A Process for Teaching Conceptual Thinking Through Color Media

"First in Flight"

Students often master realism before they’re ready to wrestle with meaning, and bridging that gap takes intention. Helping students become conceptual can mean slowing them down long enough to ask ‘why’ after they’ve already figured out ‘how.’

Many of my Intermediate (Art 2) students love realism. They enjoy the challenge of drawing accurately, rendering carefully, and making something that looks “right," and that’s a great place to start. But getting them to move beyond copying a photo and into communicating an idea? That can be a struggle.

This project was designed as a gentle bridge.

In Nothing Exists in Isolation, students begin with something comfortable: a single object rendered as realistically as possible using color media. But we add a twist. Instead of leaving the object floating on white space, they design a background that adds meaning. The object doesn’t change, but its context does, and suddenly students are thinking about environments, systems, memories, emotions, and ideas.

What I’ve found is that this feels like a manageable first step into conceptual thinking. Students aren’t asked to abandon realism; they’re asked to build on it.

The real work happens during planning. The brainstorming activity scaffolds the thought process in a way that feels doable rather than overwhelming. Students explore obvious connections first, then push themselves toward less literal, more interesting ideas. They learn concrete strategies for being creative instead of being told to “just think harder.”

By the time students start working on their final pieces, their choices feel intentional. The background isn’t decoration; it’s shaping how the object is understood.

Some students lean symbolic. Some go narrative. Some surprise themselves entirely.

This project has led to some rich conversations about meaning, choice, and how artists communicate visually without spelling everything out.

If you’re looking for a way to help students take that next step, from technical skill to thoughtful, concept-driven work, this has been a really effective (and enjoyable) place to start.

This project, Nothing Exists in Isolation, is available in my Teachers Pay Teachers Store. 

Chromatic Cravings: Teaching Color Through What Students Love

Color theory can be one of those topics that sounds straightforward but feels abstract to students until they actually start mixing paint. Over the years, I’ve learned that students understand color best when they’re solving real visual problems, not filling out color wheels for the sake of it. For years, I've worked to develop strategies that encourage students to engage in the thinking and trial-and-error experimentation needed to truly understand color mixing. 

That’s where my project Chromatic Cravings came from.

This unit asks students to slow down, look closely, and mix every color they need using only the primary colors, white, and black. No shortcuts. No premixed browns. Just observation, experimentation, and a lot of decision-making.

The twist? Their reference images are close-up photos of candy and snacks - subjects that are familiar, visually rich, and surprisingly complex when you really look at them.

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Why Candy Works 

At first glance, candy seems simple. But once students begin painting, they quickly realize how much is going on:

• subtle shifts in value

• warm and cool versions of brown

• reflected color in wrappers

• highlights that aren’t actually white

• neutrals with a wide range of color shift

Chocolate, especially, becomes a crash course in mixing believable neutrals. Students painting chocolate almost always end up mixing neutrals early in the process - usually within the first few days,  which leads to great conversations about value, intensity, and color temperature.

Process Over Perfection

One thing I love about this unit is that it naturally supports different pacing. Students aren’t all doing the same thing at the same time, and that’s okay.

Some students:

• spend days refining an underpainting

• remix the same color five times before committing

• need demos on blending or texture at different moments

Instead of locking students into a rigid daily schedule, I provide targeted demo videos and invite students to join them when they need them. This makes the studio feel more responsive and less rushed.

Building Real Skills 

By the end of the unit, students can clearly articulate:

• how they adjusted value and intensity

• why certain neutrals worked better than others

• how layering improved realism

• what they would change if they did it again

Their artist statements reflect real understanding, not memorized vocabulary.

And just as importantly, students leave with confidence. They realize they don’t need a shelf full of paint colors to be successful. They can mix what they need.

A Flexible Unit That Grows With You

This project has evolved over time as I’ve added:

• image selection options (teacher-provided, student-photographed, copyright-free sources)

• digital tools like the eyedropper for color analysis

• more structured reflection and critique

• clearer scaffolding for students who need it

What started as a painting project has become a complete color unit that works well for traditional, block, or blended classrooms.

