ap drawing essay

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: 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

READ NEXT: How to make an artist website (and why you need one)

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

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

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

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

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

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.

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.

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 .

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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The Comprehensive Guide to AP Art and Design: Drawing

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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13+ Dazzling AP Art Portfolio Examples (Plus Tips for Creating Them)

Show them what you’ve got!

Creating an Advanced Placement (AP) art portfolio can be a challenging task for high school students. But it’s also an exciting opportunity to show off their talents. It requires creativity, planning, and a thorough understanding of the requirements set by the College Board. AP art students are typically passionate about art and design, but they’re also often overwhelmed by the portfolio’s complexity. Read on to learn more about the College Board’s current portfolio requirements and scoring criterion, as well as to get tips for creating portfolios, examples of high-scoring AP art portfolios, and insight from the students who created them.

AP Art and Design Portfolio Requirements

The current version of the Advanced Placement (AP) Art and Design Portfolio consists of two sections: Sustained Investigation (60 percent of total score) and Selected Works (40 percent of total score). While the previous version required 24 artworks, the current one requires just 15. Until recently, there was a breadth section that demonstrated student range and provided an opportunity for working with different mediums. The intent with Sustained Investigation is to demonstrate practice, experimentation, and revision through a number of images that seek to answer an inquiry chosen by the artist. While students can submit solely finished artworks, they can also include revision and process images as seen with many AP art portfolio examples. The Selected Works portion consists of five high-quality artworks.

There is also a writing requirement, which includes an artist statement of 1,200 words split into two 600-word sections. Additionally, artists have 100 characters to explain the process behind each work and 100 characters to explain the materials.

While there have been changes to the AP art portfolio requirements in recent years, older, successful portfolios still provide valuable insights.

AP Art and Design Portfolio Scoring

The portfolio, which can be 2D, 3D, or drawing, is submitted digitally and scored from 5 (extremely well qualified) to 1 (no recommendation). A score of 4 is considered well qualified, a score of 3 qualified, and a score of 2 possibly qualified. Previous versions of the AP portfolio scoring had different ranges and went up to a high score of 6. A portfolio provides you the opportunity to earn college credit while showing off your talent. The collection of finished artworks and images should demonstrate your grasp of design and art concepts while also showing the full range of your abilities. Your portfolio should definitely show relationships between materials, processes, and ideas. It will also include written evidence of these things. Check out our tips and AP art portfolio examples before getting started on yours.

Top Tips for Creating an AP Art Portfolio

• Don’t be afraid to revisit artworks.
• Pay careful attention to composition.
• Don’t be afraid to abandon an artwork if it isn’t working.
• Refer to apstudents.collegeboard.org/art-designprogram for the most up-to-date information.
• Show your development as an artist.
• Develop your sustained investigation and theme.
• Take some risks.

Examples From Successful Portfolios

1. a perfect 6.

A perfect score on the AP Art Portfolio is very rare but not completely unattainable. Although difficult, student Ratthamnoon Prakitpong earned every possible point in the different sections of his drawing portfolio. Prakitpong gives loads of good advice while providing examples, including before-and-after examples of different artwork. He also recommends drawing inspiration from unexpected places.

Learn more: AP Studio Art Drawing Portfolio: Tips from a Student Who Gained 100%

2. A 3D Compilation

This video compilation shows a wide variety of finished 3D artworks but also includes photos showing Cyan D’Anjou’s process. D’Anjou said that most of the concentration section of her portfolio was developed during her final year of high school. In today’s portfolio, this would be akin to the Sustained Investigation portion.

3. A Strong Theme

Once student Alina Rhoadarmer chose childhood memories as the theme for her AP art portfolio, she was able to set out creating a wide variety of artworks that fit that topic. Rhoadarmer explained, “I was constantly developing and redeveloping my question and reinterpreting my topic to create new art pieces.”

