How to Easily Break Down AP Art and Design Portfolios

Shriya Deshmukh artwork

In 2019, College Board  revamped the structure and assessment of the Advanced Placement Art and Design Portfolios (previously known as AP Studio Art). This threw many teachers for a loop. After spending years perfecting pacing schedules and lesson plans, teachers weren’t exactly sure where to start. Whether you are new to AP or a veteran teacher, understanding the portfolio can be a bit confusing.

Let’s break down what this portfolio is all about so we can prepare students for submission.

Madelene Przybysz artwork

The AP portfolio is a collection of process images, finished artworks, and writing that emphasizes critical thinking and intentional decision-making. Artworks must show an understanding of design and art concepts. They must also show a synthesis of materials and ideas through practice, experimentation, and revision. In the two portions of the exam, students will create anywhere from six to twenty developed artworks.

Students can develop artwork for either 2D Design, 3D Design, or the 2D Drawing portfolio. They can submit to more than one portfolio in a given year (or over two years), but there must be completely separate and unique artworks per portfolio. While all three portfolios are structured the same, each is assessed based on different visual concerns. Therefore, each portfolio has a specific rubric with different criteria.

Portfolios are submitted both digitally and physically (see below) for scoring. The deadline for submission is typically within the first two weeks of May.

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To help make the requirements easier to understand, we created an at-a-glance guide just for you! This will be a handy download to keep bookmarked on your computer or posted on your bulletin board.

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The Breakdown

In order to make the shift into the portfolio requirements, there are a few big changes from the previous portfolio to keep in mind.

Structure: The portfolio is divided into two sections instead of three.

Previously, the AP portfolio consisted of three sections:

  • Breadth: 12 artworks that demonstrate a range of methods and approaches.
  • Concentration: 12 artworks that respond to a chosen theme or topic.
  • Quality: 5 artworks that show the best quality, pulled from the Breadth or Concentration sections or completely separate artwork.

The new portfolio consists of the following two sections:

  • Sustained Investigation: 15 images relating to a student-developed inquiry question.
  • Selected Works: 5 high-quality artworks.

Cecilia Li artwork

Artwork Requirements: There are fewer artworks required and the expectations have changed.

In the previous portfolio, students created around 24 resolved artworks. Now, AP asks students to submit 15 images for the Sustained Investigation and 5 artworks for the Selected Works portion.

Students do not have to submit 15 finished artworks for the new Sustained Investigation but rather 15 “images.” This is a bit challenging to wrap your head around. With this new Sustained Investigation, the emphasis is on demonstrating practice, experimentation, and revision through a variety of images. Of course, students can submit 15 finished artworks in which those processes are visually evident. Students could also, for example, submit 8-10 finished artworks along with some revision and process images. Or a student could even submit one complex artwork, such as a mural, with 14 process and revision images.

The Selected Works can come from the Sustained Investigation but they don’t have to. Therefore, students do not need to develop more than 15 artworks. This feels more manageable than the previous requirements, especially with limited class time.

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Assessment: The portfolio focuses on the development of ideas, processes, and synthesis of media over time.

Both Sustained Investigation and Selected Works are steeped in connecting visual artistic decisions evident in the artwork with critical thinking and intentional decision making.

The Sustained Investigation is inquiry-based. Starting with an inquiry question, students then develop artworks that answer the inquiry. This often results in the creation of a new set of questions that leads students down a rabbit hole of conceptual thinking. According to AP, the artworks must “demonstrate your inquiry-based sustained investigation of materials, processes, and ideas done over time through practice, experimentation, and revision.”

Similar to the previous portfolio, the Selected Works includes the students’ best works. However, these works also should “demonstrate skillful synthesis of materials, processes, and ideas.”

For example, a student may create a self-portrait painted with acrylic paint. In this portfolio, the student would need to explain the why, the how, and the connection between decisions made and the completed artwork.

When it comes to assessment, AP provides a rubric with established criteria for each section. Make sure to reference these rubrics as you assess student work. While all three portfolios address the same overarching concepts of the Sustained Investigation and the Selected Works, each portfolio (2D Design, 2D Drawing, or 3D Design) has different criteria for their visual concerns and artistic methods.

The Sustained Investigation has weighted categories within the rubric and is scored on a 3 point scale. It is weighted heavily at 60% of the total portfolio score. The Selected Works portion is scored holistically on a 5 point scale and is worth 40% of the overall score.

Alexander Burke artwork

Writing: The portfolio includes writing which is weighted more heavily than in the past.

Similar to the previous portfolio, students still write an artist statement that is 1200 characters, split into two sections that are 600 characters each. This statement examines their Sustained Investigation from inquiry question to supporting evidence. Students use this space to communicate ideas. The first section identifies the inquiry question. The second section describes how processes and ideas used in their artworks relate to their inquiry. Both sections are assessed using different parts of the Sustained Investigation rubric .

In addition, each image has space to include a short amount of text. For each image, students have 100 characters to explain processes explored and 100 characters for materials used. This is the case for both the Sustained Investigation and Selected Works. According to the rubric, much greater consideration is given to student writing than in the previous portfolio.

Submission and Scoring: The portfolio submission process is similar to previous years.

The Sustained Investigation is a digital submission process for all three portfolios through the AP College Board site . The Selected Works are a digital submission for the 3D Design portfolio and the 2D Design and 2D Drawing portfolios. In previous years when work was sent physically, your school’s AP coordinator would receive portfolios and labels for students to pack their works, as well as large boxes to ship the work to AP. Artworks must be flat (no stretcher bars), no larger than 18×24” (though high-quality printed reproductions are acceptable), and could be matted and/or mounted for rigid support. Artwork would be returned back to students’ homes after scoring, sometime in late summer.

Both digital and physical works will be scored by teams of art educators who apply for the opportunity to be an AP Reader . These readers attend training with practice portfolios. Artwork and computers line tables in a large hangar. Because of the large amount of work to score, readers spend mere minutes of time reviewing each portfolio. Therefore, their scoring practices must be well-aligned with the rubrics. Portfolios are scored by more than one reader to check for reliability and each section is scored by a different group of readers.

The portfolios are then scored out of a total of 6. You will notice, however, that the final score is out of a possible 5 points. When scoring out of 6 possible points, a bell curve is created to develop a mean, and scores are aligned to a 5-point scale.

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Navigating the Portfolio

To learn more about this process and about the AP exam, you can attend a workshop offered by College Board . The in-person, week-long sessions are often hosted by local universities around the US. I recommend attending a session to further understand the portfolio and scoring processes. AP Classroom is another great resource for you and your students. Teachers can register for AP Webinars and subscribe to the AP YouTube Channel for videos that explain these concepts further. You can even take a look at previous sample portfolios and scoring rationale ( this one is for 2D Design ) through the College Board site.

As you learn to navigate the ins and outs of the Advanced Placement Art and Design portfolios, you will find yourself pushing students’ thinking. While the new portfolio is challenging, it’s exciting to watch students make deeper connections with their artmaking practices. Completing a portfolio and submitting it to AP is a huge accomplishment. Regardless of the score, celebrate your students (and yourself!) for this tremendous feat.

For more conversations around AP Art and Design, check out these two podcast episodes:

  • Breaking Down AP Portfolios, Part 1 (Ep. 289)
  • Breaking Down AP Portfolios, Part 2 (Ep. 290)

What is still puzzling to you about the updated AP requirements?

What other AP resources have been helpful to you?

Magazine articles and podcasts are opinions of professional education contributors and do not necessarily represent the position of the Art of Education University (AOEU) or its academic offerings. Contributors use terms in the way they are most often talked about in the scope of their educational experiences.