Final Thoughts

Color theory doesn’t have to feel abstract or disconnected from studio work. When students are invested in what they’re painting, and when they’re given the tools to really see, the learning sticks and can even be applied to other color media.

If you’d like to try something like this with your own students, I’ve shared the full Chromatic Cravings unit (lessons, materials, demos, and assessments) in my Teachers Pay Teachers store. Feel free to take a look to see if it’s something that may work in your classroom.

Engaging Art History Lessons / Perfect for Weather Closures & Remote Learning Days

I originally created my Art History series to use in the classroom. They are high-engagement lessons where I guide students through the presentation, they complete their guided notes, and we discuss each movement together.

But one of the unexpected bonuses?
These lessons also work incredibly well on days when learning suddenly shifts online due to weather, power outages, or other school closures.

Because each unit is structured, visual, and fully digital, students can transition into art history seamlessly during remote learning days, even when their in-class studio projects aren’t possible to complete at home.

What’s Inside Each Lesson

Each movement includes:

• EdPuzzle warm-up
• Google Slides presentation
• Guided notes (print or digital)
• Teacher's answer key
• Flashcard-style Memory Builder Quiz
• A complete 90-minute lesson plan

The consistency across the series makes it easy for students to follow along in class and transition smoothly if learning becomes asynchronous for the day.

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Featured Lessons in the Series

• Renaissance
• Baroque
• Romanticism
• Realism (Coming Soon!)
• Impressionism
• Post-Impressionism
• Expressionism
• Cubism (Coming Soon!)
• Dada
• Surrealism
• Abstract Expressionism
• Pop Art (Coming Soon!)

Once all movement lessons have been created, I'll put together a discounted bundle for teachers who want the entire set.

Why Teachers Love These Lessons

• Highly visual and student-centered

• No extra materials needed / great for 1:1 technology

• Easy to adapt whether students are in class or learning from home

• Guided notes keep everyone focused

• Great for subs, blended learning, and “anytime” art history instruction

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Explore the Collection

You can find all available lessons in my TPT store under the category "Art History." Check back soon for the next movement releases!

When Art Teachers Become the Students: Our Artist Mash-Up PD

There’s something energizing about seeing art teachers in creative mode.

During our most recent professional development session, we focused on two things that go hand in hand: designing clear, student-friendly learning targets from our visual arts standards and experiencing what those learning targets feel like in action.

To make it hands-on, we used a project called the Artist Mash-Up: Cardboard Relief Sculpture, a lesson that asks students to blend visual ideas from two different artists to create one original composition. After reviewing the standards and discussing how to translate them into meaningful objectives, we stepped into our students’ shoes and created our own examples.

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A Room Full of Discovery and Texture

Once the materials came out, the classroom came alive.
Teachers spread across tables, sketching, layering, and testing new techniques. One teacher made her own tissue paper from found materials since we’d run out. Another teacher experimented with rice for texture. Others dove into collage using magazines, and one even worked in a shiny wrapper from the treats I’d brought to share.

Every corner of the room buzzed with creativity. It was incredible to see how differently everyone interpreted the same learning target: some focused on balance and repetition, others on contrast and texture. By the end, the tables were covered in sculptural mash-ups that looked nothing alike, which was exactly the point.

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What We Learned

The best part of the day wasn’t just the finished pieces, it was realizing how many factors have to come together for authentic creativity to happen.
Clear, student-friendly learning targets help give students direction, but great work also depends on an engaging project, inspiring artist examples, and plenty of room for personal choice. When all those pieces align, students (and teachers!) feel both supported and free to take creative risks.

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Want to Try It in Your Classroom?

If you’d like to bring this project to your own students, I’ve bundled everything into a ready-to-use digital resource on Teachers Pay Teachers called Artist Mash-Up: Cardboard Relief Sculpture.
It includes the lesson plan, slideshow, artist cards, planning sheet, and rubric, all linked from one easy-to-use PDF.