Learn more: 2020-2021 AP Art Portfolio Showcase

4. Digital Painting Concentration

This is an example of a 2D AP art portfolio with more of a commercial focus since it centers around character creation and development. Although there are a wide variety of platforms for digital painting, this particular artist used Ibis paint, incredibly on her iPhone. The artist created many different types of characters and environments including variations on Thomas Edison. The portfolio expresses the story and concept of the characters while also demonstrating the artist’s range and ability.

5. Three Portfolios, One Artist

While a video compilation of an AP art portfolio is helpful, a video including three is even better! First, we see artworks from a 2D portfolio submitted in 2015 during their junior year. Next, we see a portfolio for drawing from the artist’s senior year. Finally, we see their 2D portfolio from their senior year. Although difficult to do, all three of these portfolios scored a 5 (strong).

6. Artworks With Explanations

Artist/student Conan Gray does a nice job showing his artwork while providing his rationale for each image. Since a still-life can fall flat, Gray recommends incorporating meaning and shares an example of his own still-life that succeeds at that.

7. 2D Photography Example

These images are from a perfect score AP 2-D Art and Design portfolio. This artist explores the animal world through photography. As with any good AP art portfolio examples, there is a clear mastery of the chosen medium as well as consistency in theme throughout the works.

Learn more: AP Art Portfolio (score 5)

8. A Perfect Score on a Drawing Portfolio

The artist in this video provides helpful tips and examples for obtaining a perfect score on the drawing portfolio while also being hilarious. This artist used 11 completed works in her sustained investigation portion and 4 more revision and process images to round out the required 15 images. She provides helpful tips like using your best works toward the beginning and end and putting your less favorite works in the middle.

Examples of Sustained Investigation

9. theme: femininity and masculinity through the 20th century.

This Sustained Investigation is particularly effective since it not only explores gender but the expression of gender throughout different moments in the 20th century.

Learn more: AP Art Studio

10. Theme: Negative and Positive Effects of Social Media on Self-Esteem

This artist explored the negative and positive consequences of social media on self-esteem. They used color to express positive effects while a lack of color clearly indicates the negative consequences.

11. Theme: Feeling Comfortable vs. Uncomfortable

Looking at artworks on a given theme is helpful, but having the artist explain their processes and ideas is even better. Artist Karina Singh does a wonderful job of explaining her use of composition and materials to explore her topic of being comfortable versus being uncomfortable. Her work shows a thorough exploration of a theme with ideas ranging from female sexuality, COVID, and family to environmental waste.

12. Theme: Nonverbal Communication

Artist/student Sophie Miller chose nonverbal communication for her Sustained Investigation so she could draw “with elevated contrast.” According to the artist, at least half of her drawing time was done during a free period or at home. Her theme is made undeniably clear through her drawings of people with intense facial expressions and hand gestures.

Learn more: AP Art Students Complete Their Portfolios

13. Theme: Phobias

This artist chose a topic that certainly allowed for endless possibilities of subject matter. He showed his range by creating images that represented different phobias while utilizing different materials and mediums.

Learn more: AP Studio Art Concentration Portfolio (Phobias)

Other Ideas for Sustained Investigation

• Abandonment of people and places
• Evolution of illness
• Human influence on the environment
• Effects of social media
• Reflections on  various surfaces
• Close-ups (food, body parts, etc.)
• Effect of corporate advertising on human psyche
• Painting friends in different historical eras
• Modernization of famous fairy tales
• Wood cuts based on Japanese printmaking
• Found-object sculptures
• Exploration of clothing across cultures

Examples of Low-Scoring Portfolios

Seeing examples of high-scoring and well flushed-out portfolios is helpful, but it can also be useful to see examples of what not to do. The AP College Board posts examples of low-scoring portfolios while including the rationale behind the scores. See below for some examples of portfolios that only scored a 1.

