AP Studio Examples Concentrations, Breadth, & Quality 2006

2006 Studio Art Drawing: Concentration -- Mary Sofia Norell Albert Einstein Senior High School Kensington, MD Student Commentary: What was your initial idea? Originally I chose to portray contained objects that repeated simple shapes and allowed me to focus on unconventional color schemes. I enlarged simplistic conventional objects to create a dramatic or larger-than-life effect. How did your idea grow and develop as you worked? You may refer to specific slides as examples. I began by portraying simple grocery objects from a common perspective and grew to vary between cool and warm palettes to give the common objects a mood and personality. Soon I began to enlarge the scope of my paintings to create more imposing images. By working in a near-constant medium I became confident and comfortable with my color explorations. I started to work with more emotionally connected objects such as rocking-horses, which are connected to human experiences. In this concentration a broad range of concepts is linked through a common visual language. Repetition of shape is used to unify the compositions. Color temperature is used to communicate a convincing illusion of light and volume. A rich painterly surface is used to articulate the planes of the objects. Technique is excellent. This work is executed with confidence and verve.

2006 Studio Art Drawing: Concentration -- Mary Sofia Norell Albert Einstein Senior High School Kensington, MD * Important Note: The numbers of the slides run from top left to bottom right ” x 42” acrylic on canvas 2. 60” x 65” acrylic on canvas 3. 7” x 10” acrylic and collage 4. 40” x 30” acrylic on canvas 5. 55” x 40” acrylic on canvas 6. 25” x 20” acrylic on board 7. 20” x 14” acrylic on board 8. 9” x 12” acrylic 9. 12” x 18.5” acrylic ” x 24” oil painting ” x 55” acrylic and collage ” x 18” acrylic

2006 Studio Art Drawing: Concentration -- Mariannina L. Vigg School of the Arts San Francisco, CA Student Commentary: What was your initial idea? Initially my series was to be based on stereotypes. Being born and having lived in Italy all my life, I wanted to portray the differences I noticed in American Culture based on what I believed to be unusual from my lifestyle. How did your idea grow and develop as you worked? You may refer to specific slides as examples. Starting from this concept I evolved to the idea of looking through things with a “screen.” Realizing that things in America were a lot different from what I was used to. My life here became like a spectator looking through a glass. The series was based by a number of views that are looked on from a window, from the view of a spectator. Rationale for Score: The student skillfully extracts simple forms and captures nuances of light in familiar architectural settings. Horizontal and vertical structures serve to unify the works in this stylistically diverse portfolio. The student demonstrates a clear command of linear and atmospheric (aerial) perspective. The technical range of this work demonstrates an understanding of the specific character of each media; the student exploits these unique traits. A wide range of media is expertly handled in the service of an original vision.

2006 Studio Art Drawing: Concentration -- Mariannina L. Vigg School of the Arts San Francisco, CA * Important Note: The numbers of the slides run from top left to bottom right ” x 24” charcoal 2. 8” x 10” pen and ink 3. 24” x 30” oil 4. 8” x 10” watercolor 5. 24” x 30” oil 6. 8” x 10” pen and ink 7. 18” x 24” charcoal 8. 8” x 10” pen and ink 9. 8” x 10” charcoal 10. 8” x 10”charcoal ” x 30” oil ” x 24” pen and ink

2006 Studio Art Drawing: Concentration – Loide B. Marwanga Richard Montgomery High School Rockville, MD Student Commentary: What was your initial idea? My initial idea was to create a series of self-portraits that reflected my personality and my African Heritage. How did your idea grow and develop as you worked? You may refer to specific slides as examples. After viewing the works of painters Janet Fish and Kehinde Wiley, I began to experiment with not only my palette (slide 1) but also my content. I cloned myself to represent my affinity with being alone and, literally, keeping myself company. My self-portraits began to mock my usually traditional learnings as I experimented with content, including more references not to my culture, but to popular culture and street art. I added typography to relate back to my interest in graphic design and comic books. Rationale for Score: One of the unique qualities of this portfolio is that it has both visual and thematic coherence. This student takes a broad theme and uses an icon (in this case herself) and the work of other artists to focus an artistic vision. Subject and background are fully integrated using a variety of design principles such as rhythm and scale, as well as spatial systems in both real and invented environments. This work demonstrates technical versatility. The images are moving and appear deeply personal.

