kinds of practice or experimentation helped you explore materials, techniques, or approaches in your work?
I experimented by using multiples of the same picture and by adjusting specific values in the photo, trying to alter its tone or feel. This allowed me to hone my taste in what I found to be my style or the style of photo I felt inclined to produce. Working with different cameras and film types also pushed me to understand how each medium handles light, grain, and atmosphere in distinct ways. I’d shoot the same subject with various setups to see how the results compared with one another, which taught me to anticipate what each tool could deliver. Beyond the technical side, I spent time studying work that resonated with me, whether in photography books or exhibitions, analyzing what made specific images compelling. This combination of hands-on experimentation and visual research helped me develop an intuitive understanding of the moody, atmospheric aesthetic that is evident in my work. The key was being willing to fail and make unexpected discoveries along the way, letting the process itself guide where my vision wanted to go.
My inquiry follows my struggle to connect with others and my identity.
What lessons, assignments, or classroom activities helped you gain new ideas or understand processes that shaped your portfolio?
We completed an exercise that required replicating the styles of established photographers, and, through this process, I discovered the value of restraint in postprocessing. Rather than overmanipulating images, I learned to focus on enhancing the inherent strengths already present in the photograph. This assignment proved pivotal to developing my technical approach and aesthetic sensibility. By studying historical photographic work, I gained a deeper understanding of the medium’s possibilities and began identifying the visual language that would eventually define my portfolio. The exercise served as both a technical foundation and a catalyst for discovering the atmospheric, contemplative style that became central to my body of work.
How did you revise or make changes to your work as your ideas developed?
My revision process occurred in distinct stages, allowing the image to evolve naturally. After the initial edit, I established the basic mood and atmosphere I was after—that foggy, ethereal quality. But once that foundational feel was there, I went back in for a second round of edits to really fine-tune it. This second pass was about pushing the vibe further, adjusting the tonal relationships, and refining the sense of depth and mystery until the image fully captured what I was trying to express. By working in layers like this, I gave myself space to see what was already working before committing to the final aesthetic choices. The image essentially told me what it needed at each stage, and I responded by honing those elements that reinforced the atmosphere I was pursuing.
In what ways did your materials and processes guide the development of this artwork?
Having access to various cameras and film stocks has been instrumental to developing my photographic vision, allowing me to anticipate how atmospheric conditions would translate through different media. Late December emerged through a multistage editing process in Lightroom, beginning with the exploration of preset filters until I found one that captured the mood I was after, then refining the tonal relationships to further push the atmosphere. Working with multiple versions of the same photograph and adjusting different values taught me how subtle changes can dramatically shift an image’s feel. This hands-on experimentation, combined with my self-guided learning of Lightroom over time, has shaped both my technical abilities and aesthetic sensibilities. My accumulated experience with various photographic materials has expanded my vision, teaching me to see not just scenes but also their photographic potential.
How did critiques or feedback help you revise or improve your artwork?
Critiques and feedback played a crucial role in refining my style and elevating the professional quality of my photography. Getting outside perspectives helped me see what was working and what wasn’t in ways I couldn’t recognize on my own. Constructive criticism pushed me to tighten my compositions, reconsider my tonal choices, and think more deliberately about how each element contributes to the overall image. Feedback also helped me understand how viewers interpreted my work, which enabled me to communicate the intended mood and atmosphere more effectively. Over time, incorporating these insights helped me move beyond technically competent images toward work that feels more intentional and polished. The critique process taught me to be more critical of my own work and to recognize the difference between a fascinating snapshot and a fully realized photograph with a clear vision.
In what ways did your classmates support you during the creative process?
For the past two years, I’ve studied art alongside a close friend who initially sparked my interest in photography. We’ve developed a working relationship where I ask for his input on my pieces, since he has a stronger background in art. His feedback has been really valuable, helping me notice things I might have missed and showing me ways to emphasize certain elements I wouldn’t have thought of on my own. Obtaining a second perspective has become an essential part of my process, enabling me to view my work from a different angle and refine each piece beyond what I could achieve on my own.