• 2-D Portfolio Example 1/AP Central/College Board
• 2-D Design Portfolio Example 2/AP Central/College Board
• AP Central/College Board/Sustained Investigation

You can also find examples of complete portfolios that scored high on the 2022 portfolio exam as well as more scoring commentaries at the AP Central College Board website .

Do you have more great AP art portfolio examples? Share in the comments below.

Interested in being an art teacher check out teaching portfolio examples that will get you hired ., want more articles like this  be sure to subscribe to our newsletters ., you might also like.

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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

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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AP® Art History

How to study for ap® art history.

• The Albert Team
• Last Updated On: March 1, 2022

This AP® Art History study guide provides you with the tools you need to succeed on the exam—and to get the score you want!

What’s on the AP® Art History Exam?

AP® Art History is the equivalent of a two-semester college-level art history survey course, covering art from the Paleolithic era through today. According to the CollegeBoard, Advanced Placement Art History explores the nature, uses and meaning of art, its creation and audience responses. The course encourages students to understand art from a global perspective, with insights into its history and evolution.

There are three distinct ways to analyze art, all of which are used in the course, and tested on the AP® Art History exam –and you should know them for your AP® Art History study plan.

1. Visual Analysis. A visual analysis asks you to look carefully at a work of art and report what you see about the work of art. The visual analysis looks only at what is present in the work, not at what led up to the work of art. First, you should look at the formal elements of the work, including line, color, shape, form and naturalism. Next, you should consider composition, the way individual visual elements are put together. The elements of composition are symmetry, balance, proportion and scale, and rhythm. These various factors combine to create the totality of the composition.

2. Contextual Analysis. A contextual analysis looks at how the work of art fits into and impacts the world around it. Contextual analysis requires you consider other works of art of the time, historical events, the place of creation, and the patron of the work.

3. Comparative Analysis. A comparative analysis compares and contrasts two or more works of art, incorporating both visual and contextual analysis of each work. The two works may be from the same period or from different periods, and may even be different media; however, in most cases, there will be some similarity, whether in subject, style, patronage, or function.

Big Ideas, Essential Questions, and Learning Objectives.

The course is organized around three Big Ideas. You should keep these ideas in mind as you prepare for the exam. This is one of the most important art history tips. Each of the Big Ideas is closely connected to an Essential Question, and to several Learning Objectives. Essential Questions in art history will help to guide your work in the class and your preparations for the big test day. Learning objectives help you to understand what the CollegeBoard thinks that you should take from your studies in this course—we’ve paraphrased those below for you!

Big Idea #1

Artists manipulate materials and ideas to create an aesthetic object, act or event. The Essential Question for Big Idea #1 is: What is art and how is it made? There are four Learning Objectives related to this Big Idea.

• Differentiate form, function, content and/or the context of a work of art.
• Explain how artistic decisions about art making impact art.
• Describe how artistic and historical context influences artistic decisions involved in creating a work of art.
• Analyze the form, function, content and/or context to explain or determine the artist’s intentions during the creation of the work.

Big Idea #2

Art making is shaped by tradition and change. The associated Essential Question is: Why and how does art change? The three Learning Objectives attached to Big Idea #2 are:

• Describe features of an artistic tradition and/or change in a single work of art or a group of related works.
• Explain how and why specific traditions and/or changes are demonstrated in one or more works of art.
• Analyze the influence of a single work of art or group of related works on works of art produced around the same time or later.

Big Idea #3

Interpretations of art are variable. The Essential Question for Big Idea #3 is: How do we describe our thinking about art? The Learning Objectives are:

• Identify a work of art with key identifiers, including artist or culture, date, and material.
• Analyze how formal qualities of the work and/or content of a work of art brings about a response from the viewer.
• Consider how contextual factors lead to different interpretations of art.
• Justify attribution of an unknown work of art, using formal qualities and comparisons to other works.
• Analyze relationships between different works of art based on their similarities and differences.