It’s a creative, standards-aligned way to show how artists transform inspiration into something new, and how clear learning targets make that process even more powerful.

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Teaching Linear Perspective and Depth in Art 1

If you’ve ever introduced linear perspective to a class of beginning art students, you know how quickly students can get frustrated, and how stressful it can be moving from one student to another as they call out for help and you forget who was next. For many students, even at the high school level, the techniques artists use to create the illusion of depth are entirely new. One-point perspective, two-point perspective, atmospheric perspective, shading, overlapping, high/low placement, size variation… It’s a lot. And unless it’s broken down intentionally, students can easily feel overwhelmed or fall behind.

But when space is taught strategically and incrementally, something incredible happens: students begin to see the world like artists. They notice how linear perspective is all around them, how light wraps around a form, or how mountains fade into mist. Suddenly, their drawings become more dimensional, their compositions more thoughtful, and their confidence starts to build.

Why Scaffolding is Crucial

In my classroom, I treat depth as a journey, not a single lesson. I guide students through each concept one at a time, with a hands-on activity or follow-along tutorial that builds muscle memory. We start with the basics: drawing boxes in 1-point perspective. Then we move to cityscapes, interiors, and eventually 2-point perspective. Along the way, we layer in aerial perspective, shading, and finally, I challenge students to combine what they’ve learned into original compositions.

Every activity is purposefully scaffolded to allow students to build on their prior knowledge while developing new skills. Instead of jumping straight to a final project, they gain fluency and confidence through short, focused exercises. The unit culminates in a final landscape project where students are challenged to combine techniques and apply what they’ve learned in a personal and imaginative way.

Creating Space for Growth

Some students take off immediately, while others need more time to work through the technical challenges, but nearly all of them leave with a stronger understanding of how artists create depth and dimension. And while the drawings themselves are a joy to see, what’s even more exciting is witnessing students begin to view the world (and their own work) through the lens of spatial awareness.

If you’re planning a unit on space and perspective, it’s worth investing the time to break it into thoughtful steps. When students understand how depth works and have the chance to practice, it opens up entirely new possibilities in their artmaking.

If you're looking for a ready-to-use version of this unit, I have my whole lesson plan and materials available on Teachers Pay Teachers.

• Unit 4: Space – Achieving Depth on a 2D Surface

• Unit 4: Space – Achieving Depth on a 2D Surface (with Canvas Module)

Why I Start Beginning Art with Linear Perspective

After all the beginning-of-the-year routines, seating charts, and basic art vocabulary lessons, I like to dive right into linear perspective with my Beginning Art students.

Why? Because it’s a powerful way to demystify drawing. Many students walk into art class thinking drawing is some magical talent you’re either born with or not. But with perspective, I can show them a few simple techniques that immediately improve their work, and that early success builds confidence and buy-in.

We start with 1-point perspective, where students learn about the horizon line, vanishing point, and converging lines. Projects like a cityscape or interior scene give them room to experiment while reinforcing these foundational skills.

Then we move into 2-point perspective, where they see how shifting to two vanishing points creates more dynamic compositions. They often feel like “real” artists after mastering this step.

Once they've built the structure, we take it further with shading. Students apply graphite or colored pencil to add light, shadow, and depth, making their drawings look realistic and three-dimensional.

If you want ready-to-use lessons for your own classroom, I’ve put together:

• 1-Point Perspective Unit (4 days)

• 2-Point Perspective Unit (3-4 days)

• Applying Shading to Perspective Drawings (2 days)

These resources include step-by-step instructions, videos, and rubrics so you can focus on teaching and giving feedback instead of reinventing the wheel.

Teaching perspective isn’t just about lines and vanishing points. It’s about giving students a tool they can use again and again to make their drawings stronger. I’ll be honest, I struggled with teaching perspective for years. Students work at such different paces, and the range of ability is wide;  some are ready to build complex architectural scenes, while others are still learning how to use a ruler as a straight edge.

Over time, I found ways to break it down so every student can experience success, no matter where they start. When they realize they can create believable space and depth with just a few steps, you can see their confidence grow and they start to buy in to the idea that you might actually be able to teach them how to draw.