What advice would you share with future AP Art and Design students about practicing, experimenting, and revising?
Observe the world around you, whether that involves refining your framing and taste by looking at things that catch your eye or by perusing photography books and art exhibits. Train yourself to see photographically: Notice how light falls, how fog transforms a landscape, how shadows create depth. Permit yourself to experiment without the pressure to make a finished piece every time. Try different cameras, films, or editing techniques to see what works best. When it comes to revising, don’t rush it. Step away from your work and come back with fresh eyes. Edit in stages: Establish the basic direction first, then refine the details once you understand what the piece is trying to communicate. Most importantly, build a diverse technical toolkit. The more materials and processes you’re comfortable with, the more ways you’ll find to express your ideas. Your vision grows alongside your skills, so stay curious and keep pushing yourself to try new things.
LEADER STATEMENT
Meghan Conetta
Principal
Weston 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)?
Ms. O'Keefe is a talented artist who inspires her students every day. The courses we offer, along with the dedication of our teachers, continue to support students like Torin Cosgrove in developing their talents throughout their time with us.
What actions or priorities have you implemented to strengthen visual arts programming at your school?
As principal, I ensure that we continue to provide the necessary resources and professional development for our teachers so that we are keeping up with contemporary movements in the visual arts world. Most importantly, I listen to the needs of our teachers and the interests of our students so that we can continue to provide enriching experiences for everyone involved in the program.
What advice would you share with other school leaders about building and sustaining strong AP Art and Design programs?
Listen to your teachers! Invest in professional development, and allow the artists on your staff to inspire the artists of the future.
TEACHER STATEMENT
Kate O'Keefe
Art Educator
Weston High School
How often did your class meet?
Our school is on a rotating eight-period schedule where six classes meet per day and two drop. I could see students for as many as four days a week or as little as three days a week. Classes last one hour—so, that is between three and four hours 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.
AP Art and Design is combined with other courses. AP Art and Design is typically taught concurrently with our Studio Art course. The Studio Art course is the prerequisite for the AP Art course. This course is a teacher-led class, with a gradual release of responsibility to the students.
How did you guide students in developing and refining their inquiry statements and portfolio direction during their Sustained Investigations?
In guiding students through their Sustained Investigations, I emphasized the importance of curiosity, clarity, and flexibility. Early in the process, I facilitated brainstorming activities and reflective writing prompts to help students generate inquiry questions that were both personally meaningful and open-ended enough to sustain multiple works. As students began creating, I met with them individually to refine their statements—encouraging them to articulate not just what they were making, but also why they were making it. I pushed them to consider how their artistic choices connected to their central question, and we revisited these statements regularly so that they evolved alongside their work. I also built in critique cycles where peers could ask probing questions, which often helped students uncover new directions or clarify their intent. When students hit roadblocks, I encouraged experimentation and reminded them that revision of both the artwork and the inquiry statement is part of the process. By balancing structure with flexibility, I guided students to develop portfolios that showed depth, coherence, and growth—where their inquiry statements truly reflected the evolution of their ideas and the rigor of their artistic journey.
How did you help students strengthen technical skills and apply design knowledge (elements and principles) while also developing creative problem-solving habits?
I approach skill development, design application, and creative problem-solving as interconnected parts of the artistic process. To strengthen technical skills, I start the year with focused project work that introduces or revisits a range of media and techniques, tailored to students’ interests and goals. These skill-building projects are integrated with prompts that encourage experimentation rather than replication. I give students time to explore drawing, painting, digital tools, mixed media, or 3-D processes while emphasizing craftsmanship and intentional use of materials. When it comes to design knowledge, I actively teach the elements and principles through both analysis and application. We regularly look at contemporary and historical artists, analyzing how they use composition, contrast, rhythm, and balance to communicate ideas. I then ask students to apply this understanding in their own work, encouraging purposeful use of design to support meaning. Design conversations are embedded in critiques, where students articulate how they used visual strategies and receive peer feedback that helps them see new possibilities. To foster creative problem-solving habits, I design open-ended prompts and encourage process over perfection. Students are taught to generate multiple solutions, reflect on unexpected outcomes, and embrace revision. I use sketchbook assignments, visual journaling, and ideation exercises to build a mindset of exploration and iteration. When students hit creative roadblocks, I guide them with questions rather than answers, helping them take ownership of their decision-making process. Overall, I aim to create a learning environment where technical skill, design literacy, and creativity are not taught in isolation but, rather, are part of a dynamic and evolving studio practice.