Content Areas, Enduring Understanding Statements, and Essential Knowledge Statements

AP® Art History is divided into ten distinct content areas. Each content area is represented by a number of works in the collection of 250 works used in the course. These images are the works you are expected to learn and remember for the exam. Individual works may include multiple views or images, but count as a single entry in the Image Set. Understanding these content areas is essential for test preparation. Each content area has a set number of works in the Image Set and typically, represents a rough percentage of the test questions. Knowing these content areas is essential for your art history study plan.

• Global Prehistory from 30,000 to 500 BCE (11 works, 4%)
• Ancient Mediterranean from 3,500 BCE to 300 CE (36 works, 15%)
• Early Europe and Colonial America from 200 CE to 1750 CE (51 works, 20%)
• Later Europe and the Americas from 1750 to 1980 CE (54 works, 22%)
• Indigenous Americas from 1000 BCE to 1980 CE (14 works, 6%)
• Africa from 1100 to 1980 CE (14 works, 6%)
• West and Central Asia from 500 BCE to 1980 CE (11 works, 4%)
• South, East and Southeast Asia from 300 BCE to 1980 CE (21 works, 8%)
• The Pacific from 700 to 1980 CE (11 works, 4%)
• Global Contemporary from 1980 to present (27 works, 11%)

What can you notice about the content areas? The first four are chronological. In these four content areas, you’ll see an evolution of art that you may recognize. In these content areas, you can see interactions between various cultures, as they traded with one another, and learned from one another. These first four content areas cover the time period from 30,000 BCE to 1980, or from the earliest works of art created by humans to relatively contemporary art. They are somewhat limited geographically. These four content areas include works common to the development of western art.

The next five content areas are specific to various regions, ranging from the Indigenous Americas through the Pacific. In many cases, art in these regions developed somewhat independently, with only occasional influences from other cultures. In these content areas, a long period of time is covered in a narrow geographic area.

The tenth content area covers a very short time period, but art from around the globe. This speaks to a significant change in the world in recent years—access to travel and information mean that geography is less of a consideration in the contemporary art world. Artists may move around the globe, and have access to works by other artists from distant locations.

The various content areas are accompanied by Enduring Understanding statements associated with each content area, as well as connected Essential Knowledge. Enduring Understanding statements provide a short overview of the content area, while Essential Knowledge provides a brief introduction to key components or factors that influence the content area. Think of Enduring Understanding and Essential Knowledge as the most basic things you should know about each of the content areas; while you should know a lot more than that, these provide you with the foundations of understanding for each area.

• If you learn the Enduring Understanding statements and the Essential Knowledge statements for each of the content areas, you’ll have a good understanding of the basics you need to know for the various periods and regions.
• Essential Knowledge statements commonly include information about artistic movements, as well as relevant cultural and historical events during the period or in the region.

The Exam Format

The AP® Art History exam is a three-hour examination. Rules, procedures and scoring are the same as other AP® examinations and are available from your teacher or the CollegeBoard website. Test proctors will announce the passage of time; however, you may move through the individual sections of the test at your own pace.

One hour is spent on multiple choice questions about the works of art you’ve studied. There are 80 multiple choice questions. Thirty-five of those are individual questions, and the remaining 45 questions are in sets of multiple questions about the same work or works of art. You have only one hour for these 80 questions, so it’s important to be able to move quickly through the questions. There are no penalties for incorrect answers, so be certain to answer every multiple-choice question.

Two hours are spent on free-response, or essay-style, questions. There are six questions in total, made up of four short essays (15 minutes each) and two longer essays (30 minutes each).

Both multiple-choice and free-response questions are designed to assess student understanding of all course learning objectives. In broad terms, multiple choice questions are more likely to assess your ability to identify works of art and place them in context correctly; however, you may also be asked questions about works that are similar to those you have studied, or questions that require you place a work in its historical context.