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Janet Taylor

Janet Taylor, a high school art educator, is also AOEU’s K–12 Content Specialist and a former AOEU Writer. She geeks out about choice-based curriculum, assessment strategies, and equipping new teachers.

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AP Studio Art Drawing Portfolio: tips from a student who gained 100%

Last Updated on September 1, 2023

These are a selection of works and commentaries from Ratthamnoon Prakitpong, a graduate from Thai Chinese International School in Bangkok, Thailand. Ratthamnoon was one of sixteen students worldwide to receive a score of 100% for his AP Studio Art Drawing Portfolio in 2015, earning every point possible on each portion of his portfolio. His portfolio scored a perfect six.

AP Studio Art portfolio: 100%

AP Studio Art: Breadth

The Breadth section of the AP Studio Art portfolio is a great chance to brush up on skills and experiment. The Breadth section of the portfolio consists of 12 works of art that demonstrate a mastery of skills whilst showing the artistic range of a student. Here are some examples of what I did to make my work better and more personal:

The importance of a good composition

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AP Studio Art Drawing Portfolio example: 100%

For this class project, we had to work on transparent textures. Having strong painting skills is important; having a strong composition to work from equally so. The first batch of preliminary images I did were indoors with two wine glasses. I felt like the contrast and depth were sufficient, but my teacher, Elizabeth Jendek , asked me to try other kinds of glass to make the composition more interesting. I took loads of photos to find compositions that worked. On the second and third preliminary compositions I presented to my teacher, the light was indoors and the glass didn’t have reflective areas. The third composition was better because of the outdoor light, but it still wasn’t great.

Then my teacher suggested I photograph outside in sunset. Being outside made the still life look more natural and lively; these effects were emphasized by the striped cloth, which increased movement. In addition, the sunset’s orange light really heightened the glasses’ shine and contrast. With the table’s directional line, I got the depth back from the first composition that was lost during the second and third tries. My composition was strong because my focal point was to the side, which follows the rule of thirds: there were size relationships showing depth and perspective. There also was variation by color and shape, making the composition more stimulating. A strong composition illuminated my skill of painting. Although this is a drawing portfolio, a good composition is as important as your great skill of painting in and of itself. To get the best compositions, I questioned myself; I didn’t expect things to work out the very first time, listened to my peers and teacher’s advice, and kept working on it until I got the best composition.

Revisiting work makes a big difference

AP Studio Art examples

As my skills improved, I found that some of my work looked a little uneven. I had a portrait that I did earlier, which no longer matched the skill level of my other work. Since the face was working fine, the teacher and I discussed the idea of cutting and pasting the head onto a new image. I took a few photos and did a new composition in Photoshop and came up with a new image. Once I was confident with my new idea, I sketched out my new composition on fresh paper, cut out the face and glued it to the new composition. My new version was much better and it evened up my skill level throughout the portfolio in my final submission.

I took calculated risks with time and composition. I scheduled my time well and used all the good guidance and technology available to finish this drawing. It turned out to be one of my favorites.

Sometimes abandoning a work of art is better than to keep fighting it

Shrimp: AP Studio Art example

While I was doing my portfolio, I had a few compositions that needed reworking – one in particular really just wasn’t working out. I tried adding more to the composition; I did loads of preliminary sketches, and finally decided I was getting nowhere. After discussing and problem-solving with my teacher, we decided it would be better to start a fresh new artwork based off an alternative lesson. It’s true that it was hard to let go of so much work already done, and the new project was equally challenging, but it worked much better than if I would’ve continued beating a dead horse.

To compensate for lost efforts, I tried to add my own personal touches to this art piece. Even though the green plate can be seen just as a nice contrast to the orange shrimp, it’s also the same plate my family uses when we go out picnicking. We usually lay old newspapers underneath our seafood so that mess won’t spill anywhere. I took direct inspiration from that, and glued newspaper onto my work for texture; to finish, I copied Thai letters onto the composition. By adding my own personal touch, this simple project became more unique, and much richer. They were my shrimp, and this is how I eat them.

Look for inspiration around you, in unlikely places

AP Studio Art: breadth ideas

Friends and I went on a hiking trip to Phu Kradueng. In this area of Thailand, automated services aren’t available, so local couriers offer their services by carrying huge loads to the top of the mountain area. Watching these men lift such enormous amounts was inspirational, and I took this great photo capturing their strength and beauty – it reminded me of Greek Gods. Although this wasn’t a class project, I painted it on my own anyway for two reasons: the tourist sight was so unique, and it was also an important memory for my friends and I. To further the personal nature of this image, I glued my train ticket to the composition to further add to that feeling of a snap in time, fully enclosing the character of the place and to add additional texture.

AP Studio Art: Concentration

Concentration is a section where I focused on a specific topic and many art skills. It’s very intense and pressuring. Here I commented on a few skills that I focused on to make my Concentration more successful:

Picking the right Concentration topic is incredibly important

Since the Concentration section needed twelve pieces based on a single topic, my teacher advised the class to look long and hard for a topic that had room for development and exploration, yet remained accessible. It took me a few months, but I settled on a Concentration topic about different perspective-based portraits in the kitchen.

Thematically, I picked this topic because I was already a hobbyist cook, and wanted to combine and explore the two things that I liked – art and cooking. I feel, in my country, there’s a cultural stigma about men in the kitchen that I wanted to both question and eradicate by demonstrating that men can cook as well as anyone else.

I decided to pursue portraits and create variation using different perspectives and color schemes. For my take on perspective, I used a selfie stick to find new perspective and angles. Where my hands were holding the camera, I superimposed kitchen tools – spoons, forks, spatulas – to hide the selfie stick in the drawing. As for the kitchen itself, I found inspiration from my personal exploration in using new kitchen tools, like cooking noodles for my lunch box or eggs in the morning. These were additional considerations I made when selecting this topic:

  • My exploration was not only visual, but personal too. It showed my development as an artist and a thinker . I only had around 5 ideas at the beginning because I wasn’t familiar with the kitchen, but as I personally explored the kitchen more, inspiration came naturally.
  • I cared about my topic . I was exploring my hobby and my culture. If I wasn’t passionate about my topic, by the 8th or 9th image I would’ve hated my work. Artwork without passion is apparent.
  • It was visually appealing . Even though my personal story and passion were there, my Concentration wouldn’t be as strong if I did not play with perspectives and color schemes. I was really experimental about it too, and when the compositions didn’t work, they still served as a springboard for the next idea.
  • My topic was versatile enough to have twelve different ideas united under it . The kitchen has interesting tools, objects and angles I could use to experiment. That kept my idea fresh, yet united.
  • My topic was flexible . Choosing my kitchen as a basis for my topic might seem simple, but it provided enough room for experimenting with techniques that weren’t necessarily kitchen-related, like superimposition or collage.
  • My topic was accessible . I could go back easily to the kitchen and photograph some more, or look for other inspirations. This made a huge difference when some compositions needed more reworking than others.

(If you are struggling to come up with your own AP Studio Art Concentration ideas, please read: Art Project Ideas: a guide to subject matter selection ).

Here are some examples of how I problem-solved composition concerns, increased depth, and manipulated my imagery.

I experimented with depth

Experimenting with composition: AP Studio Art

I increased depth with my selfie stick; it gave me more options with regards to angles. The first composition in which I used the stick didn’t quite capture what I wanted, so I added an additional shelf at the top of my composition to increase depth. I used a fisheye lens to make the composition more interesting, and changed the hands that held the selfie stick altogether. I also manipulated color from the originally bland white into a triad color scheme to make it more visually dynamic.

Combining multiple skills enriches your art

Viewpoint: AP Studio Art

I had already used bird’s eye and worm’s eye of view, so I had to come up with something unique for this one. When I looked at the oven, I remembered when my mother baked and thought of her delighted face when she pulled out her baking. So I decided to render some freshly baked food and the serenity on someone’s face when they first see the food. This gave my image more personal meaning. I also added pieces of a hand written recipe for texture and to increase movement. Additionally, I superimposed a meat fork where my selfie stick had been.