In what ways did you structure opportunities for practice, experimentation, and revision into your curriculum?
I’ve found it essential to structure opportunities for practice, experimentation, and revision into the rhythm of the course so students can develop both technical fluency and a strong creative voice. For practice, I build in low-stakes exercises and sketchbook prompts that allow students to refine observational skills, test compositional strategies, and explore material handling without the pressure of producing a finished piece. These weekly habits create a foundation of technical confidence. Experimentation is emphasized through mini-investigations, where students explore themes across multiple media or approaches. I encourage risk-taking by designing assignments in which the process is valued as highly as the final product—for example, requiring students to reinterpret a theme using three very different techniques. Students also engage in research-based exercises where they borrow from or respond to the methods of diverse artists, which helps them expand their visual vocabulary. Revision is embedded through structured critique cycles—whole-class, small-group, and one-on-one—that guide students to reflect critically on their work in progress. I ask them to revisit pieces multiple times, making intentional revisions to strengthen meaning, composition, or technique. Students document these choices in process portfolios, which helps them connect experimentation to their SI. Altogether, this structure creates a cycle where practice builds skills, experimentation sparks new ideas, and revision deepens both technical and conceptual development—preparing students to produce thoughtful, rigorous portfolios that reflect growth and inquiry.
How did you use critiques and peer interaction to support growth in both Sustained Investigations and preparation for Selected Works?
I use critiques and peer interaction as essential tools to guide students’ growth in both their Sustained Investigations and the development of their Selected Works. For Sustained Investigations, I focus on creating a classroom environment that encourages curiosity, risk-taking, and open dialogue. I often share my own personal work with students as well as work of contemporary artists. Early in the process, I lead students through structured group critiques that emphasize inquiry-based questions and critical thinking. This helps students reflect on their conceptual direction and recognize patterns or gaps in their work. I also encourage peer feedback on process—such as sketchbook exploration, material experimentation, and compositional choices—which allows students to deepen their investigations and push their ideas further. As students move into preparing Selected Works, I shift critiques to be more focused and formal. We discuss technical skill, intentionality, and overall presentation. I often use peer review protocols that simulate AP scoring rubrics so students can evaluate their own and each other’s work with more awareness of the portfolio expectations. Peer interaction at this stage helps students recognize their strengths, identify their most successful pieces, and refine weaker areas. Throughout both stages, I model how to give and receive constructive feedback and encourage students to take ownership of their growth. I have done this by sharing my own work with students for them to critique and review. If my expectation is for them to be vulnerable, then I need to be the model of that behavior. Peer interaction becomes a form of collaborative learning where students not only improve their own work but also develop as thinkers, communicators, and artists.
How did you manage classroom resources and materials to support art making?
I managed resources and materials by balancing student independence with structured organization. Because students work in diverse media, I established clear systems for storage, checkout, and cleanup so materials were accessible but also well cared for. I also encouraged students to be resourceful in their art making. Many projects incorporated both traditional art supplies and unconventional, found, or recycled materials, which not only stretched our budget but also pushed students to think creatively about material choices. To support sustained investigations, I made sure students had consistent access to the core materials they needed while also building in opportunities to experiment with specialty tools or media through media-based projects. Overall, my approach is to create a well-organized, student-centered studio environment where materials are accessible, sustainable, and aligned with the exploratory and rigorous nature of the AP Program.
Torin Cosgrove