All free-response questions on the AP® Art History test are associated with an image or multiple images. While free-response questions are designed to show deeper understanding of the material included in the course, students are also expected to correctly identify the works of art. Identifiers include the title of the work, the name of the artist or culture that produced the work, the date of creation and the materials used in the work. At least two of these identifiers must be present and correct for full credit; however, students will not be penalized if additional identifiers are incorrect.

When you write the four short essays, they should be focused solely on the works included in the free-response question. For the two longer essays, you may bring in relevant works not included in the course, where appropriate.

While the scoring of multiple choice questions is straightforward, you do need to understand how the CollegeBoard scores, or grades, AP® exams, including the AP® Art History exam. Free-response questions are graded by a large team of college faculty and experienced Advanced Placement teachers. Scores on free-response questions are weighted and carefully assessed.

The raw score, created by combining free-response scores produced by human readers and the computer-generated multiple choice score are converted into a single number score between 1 and 5. Individual colleges and universities may set their own standard for accepting AP® scores; however, you can reasonably think of a five as an A, a four as a B and so on. Most schools do not accept any score below a three for full college credit. You can think of a three as somewhere between a B- and a C. The American Council of Education recommends credit be granted for scores between three and five. A score of one or two will typically result in no college credit for the course.

Officially, the scores are defined as follows:

• 5 = Very well qualified
• 4 = Well qualified
• 3 = Qualified
• 2 = Possibly qualified
• 1 = No recommendation

Your goal, assuming you’re in this for the college credit, should be a four or five, to be on the safe side.

Preparation for the AP® Art History Exam

Preparing for an art history test can be a little different than preparing for any other kind of test. You don’t only have to remember facts, but images! For some people, this is really easy, but for others? It can be a little harder. A smart art history study plan can help.

Let’s start by talking about the identification part of art history. For many people, this is the time they need art history tips! Remember, you need to be able to identify the title, artist or culture, date of creation, and the materials used in the work. It’s not just about memorizing those things—you have to connect all of that information to the image or images of the work. For some works, there may be more than one image. For instance, the Parthenon in Athens may have more than one view of the building, as well as a floor plan. You need to be able to match all of that information to any of those images.

Unfortunately, there’s a sad reality here. All of that information? You need to memorize it, along with the associated image or images, hence the need for an art history study plan. There are a few different strategies for that, depending upon your own preferences and what works best for you. Try these art history tips to memorize what you need to know .

• The old fashioned solution is an index card. Print and glue images to the front and write identifying information on the back. This option works well if writing helps you to remember information, or if you like low-tech solutions.
• Go online. There are a number of web sources that offer images plus identifying information to help you study for the test. In addition, a visit to the iTunes App Store or Google Play will provide you with options for apps that do the same. These solutions work well if you study effectively using online or digital tools, and can make it easy to study on-the-go if you always have a phone available.
• Combine these strategies. Maybe you’ll make the index cards (yes, all 250 of them), but also use an app for review when you’re on the bus or have time between classes. If you’re not sure how you’ll study best, this may be your best plan.

Regardless of which of these you choose, you’ll need to put in the hours—and a lot of them—for a good score on the test. Get in the habit of reviewing daily for 30 minutes to an hour for a good score in the weeks before the test. Memorizing the images and info is only the first part of preparing for the big test day. You also have to be able to place all of this art history information in context. What else was happening when the work was made? Why did the artist make the work? How does it relate to art created before it or after it? All of those questions and others, apply to each work you study in Advanced Placement Art History.

How can you learn the context and commit it to memory? Just like with identifying art works, the context needs to be linked in your memory to the associated images. There are a number of things you can do to help better understand (and remember!) the context of works of art.

• Make a timeline. You can do this online, or by hand on paper; you may want to make one for each of the content areas.
• Create outlines of each content area, incorporating essential historical events, artistic movements and works of art.