Unusual viewpoints: worm's eye view

Final thoughts

In hindsight, I made many gutsy moves, and I failed – a lot. However, I succeeded a lot too. It really came down to commitment, to practice, to having many chances to fail and, in turn, to succeed. I made more than 24 art pieces, but I got to choose the ones I was actually proud of for a trimmed version of my portfolio. Most importantly, I’m just another person, and what I did may not apply to you. Listen to the people who know you, who are close to you – your teacher, your peers, and yourself. There’s no point in making anything unless you will be proud of it. That means sometimes an unyielding stance, or sometimes blind faith in advice.

Creative compositions: AP Studio Art

This AP Studio Art Drawing course was taught by Elizabeth Jendek . Work from her students is used by Alison Youkilis, an AP Art teacher trainer, to teach other educators around the world. You can see additional outstanding artworks by Elizabeth Jendek’s students in the article: 50+ Still life drawing ideas for art students .

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This high school art project was shared with our audience so that other students may benefit from the ideas, techniques and approaches used. We celebrate the effort and achievement of high school students and Art Departments around the world. If you would like to share your own art project (or that of your students), please read our submission guidelines .

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Ultimate Guide to the AP Studio Arts Portfolio

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The Advanced Placement (AP) curriculum is a great option for high school students who are interested in taking on challenging coursework and who are interested in pursuing advanced standing or receiving college credit. AP courses are offered across a range of disciplines, including STEM subjects, social science, and visual arts.

In 2016, only around 50,000 of the 2.6 million students taking AP exams submitted AP Studio Arts Portfolios. This represents a scant 2% of all AP students. But don’t let these numbers discourage you. The AP Studio Arts courses typically aim to support a diverse group of students striving for high levels of artistic achievement, and the pass rate for these portfolios is exceptionally high compared to other AP scores. If you are interested in submitting an AP Studio Arts Portfolio, whether you have taken the class or are planning to self-study, read on for a breakdown of the course and portfolio and CollegeVine’s advice for how you can prepare for it.

About the Courses

The AP Studio Arts courses are designed to engage students who are seriously interested in the practical experience of art. The classes offer experience in critical analysis along with innovative art-making processes and products. They seek to encourage creative and purposeful investigation of formal and conceptual issues, emphasize the creation of art as an ongoing process based on informed and critical decision making, and help students to develop technical skills. In these classes, you can expect to become familiar with the functions of visual elements, develop independent thinking skills to shape your own artistic endeavors, and contribute originally and critically to your culture through art.

There are three AP Studio Arts courses: Studio Art Drawing, Studio Art 2-D Design, and Studio Art 3-D Design. In each of these courses, the theory and study of creating art remains the same, though the medium and product of your work changes. Though the distinction between AP Studio Art 2-D Design and AP Studio Art Drawing may seem ambiguous, it is rooted in the central artistic skills developed during each and the ways in which these skills are assessed. For more about this distinction, read page 8 of the course description . 

While there are no formal prerequisites for any of the AP Studio Arts courses, you should have prior experiences in the studio arts, including instruction in the conceptual, technical, and critical thinking skills used to critique and create art. Though many students create their portfolio during the course of a single school year, many others create their portfolio over several years. This is acceptable, but if you are submitting work that was produced in the previous school year, make sure to check the most recently published AP Studio Art requirements to ensure that standards and regulations have not changed. 

The assessment for AP Studio Arts courses varies from most other AP classes in that there is no formal exam element, and the entire score is based on a portfolio of student-selected work that is submitted for review. In each of the AP Studio Arts courses, students submit work that highlights their skill in three categories: Quality (Selected Works), Concentration (Sustained Investigation), and Breadth (Range of Approaches). Work submitted in the Quality portion of your portfolio should demonstrate mastery of design in concept, composition, and execution. It should be your best work and it may include pieces also submitted in the other portions of your portfolio. Artwork submitted in the Concentration portion of your portfolio should highlight the in-depth process of tackling a particular design concern, showing your process over time. Finally, works submitted in the Breadth portion of your portfolio should illustrate your range of ideas and approaches to making art.

In years past, students have generally performed quite well in the AP Studio Arts. In 2016, approximately 80% of all students who submitted Studio Arts portfolios received a score of 3 or higher. Though only around 15% of students received the top score of 5, almost a third of all students submitting work received a score of 4 with another third receiving a 3. Only about 2.5% of students who submitted portfolios received the lowest score of a 1.

A full course description that can help to guide your studying and understanding of the knowledge required for the exam can be found in the College Board course description .

Read on for tips for preparing your portfolio.

Step 1: Study Your Craft

Your work in the AP Studio Arts course should not simply be a collection of pieces produced over time. Instead, it should highlight specific areas of focus, critical thinking, and sustained, meaningful reflection. Your studies will be informed and guided by observation, research, experimentation, discussion, critical analysis, and reflection, relating you individual practice to the greater art world. You will need to document your artistic ideas and practices over time to demonstrate conceptual and technical development. Teachers will help you to become an inventive, original, and thoughtful “artistic scholar who can contribute to visual culture through art making.”

In particular, your teachers will focus of the skills necessary for producing a successful portfolio. You will need to be able to recognize quality and areas of weakness in your own work in order to be successful on the Quality portion of your portfolio. You will need to be able to concentrate on a sustained investigation of a particular visual interest or problem to be successful on the Concentration portion of your portfolio. And finally, you will need to master a range of approaches to the formal, technical and expressive creation of art to be successful on the Breadth portion of your portfolio.   While your teacher focuses on preparing you for these successes, you can expect instruction in: 

  • Critical analysis
  • Evidence-based decision-making
  • Innovative thinking
  • Articulation of design elements and principles
  • Systematic investigation of formal and conceptual aspects of art making
  • Technical competence with materials and processes to communicate ideas
  • Incorporation of expressive qualities in art making
  • Demonstration of artistic intention
  • Creation of a body of work unified by a visual or conceptual theme

To fine-tune your critical analysis, creation process, and arrival at a finished collection of work, you should expect to closely study other art pieces. Whether in class or individually, you should use museums and galleries as extensions of studio time along with art books and Web resources. These various forms of investigation, interaction, and critique will provide important examples for the serious study of art.

Step 2: Know What is Required in Your Portfolio

As you begin to create art for your portfolio, keep in mind what the finished project will need to include. Your final portfolio should demonstrate the artistic skills and ideas you have developed, refined, and applied over the course of the year (or years) to produce visual compositions.

You may choose to submit any or all of the Drawing,,Two-Dimensional Design, or Three-Dimensional design portfolios in a single year or over the course of several years. Each portfolio will include three sections: Quality, Concentration, and Breadth.

The Quality portion of the portfolio is worth 33.3% of your total portfolio score. For the 2-D Design and Drawing portfolios, this section consists of five actual works submitted. For the 3-D Design portfolio, this section consists of 10 digital images, consisting of two views each of five works created. Your selected works should demonstrate mastery of design in concept, composition, and execution, and may include works submitted in the other portions of your portfolio. This section should include works that exhibit a seamless synthesis of form, technique, and content in your particular medium.

The Concentration portion of your portfolio is also worth 33.3% of your total portfolio score. This portion of your portfolio will consist of 12 digital images for all Studio Art portfolios, with some of these 12 images being detail or process documentation. These images should provide an in-depth, visual exploration of a particular design concern and should highlight your sustained, deep investigation of a specific visual idea. In this section, process documentation may be submitted to help the AP Readers to understand your thinking in the course of creating a work. For example, you may want to include images that show earlier stages of a finished work or that document ideas that you experimented with prior to settling on the direction of a particular work. Works included in this section may not also be included in the Breadth portion of your portfolio.