Whether you’re introducing perspective for the first time or refining your students’ skills, these lessons are designed to make the process clear, approachable, and fun for both you and your students.

Sale on Teachers Pay Teachers! August 5 & 6

 🎉 TPT Sitewide Sale — August 5 & 6! 🎉

Save up to 25% off ALL my resources during the Back-to-School Sale!

I'm offering 20% off everything in my store and TPT is adding an extra 5% off at checkout when you use code: BTS25

Looking to start the school year strong? Here are some favorites to check out:

Welcome to Beginning Art Bundle: Everything you need for the first few days: syllabus, survey, parent brochure, newsletter, and a creative kickoff assignment.

Unit 1: Introduction to Art: A complete bundle with vocabulary slides, an Edpuzzle on Lowenfeld’s stages, a fun mixed media project, and more! Perfect for the second day of school.

Unit 2: Elements of Art & Principles of Design: Scaffolded lessons, practice activities, and engaging visual resources to help students build foundational art vocabulary and visual literacy. A must-have for your early units!

AP® Art & Design Complete Course Guide - Planning for advanced students? My full AP resource pack includes case studies, editable assignments, and a full Canvas course!

Art Room Newsletter & Open House Brochure Templates: Build strong communication from the start with templates designed to save you time while looking professional.

✨ Whether you’re organizing your first week or diving into a year-long course, now is the perfect time to stock up and save!

🛒 Visit my store here: teacherspayteachers.com/store/windy-lampson
📆 Sale ends August 6 at midnight!
💸 Use promo code: BTS25 at checkout

SketchBox Review: July 2025 Premium Box - Acrylic Brush Marker Exploration

This month’s SketchBox Premium box was a treat for fans of bold color and painterly mark-making. Featuring a full set of SketchBox Signature Acrylic Brush Markers, this collection inspired me to explore both non-objective design and more layered, representational approaches.

What’s in the Box?

According to the SketchBox product page, this month's Premium box includes:

• A SketchBox Signature set of 6 custom acrylic brush markers – highly pigmented, smooth, and layerable with brush tips that offer precision and expressive control.

• 2 Karin Pigment Real Brush Markers in Lilac and Ochre - water-based pigment markers with a softer, more flexible tip.

• A Pink Prismacolor Col-Erase pencil - great for sketching under marker since it’s both visible and erasable.

• A Gold Posca Brush Marker - a pump-action brush pen that adds a semi-opaque metallic sheen.

• A Clairefontaine 4x6 Bristol Pad (10 sheets) - with brilliant white paper designed to highlight the intensity of marker colors.

First Impressions and Materials

The acrylic brush markers were a standout for me. I loved how layerable the pigment was and how the slightly stiffer brush nib gave me a greater sense of control. These markers made it easy to add details and revisit areas without lifting or muddying the layers underneath.

In contrast, the Karin Pigment Real Brush markers had a much more flexible tip, which felt less controlled in my hand. While I appreciate that they’re meant to blend, I personally preferred the firmness of the SketchBox Signature nibs.

The Gold Posca Brush Marker was a fun addition. It has a larger, softer tip and delivers a rich metallic sheen. It's about 50% transparent when applied quickly, but can build up to full opacity if layered or applied more slowly. I used it as a final touch to add glints of shimmer over dried areas.

Trying the Tutorial: Non-Objective Design

I began by following the tutorial in the SketchBox insert, which focused on a flat, non-objective abstract composition. This gave me a chance to test how the colors layered and interacted. I enjoyed the process but found myself wanting to push the materials further to build up forms and experiment with layering to create depth.

Shifting Gears: A Tree Study

That curiosity led me to my next piece: a simple tree study. I started with the Col-Erase pencil to sketch the basic form. It was perfect for this kind of underdrawing - bold enough to see as I worked, but easy to hide beneath the markers once I began layering color. Before diving into details, I laid down some quick value using the orange and dark brown markers to establish light and shadow.

