The document is an AP Drawing portfolio submission that explores themes of nihilism and solipsism in American youth through surrealist colored pencil art. It includes 15 images depicting how consumerism and technology leave youth feeling empty and addicted. Issues like pornography addiction, school shootings, and suicide are increasing. Later images get more personal and show depersonalization and mental chaos. The portfolio emphasizes layered colored pencil techniques to portray intrusive thoughts and fractured humanity. It aims to express the artist's social anxiety and negative internal voice. Advice is given to future AP students to be true to themselves and not procrastinate.
Gallery of Student WritingShernel WoodmanPrinciples of Design.docxshericehewat
Gallery of Student Writing
Shernel Woodman
Principles of Design
“Train of Thought” by Leo Bridle
Simple Outline
“A Journey for Love”
I. Leo Bridle and Ben Thomas were the film makers.
a. I believe they are in their late 20s and early 30s, and they graduated from the Arts Institute at Bournemouth.
b. From the United Kingdom.
II. The basic structure of the artwork is Film.
a. Material used was digital compositing software and all the animations were done by hand and not the compositing software.
b. The subject of the seemed to be the young artist and he seemed to have been in search of someone. Everything seemed to be between and a gray/sepia scale with a design using cut outs and wooden toys.
III. I think this whole film was based on love.
a. My 1st idea is that he is trying to find the woman he loved. He may have seen her before at the station and drawn her out of memory and may have come back to find her there. When he didn’t, he hopped on the train in search for her only to come up empty. I believe he used his drawing pad as some sort of map as to where she may have been. When he doesn’t find her, he returns to the station once again and this time, he finds her. He then realizes that she may be an artist as well and may have gone through the same processes to find each other.
b. My 2nd idea is that he may have drawn her as well as the other drawings in his book subconsciously and realized this was a woman he had to meet. He then returns to the train station, which is the setting of his drawing. When she doesn’t come, he hops on the train and then goes in search for the woman that he loves. When he doesn’t find her he returns back to the station and that is where he finally sees her. They go towards each other and hold hands, seeming like they both went through the same measures to find each other.
I think the way the film makers used photography and film made this a very interesting form of media. Everything looked cartooned and real at the same time. The train station and the train themselves looked like they were made out of wooden toys and the people all looked like cut outs that were animated to look like they were moving, inside of their cut out frames. This was a well done film and they filmmakers did a wonderful job. I must say it sure caught my attention.
Linda Hoffman-Ostroff
Techniques, Materials, and Form
Introduction to the Drinking Maiden Exhibition
Story Style
"A Maiden in Born"
My color is milky white and thus a maiden is born... I was created by the great sculptural artist Ernst Wenck in 1901. He created my soft white body by using his strong meticulous hands. He is indeed an artist. I was created in a time when conservatism was not very popular. Because of my intricate detail and the delicate image I carry I became a model for porcelain miniatures.
If you study my structure you see the qualities that may have lead to my continued popularity. I lean forward and you see the muscle tone of my leg by the light tha ...
In This Book I have collected some of my
work which has been done in the course of
years in order to presented myself.
Best Regards (2012)
Rene Saheb (Reyhaneh Sahebghadam)
Example Artist Statements Randy BoltonWorking wit.docxcravennichole326
Example Artist Statements
Randy Bolton
Working with representational images that are singular, paired, or grouped
together to form abbreviated pictorial allegories or narratives, Bolton’s screenprints
employ a kind of visual metaphoric language that is familiar, direct, and accessible
on the surface, but one that is layered to have a more subversive subtext that is rich
in double-meanings and ambiguities. Bolton’s recent screenprints are based
primarily on photographic or documentary evidence – from photos taken on his
iPhone of rather ordinary or quotidian subject matter – the kind of forlorn-looking
things that are seen and observed in the “real” world, which are then digitally
reworked and reassembled into a singular or multi-panel format to create open-
ended, associative visual narratives. Bolton’s screenprints are made using a 4-color
separation process and printed by hand in very limited editions of 10 or less, most
often on 22” x 30” Rives BFK paper.
Jennifer D Anderson
There is something about me that makes me wonder about the
imperceptible quality of stars in the noonday sun, what forces hold
clouds up in the sky, and what arranges the sundry of the universe. This
work is about the relationship of these and many other unknown things
and a faith in their existence that is strong enough to try to visualize and
recreate them. It is about working towards understanding in both a
tangible physical way and a subtler spiritual one.
Through a progressive buildup of graphite, my hand delicately asserts
itself over photographs I have taken of the sky over my home and during
my travels. Drawing is, to me, a loving process of focused attention and
deliberate mark making as well as a meditative means of creating that
reflects my visceral energies into the finished work through many hours
of prolonged touch. The work then contains within it an intersection of
humanity and nature, as well as a vast sense of intrinsic history.
I layer imagine upon imagine, skin on top of a portrait, lace below an x-
ray, toys with old age, a variety of faces. I layer photographs I have taken,
ones I have found, handwritten notes and medical diagrams. I layer to
reflect how human identity is a composite of stories, memories,
information, physical sensations, as well as the mechanisms that make
one human.