This portion of your portfolio also includes a Concentration Statement (also sometimes called a Sustained Investigation Statement) which describes your central idea and how you demonstrate your exploration of it. You will describe your central idea in 500 words or fewer, and describe your exploration of it, referring to specific pieces, in 1350 words or fewer. This statement will be submitted online and you may discuss it with your AP teacher before submitting your final piece. You may find more information about this written piece here .      

The Breadth portion of your portfolio makes up the final 33.3% of your total portfolio score. This portion of your portfolio illustrates a range of ideas and approaches to art making while showing your understanding of design issues across these multiple ideas and approaches. This portion of your portfolio will consist of 12 digital images, each of a separate piece of work, for the 2-D Design and Drawing portfolios, and 16 digital images, including two views of eight different art pieces, for the 3-D Design portfolio. Works included in this section may not also be included in the Concentration portion of your portfolio. 

For a summary of submission requirements for any of the Studio Art portfolios, see page 7 in the course description , or review the complete portfolio requirements for 2016-2017.

Step 3: Know How Your Portfolio is Assessed

Your completed portfolio will be scored by multiple readers on a six-point rubric. The Quality portion of your portfolio will be read by a minimum of three separate readers while the Concentration and Breadth portions will be read by at least two readers. These readers will each score that portion of your portfolio on a six-point scale without seeing the scores assigned by other readers. If there is a wide divergence in the scores assigned by readers to the same section, the section is forwarded to AP Exam leaders for review. The scores on your individual portfolio portions are then compiled to create a raw score for your portfolio. Statisticians use these raw scores to convert your score to the five-point scale that is returned to your school.      

Your portfolio will be assessed according to a rubric assigned based on which specific Studio Art portfolio you have submitted. The AP Studio Arts Drawing, AP Studio Arts 2-D Design, and AP Studio Arts 3-D Design scoring rubrics are all quite similar in that they assess your work across the same categories. These categories include use of design elements, unity, balance, contrast, originality, proportion, and overall accomplishment among many others. For a complete list of scoring criteria for each portfolio, see the AP Studio Art Scoring Guidelines .      

To review past student portfolios along with their scores and scoring explanations, see the AP Studio Art Sample Student Portfolios . 

Step 4: Assemble Your Portfolio

Whereas AP teachers of other subjects are not allowed in the room while their students take the AP Exam, AP Studio Art teachers are encouraged to help their students assemble their portfolios. You should take advantage of this expertise by having frequent conversations about which pieces you will include in your portfolio and where you will focus your Concentration portion of the portfolio.

Make sure to adhere closely to the portfolio guidelines. Additional pieces beyond those required, actual works of art submitted for sections in which digital images are required, or any three-dimensional pieces will not be scored. Also, do not submit an artwork that copies an existing piece of art, even if you create yours in a different medium. This is considered plagiarism and you will receive a zero for it. 

When packaging actual artwork for the Quality portion of the AP Studio Arts Drawing and AP Studio Arts 2-D Design portfolios, make sure to mount your work on matting. Any pieces that are not at least 8” x 10” in dimension should be mounted on matting at least 8”x10” so that they are not overlooked. Your original artwork will be returned to you in late June or July. More specifics on submitting actual art work can be found in the AP Studio Art Portfolio Requirements . 

Assessment Specifics

In 2017, the deadline for submitting an AP Studio Arts portfolio is May 5. Digital portfolios or digital portions of a portfolio must be uploaded by an AP Coordinator to the AP Program by 8 PM EDT on May 5. Actual art work submitted as a portion of a portfolio must be postmarked no later than May 5.    

To create an account through which you can upload your digital portfolio pieces for review by your teacher and AP coordinator, you will need to register through your school by contacting your AP coordinator. If you are homeschooled or attend a school that does not offer the AP Studio Arts that you want to take, you can contact AP services no later than March 1 to get a list of names and telephone numbers of local AP coordinators willing to work with outside students. Full directions for this process are available on the College Board website, though it may be difficult to find a coordinator willing to take you on due to the extended teacher involvement in an AP Studio Arts course.

Preparing for any AP assessment can be a stressful process for enrolled AP students and self-studiers alike. Having a specific plan and a firm grasp of the course content and methods of assessment will help you to feel prepared and produce your highest quality work. Use CollegeVine’s Ultimate Guide to the AP Studio Arts Portfolio to help shape your understanding of the assessment and how to prepare for it effectively. When you submit your final portfolio, you should feel confident about the work you’ve produced.

If you are a student artist interested in highlighting your artistic accomplishments as you apply to college, read these CollegeVine posts:

  • A Guide to Electives
  • Should I Submit an Arts Supplement? The Dangers of Submitting Supplementary Application Materials
  • How to Fill Out the Common App Activities Section
  • What Can I Send as Supplementary Materials?

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The Comprehensive Guide to AP Art and Design: Drawing

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Introduction

Welcome to the comprehensive guide to AP Art and Design: Drawing! The AP Art and Design program offers high school students the opportunity to develop their artistic skills and create a portfolio that showcases their drawing abilities. This guide will provide you with valuable information about the AP Art and Design: Drawing course, portfolio requirements, exam structure, and tips for success.

Overview of AP Art and Design: Drawing

AP Art and Design: Drawing is a college-level course that focuses on the development of a student's drawing skills. The course emphasizes the exploration of drawing techniques, materials, and concepts to create original works of art.

Throughout the course, students engage in observational drawing, figure drawing, still life, landscape, and other drawing subjects. They learn to experiment with different drawing tools, mark-making techniques, and compositional strategies to develop their technical proficiency and creative expression.

Portfolio Requirements

The AP Art and Design: Drawing course culminates in the submission of a portfolio that showcases a student's best artwork. The portfolio consists of three sections:

Quality : This section requires students to submit 5 actual artworks that demonstrate mastery of drawing techniques and materials. These artworks should exemplify the student's ability to use line, value, form, and composition effectively.

Concentration : In this section, students develop a concentration, which is a body of work that explores a specific theme, concept, or visual problem in drawing. The concentration should consist of 12 digital images that demonstrate the student's sustained investigation and growth in their chosen area of focus.

Breadth : The breadth section encourages students to demonstrate their proficiency in a variety of drawing techniques, subjects, and approaches. Students must submit 12 digital images that represent a range of drawing skills and experiences.

Exam Structure

The AP Art and Design: Drawing exam is divided into two parts:

Sustained Investigation : This section requires students to select one of the artworks from their concentration section and write an extended response that analyzes and reflects on their artistic process, concept development, and visual outcomes. This response should demonstrate their ability to articulate their artistic choices and explain the connections between their ideas and their artwork.

Selected Works : In this section, students choose five artworks from their Quality, Concentration, and Breadth sections to submit as digital images. They also write short commentaries that provide context and insights into their artistic decisions for each selected work.

Preparing for the AP Art and Design: Drawing Exam

Preparing for the AP Art and Design: Drawing exam requires a combination of artistic skill development, conceptual thinking, and portfolio organization. Here are some tips to help you prepare effectively:

Experiment with Different Drawing Techniques : Explore a variety of drawing techniques, such as line drawing, shading, cross-hatching, stippling, and blending. Practice with different drawing tools, including pencils, charcoal, ink, and pastels, to expand your technical skills and artistic range.

Develop a Strong Conceptual Framework : Focus on developing a clear and cohesive concept or theme for your concentration. Your concentration should demonstrate your ability to explore and develop ideas through a series of drawings.

Seek Feedback : Share your artwork with your peers, teachers, and mentors. Seek constructive feedback and engage in critiques to gain different perspectives and insights into your work.