Final Result

The final artwork demonstrates what I loved most about this box: the freedom to layer and build vibrant surfaces, with enough control for precise detailing and mark-making. I used short dabs, sweeping strokes, and overlapping layers to create foliage and shadows. The acrylic markers held up beautifully, even when revisiting the same area multiple times. The gold Posca added a soft sparkle to some of the highlights and ground.

Final Thoughts

This SketchBox was both versatile and inspiring. Whether you're an abstract artist or someone who likes to work from observation, the blend of opaqueness, blendability, and surface compatibility makes this a strong pick. I especially recommend it for artists who enjoy layering and building surfaces with a painterly touch, but still want the ease and precision of a marker.

Have you tried this month’s SketchBox? Let me know what you created. I’d love to see how others explored these tools!

Art 1 / Beginning Art: Unit 3: Visual Literacy & Art Critique

When students walk into my Beginning Art class on the first day of school, I know I’m meeting them at very different starting points.

Some have been drawing for years. Some are naturally creative but haven’t had much structure. And others? They’ll tell me - sometimes proudly - that they "can’t even draw a stick figure." Not every student comes in by choice—some were placed in the class to complete their schedule, and aren’t sure what to expect.

That range is exactly what makes teaching this course so interesting, challenging and exciting.

Beginning Art isn’t about natural-born talent. It’s about helping every student, regardless of their background, see that art is a skill they can learn, just like math or science. Yes, it’s expressive and creative. But it’s also full of vocabulary, process, and skill-building. And when students begin to understand how art works, the fear starts to fade and the confidence begins to grow.

To illustrate this to students, I show them how much growth some of my students have achieved. For example, the images below were created by the same student - one during her 9th grade year, and one during her 12th grade year.

Start With the Truth: Art Is Learnable

One of the most powerful ways I start the semester is by introducing students to Lowenfeld’s Stages of Artistic Development. It’s a lightbulb moment for so many of them.

Instead of thinking, “I’m just not artistic,” they begin to realize, “Oh, this is a skill I can develop.”

We look at examples, identify what stage they might be in, and talk about how practice, feedback, and learning vocabulary can help them grow. For students who feel like they’re "behind," it’s validating. For those who’ve always drawn intuitively, it gives language to what they already do, and a path forward to keep improving.

Unit 1: Laying the Foundation with Permission to Play

The first unit in my Art 1 curriculum is all about building that foundation. We go over:

• The Stages of Artistic Development

• Basic vocabulary: portrait vs. still life, landscape, media, and more

• How to navigate critique in a supportive, productive way

At the same time, we begin a low-pressure art activity inspired by expressive portraiture - playful, layered, and totally unique. This piece becomes a creative thread that runs through the first few weeks, giving students space to explore while they build their visual vocabulary.

Art 1 expressive portrait by Serena T.

Unit 2: Elements & Principles - The Visual Grammar of Art

In Unit 2, we shift into the visual grammar of art: the Elements of Art and Principles of Design. These form the foundation of every art decision they’ll make moving forward.

Students:

• Define each element and principle in their sketchbook

• View real artwork examples and sketch visual interpretations

• Learn to use formal vocabulary in writing and discussion

• Analyze artwork using short, scaffolded writing activities

• Track their understanding through a pre/post assessment and mastery checklist

Even though there’s no major final project in this unit, students are learning to see like artists, and that matters just as much as learning to create like one.

Of course, the ongoing expressive portrait assignment continues during any downtime. It’s a constant reminder that art doesn’t have to be polished to be powerful.

Art 1 Expressive Portrait by Daphne Q.

Unit 3: Classifying and Critiquing Art

By Unit 3, students have a strong vocabulary and a growing sense of confidence. Now it’s time to teach them how to think more deeply and write about what they see.The differences between representational, abstract, and non-objective art

• Understanding the differences between representational, abstract, and non-objective art

• Breaking down the four steps of critique: Describe, Analyze, Interpret, Evaluate

• Practicing critique collaboratively before writing one independently

• Using a scaffolded format to write a complete, formal critique of an artwork

It’s a big step, but students are ready. Because we’ve taken the time to lay the groundwork, they’re no longer intimidated by “art speak.” They know what to look for. They have the words. And they’re ready to use them. 