2006 Studio Art Drawing: Concentration – Loide B. Marwanga Richard Montgomery High School Rockville, MD * Important Note: The numbers of the slides run from top left to bottom right ” x 30” acrylic 2. 40” x 27” graphite 2*. [detail] graphite 3. 38” x 24” graphite 3*. [detail] graphite 4. 18” x 24” acrylic 5. 40” x 31” graphite 6. 18” x 24” acrylic 7. 85” x 28” charcoal 8. 18” x 24” pencil 9. 26” x 16” acrylic ” x 25” mixed media

AP Central - Exams: 2008 Studio Art Drawing: Concentration Samples

Exams: 2006 Studio Art Drawing: Breadth Samples – Jacob Wiens Bartlesville High School Bartlesville, OK Rationale for Score: Breadth is evidenced in the commanding use of multiple media, including graphite, oil, and mixed media. Slides 2, 7, and 11 demonstrate ambitious use of tonal value in observational drawing to describe space, create pattern, and establish focus. Slides 1 and 9 show a confident exploration of line quality to create value and texture with both black-and-white and color media. The student creates different moods and demonstrates clear risk-taking in complex compositional choices, including dramatic perspective in slide 1 and ambiguous, imagined space in slides 6, 11, and 12. Slides 5 and 7 show serious articulation of a variety of conceptual approaches, including observational space; works in slides 4 and 6 are surrealistic explorations; slide 3 demonstrates post-impressionist mark-making; and slide 12 shows personal imagery. A cohesive relationship between form and content to communicate complex visual ideas and an imaginative student voice are evident. Overall, the student demonstrates clear thinking, flexible decision-making, and successful risk-taking.

Exams: 2006 Studio Art Drawing: Breadth Samples – Jacob Wiens Bartlesville High School Bartlesville, OK * Important Note: The numbers of the slides run from top left to bottom right ” x 20” color pencil 2. 20” x 25.5” graphite ” x 30” oils 4. 24” x 18” graphite and pen and ink 5. 35” x 23” chalk 6. 30” x 23.5” oils 7. 30” x 22” charcoal 8. 10” x 8” linoleum black print 9. 8” x 10” pen and ink ” x 28” watercolor ” x 23” charcoal ” x 40” mix media

Exams: 2006 Studio Art Drawing: Quality Samples Drawing: Quality – Section I The student works displayed on this page are reproductions of actual works submitted by students in June All of the samples here were chosen because they clearly represent different points on the scoring scale for Section I, Quality. In the course of the AP evaluation, each section of the portfolio is scored on a six-point scale. Once the evaluation is complete, the various scores assigned to each student's portfolio are combined and transformed into the final AP grade of 1-5. The requirement for Section I of all three Studio Art portfolios is five pieces. Each group of five works is accompanied by a brief rationale for the scores awarded to the works. We greatly appreciate the generosity of the students who have agreed to share their works in this way.

Portfolio 1: Sabrina Shaw, Dr. Ralph H. Poteet High School, Mesquite, TX Score: 6 In fulfilling the guidelines for the quality drawing section, these works demonstrate a confident breadth and scope of drawing ability. This is achieved primarily through the inclusion of graphic-orientated pieces, figurative work, and observational drawing.

Artistic decision-making about composition, scale, and color among the group of works is engaging and diverse. The works are evocative and have a sense of being “about” something; personal voice is supported by a strong sense of technical competence.

Portfolio 2: Rakisha Coleman, Dr. Michael M. Krop Senior High School Miami, FL Score: 5 Complex compositions explore intimate and close relationships among friends. The double portrait of girls shows glistening highlights and believable textures in blouse and hair.

Colored pencils and watercolor are well integrated when used together. The painted coed scene (boy with earphones) is drawn fairly well, although additional work could benefit the hand on the left. The graphite drawing of the subject seen from below is very dramatic. Although a better observation of where the legs connect with the seat would benefit the drawing, the worm’s-eye viewpoint of the underside of stool is compelling.

Although the hand is out of proportion, the monochromatic portrait with bubblegum shows a fun and unified composition with a limited palette.

Portfolio 3: Sima Krasnow, Torah Academy for Girls Far Rockaway, NY Score: 4 Still-life subjects are handled adeptly. The works address glass, fabric, china, and natural flower petals with realistic value/texture. The drawing of the flashlights shows a sense of fun with vibrant colors not typically used for shadows (hot colors advance, cool colors recede); this use of arbitrary high-chroma hot colors is daring.

Compositions are centered and could benefit from the exploration of alternative solutions, such as activating the edges, cropping the subject in inventive ways, or breaking up the background space to find asymmetrical ways of balancing the composition.

Portfolio 4: Kimia Yazdanpandah, Great Neck North High School Great Neck, NY Score: 3 Several pieces within this group of works reflect the student’s moderately successful responses to what are typically classroom-centered assignments. Future directions could include more observational work done outside of class. Assignments submitted here demonstrate an emergent level of proficiency; compositional organization indicates the potential to explore further. Technical aspects that underscore drawing from life are not readily evident here.

Along the same lines, the engagement with materials, while promising, never advances in terms of overall skill level. The investigation of color harmonies within this body of work might be enhanced beyond the limited scope of what working from photography offers. The student appears to have the initial idea of working with color and composition; more advanced studies could go on to develop a sense of confidence and risk-taking.