I adhere whisper thin sheets of paper together until they are inseparable. I
adhere to create images with a three-dimensional depth as one layer is
seen through another and another. I adhere because we are
amalgamation, complex and nuanced our identity includes the physical,
spiritual, past and present – one part cannot be removed from the rest.
I contrast, male and female, beauty and horror, skin and bone, childhood
and senility. I contrast to reflect the richness of the human experience and
our dualities. I contrast front and back to let the curious viewer see more,
to express how w.
Gallery of Student WritingShernel WoodmanPrinciples of Design.docxshericehewat
Gallery of Student Writing
Shernel Woodman
Principles of Design
“Train of Thought” by Leo Bridle
Simple Outline
“A Journey for Love”
I. Leo Bridle and Ben Thomas were the film makers.
a. I believe they are in their late 20s and early 30s, and they graduated from the Arts Institute at Bournemouth.
b. From the United Kingdom.
II. The basic structure of the artwork is Film.
a. Material used was digital compositing software and all the animations were done by hand and not the compositing software.
b. The subject of the seemed to be the young artist and he seemed to have been in search of someone. Everything seemed to be between and a gray/sepia scale with a design using cut outs and wooden toys.
III. I think this whole film was based on love.
a. My 1st idea is that he is trying to find the woman he loved. He may have seen her before at the station and drawn her out of memory and may have come back to find her there. When he didn’t, he hopped on the train in search for her only to come up empty. I believe he used his drawing pad as some sort of map as to where she may have been. When he doesn’t find her, he returns to the station once again and this time, he finds her. He then realizes that she may be an artist as well and may have gone through the same processes to find each other.
b. My 2nd idea is that he may have drawn her as well as the other drawings in his book subconsciously and realized this was a woman he had to meet. He then returns to the train station, which is the setting of his drawing. When she doesn’t come, he hops on the train and then goes in search for the woman that he loves. When he doesn’t find her he returns back to the station and that is where he finally sees her. They go towards each other and hold hands, seeming like they both went through the same measures to find each other.
I think the way the film makers used photography and film made this a very interesting form of media. Everything looked cartooned and real at the same time. The train station and the train themselves looked like they were made out of wooden toys and the people all looked like cut outs that were animated to look like they were moving, inside of their cut out frames. This was a well done film and they filmmakers did a wonderful job. I must say it sure caught my attention.
Linda Hoffman-Ostroff
Techniques, Materials, and Form
Introduction to the Drinking Maiden Exhibition
Story Style
"A Maiden in Born"
My color is milky white and thus a maiden is born... I was created by the great sculptural artist Ernst Wenck in 1901. He created my soft white body by using his strong meticulous hands. He is indeed an artist. I was created in a time when conservatism was not very popular. Because of my intricate detail and the delicate image I carry I became a model for porcelain miniatures.
If you study my structure you see the qualities that may have lead to my continued popularity. I lean forward and you see the muscle tone of my leg by the light tha ...
In This Book I have collected some of my
work which has been done in the course of
years in order to presented myself.
Best Regards (2012)
Rene Saheb (Reyhaneh Sahebghadam)
Example Artist Statements Randy BoltonWorking wit.docxcravennichole326
Example Artist Statements
Randy Bolton
Working with representational images that are singular, paired, or grouped
together to form abbreviated pictorial allegories or narratives, Bolton’s screenprints
employ a kind of visual metaphoric language that is familiar, direct, and accessible
on the surface, but one that is layered to have a more subversive subtext that is rich
in double-meanings and ambiguities. Bolton’s recent screenprints are based
primarily on photographic or documentary evidence – from photos taken on his
iPhone of rather ordinary or quotidian subject matter – the kind of forlorn-looking
things that are seen and observed in the “real” world, which are then digitally
reworked and reassembled into a singular or multi-panel format to create open-
ended, associative visual narratives. Bolton’s screenprints are made using a 4-color
separation process and printed by hand in very limited editions of 10 or less, most
often on 22” x 30” Rives BFK paper.
Jennifer D Anderson
There is something about me that makes me wonder about the
imperceptible quality of stars in the noonday sun, what forces hold
clouds up in the sky, and what arranges the sundry of the universe. This
work is about the relationship of these and many other unknown things
and a faith in their existence that is strong enough to try to visualize and
recreate them. It is about working towards understanding in both a
tangible physical way and a subtler spiritual one.
Through a progressive buildup of graphite, my hand delicately asserts
itself over photographs I have taken of the sky over my home and during
my travels. Drawing is, to me, a loving process of focused attention and
deliberate mark making as well as a meditative means of creating that
reflects my visceral energies into the finished work through many hours
of prolonged touch. The work then contains within it an intersection of
humanity and nature, as well as a vast sense of intrinsic history.
I layer imagine upon imagine, skin on top of a portrait, lace below an x-
ray, toys with old age, a variety of faces. I layer photographs I have taken,
ones I have found, handwritten notes and medical diagrams. I layer to
reflect how human identity is a composite of stories, memories,
information, physical sensations, as well as the mechanisms that make
one human.
