AP Drawing
Class 2026
Blind Portrait
This piece was created by using a multitude of methods. With two paper elements, one drawn and shaded with just graphite pencil, and the other drawn and colored, only with highlighters. The main background, is acrylic paint and markers on a canvas, the shading around the cathedral was created by using a dry brush. The final element, is a cardboard cutout with white multimedia paper hot glued atop it.
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The BearCat
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Piece #1
This first piece was created as an introductory portrait for one of the two characters that I've created to embody my inquiry. This portrait "The Bearcat" focuses around a singular character and animal, the title of the piece itself is in reference to both the character and in turn animal. The character, a feminine presenting person who I depict wearing traditional filipino garment (Filipiniana), sits upon a throne like structure, constructed by roots in connection to two pillars encompassing the throne and it's two occupants.
As the character sits still, staring off to something distantly off frame, the animal sits just as still but with its attention trained onto the audience before it. The animal, as I earlier named, is known commonly as a Bearcat, but the true name being a "Palawan Binturong", a subspecies of the Binturong. I connect this animal back to the character by their physical connection: Their dark hair, round face, the characters long train in connection to the animal's long tail, even in to the movement of the lines within the dress and fur; I attempt to connect them to each other.
There is reason to their resemblance as well as parallelism, from the character's lighter dressing in comparison to the animals dark coat, as well as where one looks off into the distance while the other looks forward into the audience; the reason for their connections, being that they are supposed to be kin. As I said before, the title is in reference to both the animal and character, for they are one and the same.
To the why the animal addresses the viewer, while the character stares off is due to the theme of my inquiry: Romantic Cannibalism. The animal is to view the audience in reflection to how I believe the audience will in the end view the character, as an animal.
The piece itself is made up of two pieces of multimedia paper, marked upon by a black pen, a black alcohol marker, and a black sharpie. Within the piece I used multiple elements in connection to the Philippines, such as the Sun behind the character itself, the three stars, which were specifically inspired by the Filipino flag. The flower also drawn is the national flower of the Philippines, a Sampaguita. All in all, the piece is supposed to connect itself to the heritage of the character, as well as my own.
The Raven
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Piece #2
This second piece follows the pattern as the one before, a portrait focusing upon a singular character and animal. This second introduction was created in the introduction to our second character, Raven, named respectively after the animal that rests on their shoulder.
This character sits upon some sort of structure, staring off towards their left, on their right shoulder a bird sits, a Raven. In the portrait the character has brought one of its hands up in means to stoke the animal that perches atop them. Like in The Bearcat, the character is staring off the page, while its animal companion stares towards the audience. More parallels are drawn between the two pieces with the physical connection the character has with the raven: Both have their heads turned to the side, the person's nose is longer like the birds beak, both have similar textured hair/feathers.
As I did for the first piece, I match here: Both puzzle pieces are waiting to be paired together. The roots seen in the bottom left of the page actively drawn to be connecting to the first page, a line originating from The Bearcat's arch makes its way curling down to connect with the roots. Both pieces connect, both pieces for the upcoming story.
This piece like the first is made up of two multi-media pages , a sharpie, an alcohol marker, and a multitude of black pens.
Interruption
Piece #3
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This piece is the third made for this class. This piece includes a singular character from the pieces before, Bearcat, paired with Bearcat is another faceless unnamed character. This portrait was created in the mind of getting straight to the theme, SI to say, but in the literal sense rather than the symbolistic way I plan to later focus my pieces upon.
In the piece one character (Bearcat) is turned looking out towards the viewer; eyes unfocused, but still addressing the viewer. The other character is completely focused on Bearcat, seemingly bothered by their evident exposed organs.
I wanted this piece to be as nasty as possible, with as weak of an idea I started with, I feel it did just that. This piece's main idea revolves on the ugliness of desire; In truth the whole of all my pieces revolve on such a carnal connection. Obsession, lust, hunger- This piece is my true entry into my SI. These pieces may lay under the theme of cannibalism, this piece itself quite plainly gives image to it, but that is not what my SI is about; my SI has always been about one true thing, desire.
This piece was created on multi-media paper, and was drawn with a sharpie, black pens, water paint, and pomegranate juice. Further more, the watercolor was used not with water but the pomegranate juice as well.
Desire
Piece #4
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This fourth piece is the final of the character portraits. Within this portrait I introduce the third and final character, Desire. This character holds multiple traits mirroring Raven, from their hair to their nose, but they themselves are a character all in their own. They are meant to be the driving force of SI, being that they are the physical embodiment of desire.
Within this piece I used repeating elements, such as the "Goop", which appears in different forms in the two other portraits. This Goop is meant to be connected to this character, as the trees and branches connect back to Bearcat, and the pillars and structures connect to Raven.
This piece is meant to humanize Desire, in physical form, but also show it as inhuman as possible. Contorting the body strangely, having it seemingly pull itself from the Goop, while also have a human face and human hand.
Like the other portraits, this was solely made from ink and multi-media paper.
Interruption
Revision
Piece #5
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I made this piece a revision of piece three. Due to my struggle with planning, and rushing piece three, I had wanted to remake the third piece.
In this revision I focused on correcting the anatomy and adding more elements connecting this piece to the rest of the portfolio.
I like this piece due to the composition and anatomy, I wish I could change the posing of the two characters.
Like the other portraits, this was made with ink, pomegranate, and multi-media paper.
SI)
I grew up watching classic princess movies. I was fed the soft words of screenwriters and happily ever afters, but my reality has never been soft. From a young age I've had a clear distinction of what was on screen and what was in my home. My mother told me love was built off what the body could give, flesh and physical pleasures. I delved into love and its connection to the consumption of flesh, referencing the idea of romantic cannibalism. These are original characters telling the story of primal instincts and the agony of desire.
Experimentation)
I kept the base material the same, multi-media paper, black pens, and black markers- I experimented with pomegranate juice and watercolor for the later two pieces (4,5). I also used the repetitive elements in the trees(1,2,3,4,5), pillars(2,5), and "goop" (1,3,4,5)as means of cohesion within my pieces. I revised early pieces to enhance detail and anatomical accuracy(4). I created fusion in concept and design by keeping the color theme B&W, eventually adding reds with pomegranate juice and watercolor to emphasize carnal desire.
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