Think about how you learn best. Different people learn by hearing, reading, doing, or some combination. If you learn by reading, focus on that; however, if you learn best by hearing, you may find that podcasts and documentaries provide a better source for review of different periods, artists and works of art. Be sure that you choose reliable and high-quality source material. It’s fine to go outside of your textbook, but it’s critical that you opt for material with scholarly backing.

• Get a study buddy or form a study group with classmates. Spread the content groups around your study companions and each produce and teach the information to review it effectively. This is a smart choice for an art history study plan.

Writing the Free-response Answers

Multiple-choice questions are self-explanatory, even if working with grouped questions is new. You’ve been answering these kinds of questions since kindergarten. The free-response questions on the AP® Art History exam aren’t quite so simple; the CollegeBoard expects carefully thought out and well-written responses to their questions. It’s not a matter of simply writing a few lines, like you might have for short answer questions or a paragraph or two, like you may be used to from essay questions in other classes.

As noted, you’ll have to write four shorter, 15-minute free-response answers and two longer free-response essays. The long essays, called Part A, come before the short essays, or Part B. You may move from one essay to the other in Part A when you’re ready, but cannot move onto Part B until time is called.

Let’s start with the basics, for each of these questions. Before you start writing, you should take just a few minutes to produce a brief outline. This lets you plan what you’re going to write and enables you to make sure you’re effectively answering all parts of the question. Don’t forget, you have to identify all works used in the free-response questions with at least two correct identifiers.

This isn’t a formal outline, and no one’s going to grade you on it. You only need to write as much as you need to follow it and plan out your essay response. It may just be the identifiers, plus a few keywords, or it may be slightly more involved. You shouldn’t spend more than five minutes on your outline for the longer free-response question, and two or three minutes for the shorter response questions. Taking up time with planning may seem counter-intuitive, but it can mean the difference between a good essay and a great one.

Now, why are we talking about this during the test preparation stage? Well, because you don’t just have to study. You also have to prepare to write the free-response answers on test day. Practicing your essay answers will help you to be ready to take the test. The CollegeBoard offers past year questions, enabling you to get an idea of what to expect on the AP® Art History test. These are the best choice for practice questions!

There is one problem—you don’t have anyone to grade your free-response practices! Think about sharing these in your study group, with a friend, with a parent, or seeing if your teacher, or even another teacher in your school, will provide feedback on at least some of your practice essays.

• AP® Art History Course and Exam
• Albert.io’s Art HistoryBlog Articles
• Albert.io’s Art History Questions
• Khan Academy’s Slideshow of AP® Art History Images
• John Costello’s AP® Art History Videos

Practice Tests

After you study, it’s important that you take practice tests. The key word in that sentence is tests—in the plural! Expect to take several tests, adjust your study strategy and repeat the process. Now, we’re going to tell you what you don’t want to hear. For the most effective preparation, you should take these tests in conditions that replicate test day as much as you’re able. A quiet desk, limited distractions and a timer are key. Turn your phone on do not disturb, or turn it off, skip the music, and get to testing. This is the best way to identify your strengths and weaknesses; however, you should keep in mind that you don’t have the benefit of professionally scored essays. As with your practice essays, ask a friend, family member or teacher to read your free-response answers and provide feedback.

Analyzing Results

Once you’ve taken the test, you need to honestly analyze your results.

• Break the multiple choice questions down into their content areas. Can you see clear areas of strength or weakness? Maybe you realize that you’re great with the ancient world but awful at contemporary. Adjust your study time to help accommodate these weaknesses.
• If you realize that you’ve made consistent errors across different content areas in one identifier or another, specifically review that identifier. For many people, dates are one of the most difficult parts of art history, but they’re still an important identifier.
• Are you having trouble with one of the Big Ideas or Essential Questions? Do you need to work on your understanding of one of these key guiding factors in AP® Art History?
• Read through your free-response answers. Can you see any clear problems? Did you remember to identify all artworks, and to plan out your essay? Were you able to complete your essay in the allotted time? What kind of feedback have you received about your answers from friends or teachers?