Organize and Document Your Portfolio : Regularly document your artwork as you progress through the course. Pay attention to composition, value, and capturing accurate representations of your drawings. Organize your digital files and keep track of the artworks you plan to include in each section of your portfolio.

Practice Time Management : Pace yourself throughout the course and allocate sufficient time for ideation, creation, and reflection. Develop a schedule that allows for regular studio time and meets the portfolio submission deadline.

Tips for Success

Here are some additional tips to help you succeed in the AP Art and Design: Drawing course and exam:

Be Original : Explore your unique artistic style and experiment with different ideas, concepts, and techniques in drawing. Embrace your individuality and create artwork that reflects your personal experiences and perspectives.

Be Reflective : Regularly reflect on your artistic choices, creative process, and artistic growth. Consider the intent behind your artwork, the techniques you employ, and the impact of your visual decisions in your drawings.

Take Risks : Don't be afraid to step out of your comfort zone and take artistic risks. Push the boundaries of your skills and experiment with new approaches, subjects, and styles to create dynamic and innovative drawings.

Engage with Art : Immerse yourself in the world of art by visiting galleries, museums, and art exhibitions. Study the works of established artists and emerging talents to gain inspiration and broaden your artistic horizons.

Stay Organized : Keep track of important dates, deadlines, and requirements for the course and exam. Maintain an organized portfolio and ensure all digital images accurately represent your drawings.

Q: How many artworks do I need to submit for each section of the portfolio? A: You need to submit 5 actual artworks for the Quality section, 12 digital images for the Concentration section, and 12 digital images for the Breadth section.

Q: Can I include collaborative artworks in my portfolio? A: Yes, you can include collaborative artworks in your portfolio. However, it is important to clearly indicate your role and contribution in the collaborative process.

Q: How is the AP Art and Design: Drawing exam scored? A: The exam is scored holistically by a team of experienced art educators. They evaluate your portfolio based on the College Board's scoring criteria, which assesses your artistic skills, conceptual understanding, and the overall effectiveness of your drawings.

The AP Art and Design: Drawing course offers students an opportunity to develop their drawing skills and create a portfolio that demonstrates their artistic abilities. By carefully planning and organizing your portfolio, practicing drawing techniques, and engaging in thoughtful reflection, you can successfully navigate the course and excel in the AP Art and Design: Drawing exam.

Best of luck on your artistic journey!

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Course Features

Course details, course overview.

The AP Drawing course is designed to provide students with a comprehensive understanding of the fundamentals of drawing. The course is divided into sixteen units, each of which focuses on a different aspect of drawing. In the first unit, students will be introduced to the course and its various components, including the sustained investigation, and will learn about the importance of ethics, artistic integrity, and plagiarism.

The units will cover topics such as drawing vocabulary and skills, physical and digital work submission, generating ideas for sustained investigation, materials, processes, and ideas, critique and analysis, and revision. Students will also learn about drawing mediums and techniques, composition and design, mark making and line exploration, light and shade, line direction and form, figure-ground relationship and space, pencil sighting, color theory and techniques, and drawing the human figure and portraiture.

Throughout the course, students will engage in hands-on practice and experimentation to develop their own unique drawing style. They will also learn how to use different mediums and techniques effectively, as well as how to properly photograph and edit their artwork for submission. At the end of each unit, there will be a review and exam to assess students' understanding of the material. By the end of the course, students will have gained a comprehensive understanding of the fundamentals of drawing and will have created a cohesive body of work to showcase their mastery of the concepts covered.

Sample Lesson - Introduction

ap drawing essay

Scope and Sequence

Unit 1: Introduction to the Course and Sustained Investigation In this unit, students will be introduced to the AP Drawing course and its various components. The unit covers the course information, including the big ideas and course skills, as well as the sustained investigation and selected works. Students will learn about the sustained investigation vocabulary and rubric, and how it is used to assess their progress throughout the course. The unit also discusses ethics, artistic integrity, and plagiarism, emphasizing the importance of originality in students' work. Examples of sustained investigations and selected works will be provided for students to examine. The unit will conclude with a review and exam to assess students' understanding of the course material.

Unit 2: Drawing Vocabulary and Skills This unit focuses on introducing students to the fundamental concepts and vocabulary of drawing. Students will experiment with mark making, line, surface, space, light and shade, and composition. The unit also covers monoprint and line exploration, visual potential, positive and negative shapes, and the rule of thirds. Students will be encouraged to experiment with these concepts and techniques to develop their own unique drawing style. The unit will conclude with a review and exam to assess students' understanding of the drawing vocabulary and skills.

Unit 3: Physical and Digital Work Submission In this unit, students will learn how to properly photograph and edit their artwork for both physical and digital submission. They will also learn how to create composite images and write about their artwork to accompany their submissions. The unit will conclude with a review and exam to assess students' understanding of the submission process.

Unit 4: Generating Ideas for Sustained Investigation This unit focuses on helping students generate ideas for their sustained investigation. Students will learn how to use a sketchbook to generate design ideas, mind map their ideas, and formulate essential questions to guide their investigation. They will also learn how to use inspiration images and discover resources and processes to support their investigation. The unit will conclude with a review and exam to assess students' understanding of the idea generation process.

Unit 5: Materials, Processes, and Ideas In this unit, students will learn how to choose materials to support their ideas and experiment with appropriation in art. They will also learn how to annotate their artworks for discovery and process, and reference images in their artwork. Students will work on their sustained investigation and synthesize their materials, processes, and ideas to create a cohesive body of work. The unit will conclude with a review and exam to assess students' understanding of the relationship between materials, processes, and ideas.

Unit 6: Critique and Analysis This unit focuses on art critique and analysis. Students will learn how to describe, analyze, interpret, and evaluate artworks, including their own. They will continue to work on their sustained investigation, incorporating feedback from their peers and instructor. The unit will conclude with a review and exam to assess students' understanding of art critique and analysis.

Unit 7: Practice, Experimentation, and Revision In this unit, students will learn the importance of practice, experimentation, and revision in their artwork. Through reflection, students will learn how to revise their work using the SCAMPER technique, which involves rethinking and expanding on initial ideas. They will also explore how to rethink a cliché image to make it more original. Students will learn about different processes for revision, including I and II, and how to practice, experiment, and revise their work. The unit will culminate in a review and exam, allowing students to showcase their mastery of these concepts.

Unit 8: Drawing Mediums and Techniques In this unit, students will explore the variety of drawing pencils, techniques, and other mediums, including colored pencils I and II, charcoal I and II, ink pen, and collage. They will learn about the unique qualities and applications of each medium and how to use them effectively in their artwork. Through hands-on practice and experimentation, students will develop a deeper understanding of drawing techniques and mediums. The unit will culminate in a review and exam, allowing students to showcase their mastery of these skills.

Unit 9: Composition and Design In this unit, students will be introduced to the fundamentals of composition, including unity and variety, contrast, emphasis, balance, movement, repetition, and rhythm. They will learn about composition recommendations and how to use a viewfinder to create abstract and non-objective designs. Students will also explore how to build design ideas and experiment with different compositions. They will learn how to create a composition from a photograph and receive a mid-term review and exam to assess their understanding of these concepts.

Unit 10: Mark Making and Line Exploration In this unit, students will explore the different types of marks and lines that can be used in their artwork. They will learn about contour lines, line quality, cross-contour lines, gesture lines, implied lines and edges, blind and semi-blind contour drawing, continuous line drawing, and extended mark making. Through analysis and experimentation, students will develop a deeper understanding of the surfaces, mark making, and lines that they can use in their artwork. The unit will culminate in a review and exam, allowing students to showcase their mastery of these skills.