Building a Strong Foundation, One Layer at a Time

The first few weeks of art class aren’t about flashy projects or gallery-ready pieces. They’re about building confidence, vocabulary, and a sense of identity as an artist.

Each unit in my Beginning Art curriculum is designed to build on the last - helping students move from uncertainty to self-assurance, from “I can’t draw” to “I see what I did well, and what I can improve.”

If you’re looking for structured, student-friendly resources to support your own Beginning Art students, I’ve built these materials with flexibility, standards alignment, and classroom-tested experience in mind:

• Welcome to Beginning Art Starter Module
• Unit 1: Foundations + Expressive Portrait Activity
• Unit 2: Elements & Principles of Design Vocabulary + Analysis
• Unit 3: Visual Literacy, Art Types, and Critique Writing

Want to take the guesswork out of planning? The full Canvas-ready module is available for those who prefer plug-and-play instruction for Unit 2 AND Unit 3!

Finished (For Now): My AP® Art Curriculum

 If you've ever built an entire course from scratch - not just the lessons, but the pacing, the projects, the rubrics, the daily agendas, the revisions, the critiques, and all the little moving parts that hold it together - you know what a labor of love (and late nights) it can be.

After years of classroom testing, reflecting, and refining, I’ve finally bundled my complete 18-week curriculum for teaching AP® Drawing and 2-D Design. It’s the structure I rely on in my own classroom - one that helps students stay focused on growth, risk-taking, and building a portfolio that feels personal and evolving. 

It’s also a structure that has led to real success for my students. This past year, every student in my AP® Art class earned a passing score, with a group average well above state and global means:

This version is designed for a single-semester course, but it’s just the beginning. My plan is to continue building on this foundation, expanding it into a full-year curriculum in the future.

Inside, you’ll find:

• My week-by-week pacing guide
• Linked daily slides with assignments and materials
• Project prompts, sketchbook tasks, rubrics, and critique tools
• And something I’m especially excited to share: my fully built Canvas course, ready to import and make your own

If this sounds like something that would support your teaching, you can find it here (without Canvas) and here (with Canvas).

And if you’re still in the process of shaping your own course, I hope this helps you get there just a little faster.

AP® is a trademark registered by the College Board, which is not affiliated with, and does not endorse, this product.

AP® Art Peer Scoring: Fresh Eyes and Final Revisions

In the last couple of weeks of your AP® Art Course, your students have probably written and rewritten their Sustained Investigation statements more times than they can count. They’ve cropped, rearranged, and reconsidered their images a dozen different ways — and they’re so close to the work that sometimes they can’t see what’s obvious to everyone else.

That’s where a well-structured round of peer feedback can make all the difference.

A good peer review isn’t just about catching mistakes — it’s about celebrating each other’s growth, noticing what’s working, and pointing out small changes that can make a big impact before that final upload. For so many students, this is the moment when they feel truly proud to share their investigation with someone else, often for the first time as a near-final body of work. 

I like to remind students that we can sometimes be a little blind to our own work, especially after working with the same images and writing for weeks or even months. Having someone else look at it with fresh eyes — someone who knows the rubric but also cares enough to read thoughtfully — can be the push they need to revise those last sticky spots in their written evidence or swap out that one image that doesn’t quite connect.

Make peer feedback meaningful.

I like to keep the feedback process intentional and structured. Each student completes a scoring sheet for their peer, so they’re not just giving vague praise or generic suggestions. They’re looking specifically at how the images connect to the inquiry, whether the writing clearly explains practice and revision, and how well the materials and ideas feel synthesized. It uses the same language as the AP® rubrics so students continue to internalize them. 

Here’s some sample feedback for an inquiry that explores how water can represent different emotions:

“Your writing mentions your question about how water can represent emotions, and I see some pieces that show crashing waves and calm ripples. But a few images don’t clearly connect back to your question in your writing. Try to explain how each piece shows an emotion — for example, how a stormy sea shows anger or how still water shows peace.”