Adjusting Your Strategies for the Best Score

Once you’ve taken a practice test, being sure to recreate test conditions as much as possible, you’ll likely need to adjust your study strategies to accommodate your own strengths and weaknesses.

Write down your strengths and weaknesses. Why do you think you’re stronger in some things and weaker in others? What can you do to tap into your strengths and make your weaker areas better?

Content Areas

When you analyzed your scores, you looked at where you were weak, or what was hardest for you. Maybe you’re stronger when you know more about the history or culture—if so, try reading a book or watching some documentaries to help provide more information about the history and culture. Perhaps you just need more exposure to less familiar works, and should focus some extra energy on reviewing those works. Be sure you continue to review material you know well, but it’s fine to focus much of your study time on your weaker areas.

Identifiers

Are you struggling with one type of identifier? If so, think of different ways to organize material, both during your study time and in your brain. For instance, you may need to link works made in Europe in the 14 th century to ones made in China in the 14 th century to recognize that these very different works have the same dates, or use mnemonics or other memory tricks to help you remember the names of artists or cultures. If you struggle with materials, take a trip to a local museum to get a better, in-person look at the difference between marble and limestone or watercolor and oil paints. If you’re struggling with all identifiers, consider changing up your study strategy; if you’ve used flashcards , try an app or online quiz or try handmade flashcards if you’re using an app.

Free-response Questions

If you’ve done quite well on the multiple choice but have concerns about the free-response questions, there are several ways to adapt your study strategies. First, read examples of good essay responses—even those not written for AP® Art History! Take the time to think about what was good about the essay and to model your own answers after high-quality responses. Remember, even a free-response answer should include a brief introduction and conclusion, as well as a clear thesis statement! Next, practice writing to a timer. Even for good writers, getting that free-response completed in 15 to 30 minutes in a challenge!

Free-response questions may ask you to do one or more types of analysis. Remember, art history uses visual analysis, comparative analysis and contextual analysis. Visual analysis is straight forward for most people, but comparative and contextual can be more challenging. As you study, take a few minutes and work out the comparative and contextual analyses on different works. You can write this out, or just do it in your head.

Wrapping It Up

Study time is over and that test is tomorrow. Stop studying! Plan something fun for after the test to help you relax.

Turn on some soft music, relax, and go to bed early. Get up in plenty of time for the test—you don’t want to start your day rushed and stressed. Eat a healthy breakfast, and if you’re a coffee drinker, don’t skip it (but if you’re not, don’t indulge!). Arrive early for the test to get to your seat, with pencils in hand. You may bring a wristwatch, but no phones allowed. Consider taking along a book or magazine if you expect to arrive significantly early—we suggest something light and fun.

Before the test, take some slow, deep breaths to center yourself. You’ve taken the class, prepped well, and now it’s time to put all that work to the test. Work through problems quickly and efficiently during the multiple-choice section of the test. If you’re unsure, pick an answer! Remember to take time to plan your responses for the free-response questions and to write neatly.

If you’re prone to test anxiety, remember to keep breathing. If you need to, take a bathroom break to step out for a few seconds, get a drink and catch your breath. It is, after all, only a test.

Good luck on your AP® Art History Exam! Here’s hoping for a five.

Need help preparing for your AP® Art History exam?

Albert has hundreds of AP® Art History practice questions, free response, and full-length practice tests to try out.

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Powerball lottery’s $1.3 billion jackpot drawing delayed

A Powerball player in Oregon has won a jackpot worth more than $1.3 billion, ending a winless streak that had stretched more than three months.

A sign for the Powerball jackpot is displayed at a 7-Eleven, Friday, April 5, 2024, in Portland, Ore. (AP Photo/Jenny Kane)

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DES MOINES, Iowa (AP) — The Powerball lottery drawing scheduled for Saturday night was delayed to complete procedures required before the numbers are announced, the game’s organizers said.

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