The Drawing Portfolio is intended to address a very broad interpretation of drawing issues and media.
Line quality, light and shade, rendering of form, composition, surface manipulation, the illusion of depth and mark-making are drawing issues that can be addressed through a variety of means, which could include painting, printmaking, mixed media, etc .
Abstract and observational works may demonstrate drawing competence . The range of marks used to make drawings, the arrangement of those marks, and the materials used to make the marks are endless . There is no preferred (or unacceptable) style or content .
Any work submitted in the Drawing Portfolio that incorporates digital or photographic processes must address issues such as those listed above . Using computer programs merely to manipulate photographs through filters, adjustments or special effects is not appropriate for the Drawing Portfolio .
Links to student work in the Drawing portfolio can be found on AP Central at http://studioartportfolios.collegeboard.org/
Section I: Selected Works or Quality
Quality refers to the mastery of drawing issues that should be apparent in the concept, composition, and execution of the works, whether they are simple or complex.
For this section, students are asked to submit five actual works in one or more media. Students should carefully select the works that demonstrate their mastery of drawing issues . The works should be on flat surfaces, such as paper, cardboard, canvas board or unstretched canvas .Students receive all the portfolio materials for submission of the Quality section in May . Because of limitations imposed by the shipping and handling of the portfolios, work submitted for this section must fit easily into the portfolio envelope, which is approximately 18" 3 24" . Works for Quality that are smaller than 8" x 10" should be mounted on sheets that are 8" x 10" or larger . To protect the work, all work on paper should be backed or mounted . Mats are optional . Do not use reflective materials such as acetate or shrink-wrap because they cause glare that makes the work difficult to see . A sturdy, opaque overleaf that is hinged to one edge of the backing so that it may be easily lifted provides excellent protection and is highly recommended . Materials that may be smudged should be protected with fixative .
If the work is matted, a neutral color for the mat is advisable . Works should not be rolled, framed, folded or covered with glass or Plexiglas .
The works submitted may come from the Sustained Investigation section, but they do not have to. They may be a group of related works, unrelated works or a combination of related and unrelated works.
Line quality, light and shade, rendering of form, composition, surface manipulation, the illusion of depth and mark-making are drawing issues that can be addressed through a variety of means, which could include painting, printmaking, mixed media, etc .
Abstract and observational works may demonstrate drawing competence . The range of marks used to make drawings, the arrangement of those marks, and the materials used to make the marks are endless . There is no preferred (or unacceptable) style or content .
Any work submitted in the Drawing Portfolio that incorporates digital or photographic processes must address issues such as those listed above . Using computer programs merely to manipulate photographs through filters, adjustments or special effects is not appropriate for the Drawing Portfolio .
Links to student work in the Drawing portfolio can be found on AP Central at http://studioartportfolios.collegeboard.org/
Section I: Selected Works or Quality
Quality refers to the mastery of drawing issues that should be apparent in the concept, composition, and execution of the works, whether they are simple or complex.
For this section, students are asked to submit five actual works in one or more media. Students should carefully select the works that demonstrate their mastery of drawing issues . The works should be on flat surfaces, such as paper, cardboard, canvas board or unstretched canvas .Students receive all the portfolio materials for submission of the Quality section in May . Because of limitations imposed by the shipping and handling of the portfolios, work submitted for this section must fit easily into the portfolio envelope, which is approximately 18" 3 24" . Works for Quality that are smaller than 8" x 10" should be mounted on sheets that are 8" x 10" or larger . To protect the work, all work on paper should be backed or mounted . Mats are optional . Do not use reflective materials such as acetate or shrink-wrap because they cause glare that makes the work difficult to see . A sturdy, opaque overleaf that is hinged to one edge of the backing so that it may be easily lifted provides excellent protection and is highly recommended . Materials that may be smudged should be protected with fixative .
If the work is matted, a neutral color for the mat is advisable . Works should not be rolled, framed, folded or covered with glass or Plexiglas .
The works submitted may come from the Sustained Investigation section, but they do not have to. They may be a group of related works, unrelated works or a combination of related and unrelated works.
Section II: Sustained Investigation
The Sustained Investigation section is a body of related works that demonstrate a student’s commitment to the thoughtful investigation of a specific visual idea . It is not a selection of a variety of works produced as solutions to class projects or a collection of works with differing intents . Students should be encouraged to explore a personal, central interest as intensively as possible; they are free to work with any idea in any medium that addresses drawing issues . The sustained investigation should grow out of the student’s idea and demonstrate growth and/or discovery through a number of conceptually related works . In this section, the evaluators are interested not only in the work presented but also in visual evidence of the student’s thinking, selected method of working and development of the work over time.
For this section, 15 digital images must be submitted, some of which may be details. All images should be labeled with dimensions (height x width) and material. Regardless of the content of the concentration, the works should be unified by an underlying idea that has visual and/or conceptual coherence . The choices of technique, medium, style, form, subject and content are made by the student, in consultation with the teacher .
This section includes spaces for a written commentary describing what the Sustained Investigation is and how it evolved, which must accompany the work in this section . Students are asked to respond to the following:
Below are examples of the old "Concentration Section" and the statements given by the student artist.