I adhere whisper thin sheets of paper together until they are inseparable. I
adhere to create images with a three-dimensional depth as one layer is
seen through another and another. I adhere because we are
amalgamation, complex and nuanced our identity includes the physical,
spiritual, past and present – one part cannot be removed from the rest.
I contrast, male and female, beauty and horror, skin and bone, childhood
and senility. I contrast to reflect the richness of the human experience and
our dualities. I contrast front and back to let the curious viewer see more,
to express how w.
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The investigation of this colour association study asks the questions of how and why do people respond to colour in art, how do colours influence a viewer’s mood, and how does colour add to a specific ambiance.
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2. How can I explore the causes & effects of nihilism & solipsism on youth in America
w/ surrealist art using colored pencil?
As young people in America today, we are told that we are the centers of our worlds, making
our world
views self-centered in a universe that seems indifferent & meaningless. For many, this nihilistic
&
solipsistic worldview leaves us alone w/ our intrusive, negative thoughts that eat away at our
very
identities which I portray w/ swarms of insects 1, 3, 12. Our consumerist society exploits this by
promising to fulfill our desire for meaning w/ material goods & distractions, but these
ultimately leave
us dissatisfied, unfulfilled, & addicted, catching us like fish on hooks 4. As a result, we see
increases in
young people involved in pornography addiction 6, school shootings & gun violence 9, &
suicides 14,
as we become increasingly dependent & attached to technology 7. I explore my feelings of
depersonalization by covering the subject’s eyes & showing him physically decay 10, 12.
I re-worked 14 by experimenting w/ surface manipulation. In 15 I show my feelings of despair,
sinking as a tiny, seemingly insignificant part at the center of my endlessly blue world.
3. Image 1
Sustained Investigation
Height: 15 inches
Width: 18 inches
Material(s): Paper,colored
pencil, acrylic paint
Process(es): Layering colored
pencil to create movement to
portray the chaos of the
negative internal voice
6. Image 4
Sustained
Investigation
Height: 15 inches
Width: 18 inches
Material(s): Paper,
colored pencil, charcoal
Process(es): I emphasized
red to mimic popular
brands’ billboards and
focus on the
subject
7. Image 5
Sustained Investigation
Height: 15 inches
Width: 18 inches
Material(s): Paper, colored
pencil Process(es): Divided
composition shows
fractured humanity as heart
and wounds juxtapose w
machine, gears, wires
8. Image 6
Sustained Investigation
Height: 15 inches
Width: 18 inches
Material(s): Paper, colored
pencil
Process(es): Started being
more
personal, the eye shows
wanting to
be seen while subject is
adrift and
dissolving
10. Image 8
Sustained Investigation
Height: 15 inches
Width: 18 inches
Material(s): Paper,
colored pencil
Process(es): Used light
and shade to
render the form fading
and
dissolving, further
showing
depersonali ation
13. Image 11
Sustained Investigation
Height: 15 inches
Width: 18 inches
Material(s): Paper, colored
pencil,
watercolor
Process(es): Composition
shows a
nihilistic and solipsistic world,
subject at center surrounded by
endless void
14. Work 1
Selected Works
Height: 19.5 inches
Width: 27.5 inches
Idea(s): An expression of my
social
anxiety as an artist. I want to
hide and express myself at
the same time.
Material(s): Charcoal and
graphite
on paper
Process(es): Used light and
shade to render form, and
harsh lights and darks to
create the illusion of depth.
15. Work 2
Selected Works
Height: 15 inches
Width: 18 inches
Idea(s): An abstract
depiction of my
negative internal voice, the
insects
representing intrusive
thoughts.
Material(s): Colored pencil
on paper
Process(es): Layered
colored pencils
to create movement, used
simple
composition to make it
more
visceral.
16. Work 3
Selected Works
Height: 5 inches
Width: 10 inches
Idea(s): Inspired by The
Metamorphoses by Ovid,
where Roman gods turn
people into birds,
flowers, and rivers.
Material(s): Ampersand
Claybord scratchboard
Process(es): I payed
special attention to line
quality in my mark
making, with many thin
lines to
render form.
17. Work 4
Selected Works
Height: 15 inches
Width: 18 inches
Idea(s): Portrays
depersonalization and
loss of identity.
Material(s): Colored
pencil on paper
Process(es): Played
with light and
shade to show the
subject fading
and dissolving,
emphases ed by black
and white
18. Work 5
Selected Works
Height: 10 inches
Width: 13.5 inches
Idea(s): I drew my father
playing
guitar because music is a
significant
part of our relationship.
Material(s): Colored pencil
on paper
Process(es): Used light and
shade to
create depth, used surface
manipulation by carving in
the guitar
strings.
19. Advice to Future AP Art Students:
● Do what you want to do. My work this year is embarrassingly edgy but the fact
that I was expressing how I really feel is what got me through.
● Every former AP student will tell you not to procrastinate. You will do it anyway
and you will see why we tell you this.
● Listen to Prof. Robson. If you follow her advice you cannot fail.