Unit 11: Light and Shade Unit 11 introduces light and shade, where students will learn how to develop a value scale I and II, identify basic values, and translate color into value. They will learn about value on form, drawing reflective objects, value shapes, value and line as texture, and create a tonal drawing. The unit will begin with an introduction to the concept of light and shade and the techniques used to achieve it. Students will then practice applying these techniques to their own work through a series of assignments and projects. The unit will conclude with a light and shade review and exam to assess students’ understanding of this concept.

Unit 12: Line Direction and Form In this unit, students will learn how to create dimensionality in their drawings by mastering line direction and form. They will learn how to draw with shapes and add spherical, cylindrical, and conical forms to their compositions. They will also explore planar analysis, which involves breaking down an object into its individual planes and drawing each one separately. Students will practice mass gesture drawing and draw complex shapes and forms in a still life setting. Additionally, they will learn planar analysis drawing with value, which involves using shading to create the illusion of depth. The unit also includes lessons on painting cloth and an illusion review and exam.

Unit 13: Figure-Ground Relationship and Space This unit focuses on the relationship between the figure and the surrounding space. Students will learn about foreshortening, which involves drawing objects that appear shorter or compressed due to their angle relative to the viewer. They will also explore ambiguous space, where the foreground and background merge, and an introduction to linear perspective. Students will be taught how to draw in one-point, two-point, and three-point perspective to create the illusion of depth. They will also learn how to draw units on a receding plane and the circle in perspective. Furthermore, they will examine the benefits and limitations of linear perspective and apply these skills to drawing complex shapes and forms in a still life setting, landscape drawing, and space and perspective review and exam.

Unit 14: Pencil Sighting This unit focuses on pencil sighting, a technique for accurately capturing proportions in a drawing. Students will learn how to use sighting angles, size, and image to scale to make precise measurements. They will also be taught how to draw the corner of a room, which involves using perspective techniques to create the illusion of a three-dimensional space. Finally, there will be a proportions review and exam to assess the students' ability to apply these techniques.

Unit 15: Color Theory and Techniques In this unit, students will study color theory and experiment with watercolor paint and acrylic paint. They will learn about color schemes, hue, value, and intensity and how to use these concepts to create the illusion of space and form. Students will also explore color mixing, draw an apple with colored pencils, and practice tonal painting. They will create a complementary color painting, where they use colors that are opposite on the color wheel to create contrast. The unit concludes with a color review and exam to assess the students' understanding of the material.

Unit 16: Drawing the Human Figure and Portraiture In this final unit, students will learn how to draw the human figure and facial features. They will start with basic proportions of the human figure, including its basic shapes and how to gesture draw the human form. They will then move on to the proportions of the human face and learn how to draw the nose, eyes, mouth, ears, foot, hand, and hair. Students will be taught how to draw a foreshortened figure and practice drawing groups of figures. They will also study the masters and practice drawing a charcoal portrait. Finally, there will be a final review and exam to assess the students' understanding of the material covered throughout the course.

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Essay on Drawing

500 words essay on drawing.

Drawing is a simplistic art whose concern is with making marks. Furthermore, drawing is a way of communicating or expressing a particular feeling of an artist. Let us focus on this unique form of art with this essay on drawing.

 Essay On Drawing

                                                                                                              Essay On Drawing

Significance of Drawing                                    

Drawing by itself is an art that gives peace and pleasure. Furthermore, learning the art of drawing can lead to efficiency in other mediums.  Also, having an accurate drawing is the basis of a realistic painting.

Drawing has the power to make people more expressive. It is well known that the expression of some people can’t always take place by the use of words and actions only. Therefore, drawing can serve as an important form of communication for people.

It is possible to gain insight into the thoughts and feelings of people through their drawings. Moreover, this can happen by examining the colour pattern, design, style, and theme of the drawing. One good advantage of being able to express through drawing is the boosting of one’s emotional intelligence .

Drawing enhances the motor skills of people. In fact, when children get used to drawing, their motor skills can improve from a young age. Moreover, drawing improves the hand and eye coordination of people along with fine-tuning of the finger muscles.

Drawing is a great way for people to let their imaginations run wild. This is because when people draw, they tend to access their imagination from the depths of their mind and put it on paper. With continuous drawing, people’s imagination would become more active as they create things on paper that they find in their surroundings.

How to Improve Drawing Skills

One of the best ways to improve drawing skills is to draw something every day. Furthermore, one must not feel pressure to make this drawing a masterpiece. The main idea here is to draw whatever comes to mind.

For drawing on a regular basis, one can make use of repetitive patterns, interlocking circles , doodles or anything that keeps the pencil moving. Therefore, it is important that one must avoid something complex or challenging to start.

Printing of a picture one desires to draw, along with its tracing numerous times, is another good way of improving drawing skills. Moreover, this helps in the building of muscle memory for curves and angles on the subject one would like to draw. In this way, one would be able to quickly improve drawing skills.

One must focus on drawing shapes, instead of outlines, at the beginning of a drawing. For example, in the case of drawing a dog, one must first focus on the head by creating an oval. Afterwards, one can go on adding details and connecting shapes.

Get the huge list of more than 500 Essay Topics and Ideas

Conclusion of the Essay on Drawing

Drawing is an art that has the power of bringing joy to the soul. Furthermore, drawing is a way of representing one’s imagination on a piece of paper. Also, it is a way of manipulating lines and colours to express one’s thoughts.

FAQs For Essay on Drawing

Question 1: Explain the importance of drawing?

Answer 1: Drawing plays a big role in our cognitive development. Furthermore, it facilitates people in improving hand-eye coordination, analytic skills, creative thinking, and conceptualising ideas. As such, drawing must be used as a tool for learning in schools.

Question 2: What are the attributes that drawing can develop in a person?

Answer 2: The attributes that drawing can develop in a person are collaboration, non-verbal communication, creativity, focus-orientation, perseverance, and confidence.

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Guest Essay

Waiting for Snow in the Netherlands

A painting of a wintry scene of a village gathered in the snow, everyone on skates.

By Benjamin Moser

Mr. Moser, the author of “The Upside-Down World: Meetings With the Dutch Masters,” wrote from Utrecht, the Netherlands, where he lives.

Long before I knew his name, I knew Hendrick Avercamp’s paintings. They show a merry Christmassy world of funnily dressed people disporting themselves on frozen canals: paintings I knew from jigsaw puzzles and holiday cards. Here was a young couple gliding over the ice, love in their eyes; there were people exercising picturesque professions — a skate sharpener, a bird catcher, a chestnut seller.

But if you kept looking, you found a good-natured scabrousness. Behind that spidery tree was a man defecating, and over there was a woman who’d slipped and exposed her red buttocks, and there, beside the village inn, was a drunken fool being fished out of the ice. No other artist ever captured winter fun as well.

These scenes were so iconic, so Dutch, that I felt a bit bereaved, when I moved to the Netherlands more than 20 years ago, to realize that the world they showed was gone — and that thanks to climate change, it wouldn’t be coming back. Even the Elfstedentocht, the skating race through the 11 historic cities of Friesland that is one of the country’s most beloved national traditions and has been held 15 times since 1909, was passing from memory. The ice has to reach a certain thickness for it to be safely held, and the ice no longer reaches that thickness. What I found, in place of the sparkling white winters of the old paintings, was month after month of tepid drizzle.

It’s hard to overstate how excited the Dutch still get about the Elfstedentocht. Spirits rise as the mercury sinks. There are daily meteorological reports from little towns that are rarely mentioned in any other context. The race has its own vocabulary, in the Frisian language that the non-Frisian Dutch find adorable: “It giet oan” means the race is on — or, if the ice isn’t thick enough, “It giet net oan.” Since I moved to this country, only the latter has been heard. A whole generation has grown up since the last race, in 1997, though it almost happened in 2012. Every year, when it gets cold, the possibility of the race comes roaring through our screens.

