Best College Essays Ever

I suppose this is strange, as the rest of my life can best be characterized by everything the studio is not: cleanliness and order and structure.But then again, the studio was like nothing else in my life, beyond anything in which I've ever felt comfortable or at ease. My carefully composed sketchbooks—the proportions just right, the contrast perfected, the whiteness of the background meticulously preserved—were often marred by the frenzied strokes of my instructor's charcoal as he tried to teach me not to draw accurately, but passionately. But thus was the fundamental gap in my artistic understanding—the difference between the surface realities that I wanted to depict, and the profound though elusive truths of the human condition that art could explore.

I suppose this is strange, as the rest of my life can best be characterized by everything the studio is not: cleanliness and order and structure.But then again, the studio was like nothing else in my life, beyond anything in which I've ever felt comfortable or at ease. My carefully composed sketchbooks—the proportions just right, the contrast perfected, the whiteness of the background meticulously preserved—were often marred by the frenzied strokes of my instructor's charcoal as he tried to teach me not to draw accurately, but passionately. But thus was the fundamental gap in my artistic understanding—the difference between the surface realities that I wanted to depict, and the profound though elusive truths of the human condition that art could explore.

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It is first utilized to bring the reader into the piece and make the introduction pop, with “Late evening rays [...] casting a gentle glow” and “the soft luminescence of the art studio” becoming “a fluorescent glare.” Immediately, the reader knows what the essay will generally be about: art.

Still, in the beginning of the essay, a lot of information is left out, leaving the reader begging for details to contextualize the mental images Bobby leaves them.

One such example is “the whiteness of the background” on his sketchbook being “meticulously preserved” but yet “marred by the frenzied strokes of my instructor's charcoal.” Nevertheless, imagery alone does not provide the concrete, powerful narrative found in Bobby’s essay.

One of the most powerful appeals of the essay is that it represents a coming-of-age story that echoes the Bildungsroman literary sub-genre, in which characters evolve psychologically from youth to adulthood during the story.

No, it was not so clean and not so white and not so nice.

But I have drawn—rather, lived—in this studio for most of my past ten years.State: California, USA High School: Private boarding school, 100 students in graduating class Ethnicity: Asian Gender: Male GPA: 4.0 out of 4.0 SAT: Reading 750, Math 750, Writing 800 ACT: n/a SAT Subject Tests Taken: Mathematics Level 2, Biology E/M, Literature Extracurriculars: Nonprofit director, Editor-in-Chief of student newspaper, Senior Editor of literary magazine, Art Prefect, varsity baseball player Awards: Williams Book Prize, National Merit Scholar, AP Scholar with Distinction, Scholastic Art and Writing Regional Gold Key Major: Government : A Houston-based academic preparation business with glowing feedback and global operations, The Brain Domain features college counseling, test preparation, and one-on-one tutoring tailored to students’ unique learning styles. Those few openings in between the tapestry of art were dotted with grubby little handprints, repurposed by some overzealous young artist as another surface for creative expression.ESSAY Bold white rafters ran overhead, bearing upon their great iron shoulders the weight of the skylight above. In the middle of the room lay two long tables, each covered with newspaper, upon which were scattered dried-up markers and lost erasers and bins of unwanted colored pencils. The older artists—myself included—sat around these tables with easels, in whatever space the limited confines of the studio allowed.Indeed, not only does this essay document Bobby’s development from child to young adult, but Bobby’s art also matures from something orderly and superficial to something abstract and deeply meaningful.What separates Bobby’s essay from a well-written story, however, is the subtextual narrative it provides the reader.Late evening rays streamed through these sprawling glass panes, casting a gentle glow upon all that they graced—paper and canvases and paintbrushes alike. The instructor sometimes talked, and we sometimes listened.As day became night, the soft luminescence of the art studio gave way to a fluorescent glare, defining the clean rectilinear lines of Dillon Art Center against the encroaching darkness. Most of the time, though, it was just us—children, drawing and talking and laughing and sweating in the cluttered and overheated mess of an art studio.Just as Bobby the new artist’s “lines began to unabashedly disregard the rules of depth or tonality,” so too did art slowly—from the playful light of Monet’s Impressionism, to the square faces of Picasso’s Cubism and the complete abstraction of Pollock’s expressionism—care less and less about how realistic it was and more about the message it conveyed.In Bobby’s words, “It was the difference between drawing a man's face and using abstraction to explore his soul.” Disclaimer: With exception of the removal of identifying details, essays are reproduced as originally submitted in applications; any errors in submissions are maintained to preserve the integrity of the piece.It was the difference between drawing a man's face and using abstraction to explore his soul.But thus was the fundamental gap in my artistic understanding—the difference between the surface realities that I wanted to depict, and the profound though elusive truths of the human condition that art could explore.