You can feel how thoughtful and supportive that is — it’s not just “Good job!” or “Add more detail,” it’s a real suggestion that helps the artist see their own work through someone else’s eyes.

Turn feedback into action.

But the real magic happens the next day. After peer scoring, we spend another class session reviewing all the feedback — both from peers and from me. Each student uses a simple Revision Planning Form to list out their biggest strengths and the specific changes they want to make to their portfolio.

This step is non-negotiable: it helps students move from “Okay, I got feedback” to “Here’s exactly what I’m going to fix — and why.” It also gives me a chance to check in, answer questions, and make sure they’re not spinning their wheels making changes that don’t help their main idea. 

Here’s another example from a student who reviewed a peer’s Sustained Investigation about how visual symbology has changed over hundreds of years:

“Your portfolio shows how you explored ancient symbols and modern reinterpretations, but your writing doesn’t always explain how each piece connects to the bigger idea. Try adding a few sentences that describe how the materials you used (like stone texture or digital overlays) help show how symbols evolve but keep some original meaning. You're synthesizing materials, processes and ideas - Make it easy for reviewers to see that connection! Be clear, direct, and confident in your writing; it helps your ideas come through clearly in both your art and evidence.

When students translate this kind of note into an actionable to-do — like rewriting a paragraph or adding a quick side-by-side process image — their portfolios improve overnight. 

One last push before the finish line.

By this point, most students feel exhausted but excited — they know they’re almost there. The peer review process is one last chance to tighten up weak spots, strengthen connections, and celebrate the hard work they’ve done. I love seeing how proud they are to share their portfolios with each other, and how invested they are in helping their classmates succeed too.

A good scoring guide, clear rubrics, and real examples of constructive feedback make this process less intimidating and a lot more rewarding — for students and teachers alike. 

If you’re looking for an easy way to structure your own peer review and revision days, I put together the same lesson plans, scoring sheets, and revision forms I use in my classroom. They keep the feedback process clear and the revision process focused — and they’re available here.

AP® is a trademark registered by the College Board, which was not involved in the production of, and does not endorse, this post or product.

Why Tracking Evidence Makes AP® Portfolios Stronger

One of the biggest challenges for AP® Art students — whether they’re working on 2D Design, Drawing, or 3D — is staying focused on the big picture of their Sustained Investigation throughout the year. It’s so easy for them to get lost in the making: the endless experiments, process photos, and half-finished pieces. But when it comes time to submit their portfolio, students need to show clear, connected evidence of how they’re exploring, developing, and refining an idea over time.

                                          

I’ve taught AP® Drawing and 2D Design for over ten years, and since the portfolio process shifted from Concentration and Breadth to Sustained Investigation, it’s taken me awhile to get comfortable with the best ways to help students understand how to include all the requirements throughout their process — and document it in a way that’s meaningful.

One simple strategy I’ve found helpful is to build in time for students to pause and reflect on what they do have — and what they still need. I ask:

• How is your Inquiry changing or growing?

• Which images really demonstrate your synthesis of materials, processes, and ideas?

• Where are you showing experimentation, practice, and revision — and where could you push that further?

When students revisit these questions throughout the semester, they start to see gaps before it’s too late. They’re better prepared to make intentional work that truly fits the requirements.

A checklist that requires them to revisit the rubrics — and reflect on how they’re meeting them — has been invaluable. This year, I created a simple progress checklist that does exactly that. It gives students an easy way to check off not just what they’ve submitted, but how each piece supports their Inquiry and the types of evidence emphasized in the AP® scoring criteria. My students keep this as a living document they update every time they submit something new.

If you’re looking for a tool to help your own students track their evidence and stay focused on what really matters, you can find my AP® Art Progress Checklist here. It’s a small thing that makes a big difference in helping students work with purpose — and ultimately feel more confident about their final portfolio.

AP® is a trademark registered by the College Board, which was not involved in the production of, and does not endorse, this post or product.