What nobody can bring themselves to say is that the Elfstedentocht is gone.

Living in a country protected from the sea by huge manufactured barriers, we are starting to understand that even these heroic constructions will not be strong enough for climate change. I’ve often imagined the collapse of dune and dike and the cultural losses such a cataclysm would bring. If the western Netherlands — all those cities, at or even below sea level, with all those museums and libraries — were swept into the sea, which treasures would we miss most? (I’d stuff the Frans Hals group portraits, in his museum in Haarlem, into my little lifeboat.)

And when we imagine the losses to cultural heritage that global warming entails, we often think of things we’d try to rescue or buildings we can’t move or a few striking images: snowless Alps, drowned Venice. We don’t always think about the immaterial losses that warming will bring — or, in the case of the Elfstedentocht, that it already has. When the freak hurricane, the unexpected drought or the unbearable heat wave passes, we get on with our lives, unable to admit that some things are not coming back.

That’s why it’s always so poignant for me to hear about the Elfstedentocht. Nobody can stand to say that it’s over. You’d hate to be the prime minister who told everyone to forget about such a beloved national tradition. Instead, barring some freak storm, it just somehow will never happen again. Years will pass. (Twenty-six already have.) Younger people, for whom the tradition means nothing, will eventually forget about it. The race will fade from the communal memory, and with it, a whole way of life — a whole way of structuring and giving continuity to human experience — will disappear.

How can such nonmaterial losses be commemorated? As long as we are unable to see them as losses, we can keep refusing to see what has caused them and keep hoping that they still, someday, might be reversed. The Elfstedentocht is like a relative whose small plane went missing a few years ago and whose loved ones still hope that he could, one day, stumble into town. They all know he’s dead, of course. But it feels too cruel to be the first to say it — too painful to erect a gravestone without so much as a corpse.

This denial has consequences. For the past few years, we have heard about the passing of another way of life in this country — the life of the country’s farmers. The word “farmers” sounds idyllic. But Dutch animal agriculture, which is stunningly productive and even more stunningly polluting, is mainly the province of heavily industrialized and heavily subsidized agribusiness. These corporations are a source of great cruelty to animals and also a source of precisely the same gases that have poisoned our entire world. There’s nothing traditional about mass factory farms. But their lobbyists have been able to convince a large percentage of the population that attempts to reduce pollution are an attack on a traditional way of life. Caroline van der Plas, the leader of the pro-farming party, told The Guardian in late 2022: “In the outlying areas, you often hear that in The Hague there is no eye for the human dimension and the small things that are so important in the countryside.”

Maybe if we could find a way to mourn the Elfstedentocht, we could understand that there is a price to refusing to see what inaction on the climate has cost us. If we refuse to look at it head-on — to name and remember these losses — we’ll find ourselves like those older people in Friesland, glued to the weather reports, measuring the thickness of the ice, sharpening their skates for a race that will never come again.

Benjamin Moser, the author of “The Upside-Down World: Meetings With the Dutch Masters,” wrote from Utrecht, the Netherlands, where he lives.

The Times is committed to publishing a diversity of letters to the editor. We’d like to hear what you think about this or any of our articles. Here are some tips . And here’s our email: [email protected] .

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56 French stars defend actor Gerard Depardieu despite sexual misconduct allegations

FILE - Actor Gerard Depardieu attends the premiere of the movie “Tour de France” in Paris, France, Monday, Nov. 14, 2016. More than 50 French performers, writers and producers published an essay Tuesday defending film star and national icon Gerard Depardieu amid growing scrutiny of his behavior toward women. (AP Photo/Thibault Camus, File)

FILE - Actor Gerard Depardieu poses for photographers during a photo call for the film Valley of Love, at the 68th international film festival, Cannes, southern France, Friday, May 22, 2015. More than 50 French performers, writers and producers published an essay Tuesday defending film star and national icon Gerard Depardieu amid growing scrutiny of his behavior toward women. (AP Photo/Thibault Camus, File)

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PARIS (AP) — More than 50 French performers, writers and producers published an essay Tuesday defending film star and national icon Gerard Depardieu amid growing scrutiny of his behavior toward women during his five-decade career. Advocates for sexual abuse victims expressed dismay at the outpouring of support.

Depardieu was handed preliminary rape and sexual assault charges in 2020 following allegations from actor Charlotte Arnould, and has been accused by more than a dozen other women of harassing, groping or sexually assaulting them. Depardieu denies wrongdoing, and called the essay ‘’beautiful.’’

Published Tuesday in the conservative-leaning Le Figaro, it was signed by figures including former first lady and singer Carla Bruni, Depardieu’s former partner Carole Bousquet, and actors Pierre Richard, Charlotte Rampling and Victoria Abril. Two dozen of the 56 signatories were women. Many are from Depardieu’s generation; he is 74.

A recent documentary outlined accusations of sexual misconduct by 16 women against Depardieu, and showed the actor making obscene remarks and gestures during a 2018 trip to North Korea. The France-2 documentary prompted calls by some to stop airing Depardieu’s films, which include classics of modern French cinema.

FILE - Actor Gerard Depardieu attends the premiere of the movie "Tour de France" in Paris, France, Monday, Nov. 14, 2016. French actor Gerard Depardieu's behavior came under scrutiny in France after a new documentary showed him repeatedly making obscene remarks and gestures towards women, as new sexual misconduct accusations emerged against him. (AP Photo/Thibault Camus, File)

In response, Tuesday’s essay says: ’’We cannot remain silent in the face of the lynching targeting him, the torrent of hate being dumped on his personality.

‘’When Gerard Depardieu is targeted this way, it is the art (of cinema) that is being attacked,’’ it said. ‘’France owes him so much. ... Depriving ourselves of this immense actor would be a drama, a defeat. The death of the art. Our art.’’

Paris lawmaker and feminist Raphaëlle Rémy-Leleu said the signatories are experiencing a ‘’denial of reality.’’ She said she would have preferred for them to support initiatives against sexual violence instead.

’’They are refusing to see what this man did … because he is an artist,″ she told broadcaster France-Info.

Emmanuelle Dancourt, whose #MeTooMedia group supports sexual misconduct victims in the media industry, said on BFM television that the essay’s message is particularly painful for victims of sexual abuse by powerful men.

French President Emmanuel Macron also drew ire when he said last week that Depardieu ’’makes France proud.″

The recent documentary includes a segment where Depardieu is heard making crude sexual comments about a young girl riding a horse. Macron suggested that the segment could have been edited in a misleading way. France Televisions, which broadcast the documentary, later said that the segment in question was authenticated by a bailiff who viewed the raw footage.

Burned-out chairs in the former social hall of the Lahaina Hongwanji Mission

Lahaina reopens after Hawaii’s deadly wildfire – a photo essay

The heart of the historic town destroyed in a deadly wildfire is reopening to local people and business owners, marking an important emotional milestone. However, much work remains to be done to safely clear debris and rebuild

T he heart of Lahaina, the historic town on the Hawaiian island of Maui that burned in a deadly wildfire that killed at least 100 people, has reopened to local people and business owners holding day passes.

The renewed access marks an important emotional milestone for victims of the 8 August fire, but much work remains to be done to safely clear debris and rebuild.

The Rev Ai Hironaka walks in the parking lot as he visits his temple and residence. Scorched palm trees are in the background

Above: The Rev Ai Hironaka, resident minister of the Lahaina Hongwanji Mission, walks in the parking lot as he visits his temple and residence destroyed by the wildfire. Right: a sign for victims of the deadly wildfire hangs over the Lahaina bypass highway. Below left and right: Hironaka picks up a golf club and ashes he found in his home.