The Sustained Investigation section is a body of related works that demonstrate a student’s commitment to the thoughtful investigation of a specific visual idea . It is not a selection of a variety of works produced as solutions to class projects or a collection of works with differing intents . Students should be encouraged to explore a personal, central interest as intensively as possible; they are free to work with any idea in any medium that addresses drawing issues . The sustained investigation should grow out of the student’s idea and demonstrate growth and/or discovery through a number of conceptually related works . In this section, the evaluators are interested not only in the work presented but also in visual evidence of the student’s thinking, selected method of working and development of the work over time.
For this section, 15 digital images must be submitted, some of which may be details. All images should be labeled with dimensions (height x width) and material. Regardless of the content of the concentration, the works should be unified by an underlying idea that has visual and/or conceptual coherence . The choices of technique, medium, style, form, subject and content are made by the student, in consultation with the teacher .
This section includes spaces for a written commentary describing what the Sustained Investigation is and how it evolved, which must accompany the work in this section . Students are asked to respond to the following:
- Identify the questions that guided your sustained investigation
- Describe how your sustained investigation shows evidence of practice, experimentation, and revision guided by your questions (1200 characters maximum, including spaces, for response to both prompts)
Below are examples of the old "Concentration Section" and the statements given by the student artist.
CONCENTRATION STATEMENT
My concentration focuses on the creation of self portraits in a nouveaux linear art style. My works are primarily inspired by the master artist, Alphonse Mucha.
“Lines don’t exist” – words spoken by my first art teacher as he explained to me how in the 3D world, objects are made from differences in value variations rather than flat lines. However, i decided that in my world of art, lines would exist and make up the composition of my concentration. The master artist, Alphonse Mucha, inspired me throughout each work of art, giving me new styles to experiment with. While creating each work, I challenged myself to try new hairstyles and poses, along with creating pieces nine and eleven in a monochromatic style. I also further experimented with a different Mucha style focusing on realism in piece five and more of a linear sketch in art piece number eight.
My concentration focuses on the creation of self portraits in a nouveaux linear art style. My works are primarily inspired by the master artist, Alphonse Mucha.
“Lines don’t exist” – words spoken by my first art teacher as he explained to me how in the 3D world, objects are made from differences in value variations rather than flat lines. However, i decided that in my world of art, lines would exist and make up the composition of my concentration. The master artist, Alphonse Mucha, inspired me throughout each work of art, giving me new styles to experiment with. While creating each work, I challenged myself to try new hairstyles and poses, along with creating pieces nine and eleven in a monochromatic style. I also further experimented with a different Mucha style focusing on realism in piece five and more of a linear sketch in art piece number eight.
CONCENTRATION STATEMENT
"Jolie Laide” is the title of my portfolio which is focused on turning the ugly into the beautiful. Through this work I am reconciling my memories and reflecting on my experiences of surviving the 2004 Southeast Indian Ocean Tsunami. The use of a variety of mixed media including collage, paint, and drawing is intended to reference the chaos of the experience.
My Portfolio is a reflection of the events and memories leading up to and following the 2004 Southeast Indian Ocean Tsunami that I lived through when I was 6 years old. My portfolio stems from the French saying “Jolie Laide” which means ” Beautiful ugly” or, to make the ugly beautiful. It stands for something that is of unconventional beauty. Jolie Laide revolves around reconciliation and transformation. The memories used for the majority of my portfolio were purposefully selected because of their grotesque and graphic nature. The technique of collage was vital to this portfolio as the majority of the images used were taken from Penang magazines released the weeks following the tsunami. For images 1, 2, & 5 I drew from my childhood memories and chose to portray the tsunami through an innocent filter much like the one I experienced the disaster through as a young american girl. Contrasting those, images 6, 7, & 8 drew from my darker memories and are centered on the death and blood that I witnessed. Through the transformation of these traumatizing memories into tangible works of art, it has given me a sense of closure with this event and has allowed me to better understand my contrail over my media and my content. I have been able to hone my seemingly haphazard use of mixed media and see beauty in my once ugly memories.
"Jolie Laide” is the title of my portfolio which is focused on turning the ugly into the beautiful. Through this work I am reconciling my memories and reflecting on my experiences of surviving the 2004 Southeast Indian Ocean Tsunami. The use of a variety of mixed media including collage, paint, and drawing is intended to reference the chaos of the experience.
My Portfolio is a reflection of the events and memories leading up to and following the 2004 Southeast Indian Ocean Tsunami that I lived through when I was 6 years old. My portfolio stems from the French saying “Jolie Laide” which means ” Beautiful ugly” or, to make the ugly beautiful. It stands for something that is of unconventional beauty. Jolie Laide revolves around reconciliation and transformation. The memories used for the majority of my portfolio were purposefully selected because of their grotesque and graphic nature. The technique of collage was vital to this portfolio as the majority of the images used were taken from Penang magazines released the weeks following the tsunami. For images 1, 2, & 5 I drew from my childhood memories and chose to portray the tsunami through an innocent filter much like the one I experienced the disaster through as a young american girl. Contrasting those, images 6, 7, & 8 drew from my darker memories and are centered on the death and blood that I witnessed. Through the transformation of these traumatizing memories into tangible works of art, it has given me a sense of closure with this event and has allowed me to better understand my contrail over my media and my content. I have been able to hone my seemingly haphazard use of mixed media and see beauty in my once ugly memories.
The Following images are samples from the old "Breadth Section". This is just to give you an idea of the exploration and process that should take place throughout your Sustained Investigation.