A sign attached to a fence reads ‘May the souls of our town rest in peace’

The renewed access marks an important emotional milestone for victims of the fire, but much work remains to be done to safely clear properties of burned debris and rebuild.

The reopened areas include Banyan Tree Park – home to a 150-year-old tree that burned in the fire but that is now sprouting new leaves – Lahaina’s public library, an elementary school and popular restaurants.

Charred banyan tree in front of the remains of the Old Lahaina Courthouse

Above: the remains of the Old Lahaina Courthouse is seen behind the 150-year-old banyan tree. Right: new growth on the tree

New growth on the 150-year-old banyan tree

An oceanfront section of Front Street, where the fire ripped through a traffic jam of cars trying to escape town, reopened on Friday.

Authorities are continuing to recommend that people entering scorched areas wear protective clothing to shield them from hazards.

Hironaka crouches in the charred debris

Hironaka visits the grounds of his temple and residence

On Sunday, the state health department released test results confirming the ash and dust left by the fire is toxic and that arsenic is the biggest concern. Arsenic is a heavy metal that adheres to wildfire dust and ash, the department said.

The tests examined ash samples collected on 7-8 November from 100 properties built from the 1900s to the 2000s. Samples also showed high levels of lead, which was used to paint houses built before 1978.

A notice declaring the Waiola church as unsafe to enter

Clockwise from top left: A notice declaring the Waiola church as unsafe to enter; a US Army Corps of Engineers sign shows what surveys and assessments have been completed at the Lahaina Hongwanji Mission; a sign and barricades redirect traffic around a checkpoint into the burn zone; a flyer noting a property has undergone hazardous material removal

The cleanup is still in its early stages. For the past few months, the US Environmental Protection Agency has been removing batteries, propane tanks, pesticides and other hazards from the town’s more than 2,000 destroyed buildings.

Local people and business owners have been able to visit their properties after the EPA has finished clearing their lots. In some cases, residents – often wearing white full-body suits, masks and gloves – have found family heirlooms and mementoes after sifting through the charred rubble of their homes.

A destroyed car in front of a burned building

A destroyed car near the remains of the Masters’ Reading Room in burn zone 11A

The US Army Corps of Engineers will begin hauling away the remaining debris and take it to a landfill after it gets permission from property owners.

Melted signs

Top left: melted signs in the remains of the Wharf Cinema Centre parking area in burn zone 11A. Top right: the remains of the King Kamehameha III elementary school in Zone 12A. Above: a broken mug in the debris of the social hall of the Lahaina Hongwanji Mission

The town of Lahaina

Above: the town of Lahaina. Right: destroyed homes and businesses in Lahaina

Destroyed homes and businesses

The EPA and the state’s health department have installed 53 air monitors in Lahaina and upcountry Maui, where a separate fire burned homes in early August. The department is urging people to avoid outdoor activity when monitor levels show elevated air pollution and to close windows and doors.

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    Do you have a passion for creating art? If so, you may be thinking of taking one or more of the three courses that make up the AP® Art and Design Program. Learn about the similarities and differences between AP 2-D Art and Design, AP 3-D Art and Design, and AP Drawing so you can choose the course that's right for you.

  14. Mr. Collins Art

    Welcome to my website. At this site you can access all that you need to stay informed and up to date. In-class assignments, homework assignments, student examples and instructional videos for AP Art History, Art Foundations, Drawing, Advanced 2D-Drawing, Painting, and Advanced 2D-Painting are available from the drop down menus above.

  15. AP Drawing

    The AP Drawing course is designed to provide students with a comprehensive understanding of the fundamentals of drawing. The course is divided into sixteen units, each of which focuses on a different aspect of drawing.

  16. PDF DRAWING PORTFOLIO AP STUDIO ART

    The follow selected sections of text are from the AP Studio Art Course Description from AP Central - full text will be review at start of course. About the Drawing Portfolio: 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

  17. AP Drawing Sample Portfolios and Scoring Information Archive

    Chief Reader Report. Scoring Distributions. Download sample portfolios from prior assessments along with scoring guidelines and scoring distributions. If you are using assistive technology and need help accessing these PDFs in another format, contact Services for Students with Disabilities at 212-713-8333 or by email at [email protected].

  18. How I got a 5 on AP Art History (self-studying) : r/APStudents

    Then, compare them to the rubric. (I wrote a few full essays too, of course, for practice.) 5- This goes with #4. Figure out how to structure each kind of essay. There are 6 types in AP Art History. Go through the rubrics/ examples until you get a good grasp of each. Fleet's AP Art History also has tutorials on each. 6-Know basic art vocabulary.

  19. Essay On Drawing in English for Students

    Conclusion of the Essay on Drawing. Drawing is an art that has the power of bringing joy to the soul. Furthermore, drawing is a way of representing one's imagination on a piece of paper. Also, it is a way of manipulating lines and colours to express one's thoughts. FAQs For Essay on Drawing. Question 1: Explain the importance of drawing?

  20. PDF AP® Drawing Sample Syllabus #1

    The Drawing portfolio consists of the following two sections: 1. Sustained Investigation (60% of portfolio score): Images: Fifteen digital images of works of art and process documentation that demonstrate sustained investigation of an idea through practice, experimentation, and revision. This section will be uploaded to the College Board website.

  21. A.I. Can Make Art That Feels Human. Whose Fault Is That?

    New research from Stanford University showed that the popularization of A.I. chatbots did not boost overall cheating rates in U.S. high schools in 2023. E.U. policymakers agreed to a sweeping new ...

  22. AP 2-D Art and Design Exam

    Your work should focus on the application of two-dimensional (2-D) elements and principles including point, line, shape, plane, layer, form, space, texture, color, value, opacity, transparency, time, unity, variety, rhythm, movement, proportion, scale, balance, emphasis, contrast, repetition, figure/ground relationship, connection, juxtaposition...

  23. Second suspect arrested in theft of Banksy artwork featuring military

    Updated 7:44 AM PST, December 24, 2023. LONDON (AP) — A second suspect was arrested in the alleged theft of a work by the elusive street artist Banksy of a stop sign adorned with three military drones, London police said Sunday. A man in his 40s was in custody on suspicion of theft and criminal damage, the Metropolitan police said.

  24. Opinion

    The Elfstedentocht is like a relative whose small plane went missing a few years ago and whose loved ones still hope that he could, one day, stumble into town. They all know he's dead, of course ...

  25. PDF 2021 AP Art and Design

    1 Idea(s): The 3 dogs represents my brothers and me. I love dogs and I love my brothers they make me happy. 2 Idea(s): Turtles are my favorite animals and the beach is my favorite place so i painted them together. Material(s): Acrylic paint, water, brushes Process(es): I decided to paint my top 5 favorite things.

  26. 56 French stars defend actor Gerard Depardieu despite sexual misconduct

    Updated 7:34 AM PST, December 26, 2023. PARIS (AP) — More than 50 French performers, writers and producers published an essay Tuesday defending film star and national icon Gerard Depardieu amid growing scrutiny of his behavior toward women during his five-decade career. Advocates for sexual abuse victims expressed dismay at the outpouring of ...

  27. PDF 2022 AP Student Samples and Commentary

    2022 AP® Art History Sample Student Responses and Scoring Commentary Inside: Free-Response Question 2 • Scoring Guidelines • Student Samples • Scoring Commentary 2022 College Board. College Board, Advanced Placement, AP, AP Central, and the acorn logo are registered trademarks of College Board. Visit College Board on the web: collegeboard.org.

  28. Lahaina reopens after Hawaii's deadly wildfire

    Fri 29 Dec 2023 04.00 EST. T he heart of Lahaina, the historic town on the Hawaiian island of Maui that burned in a deadly wildfire that killed at least 100 people, has reopened to local people ...