APPLYING TO ART SCHOOL
- The Importance of Grades
- The Importance of your Portfolio

PICKING WORK FOR YOUR PORTFOLIO
- Picking Work for your Portfolio
- Application Requirements
- Drawing From Observation
- Personal Art
- School Assignments
- Your Sketchbook
- Work in Colour
- Other Non-Traditional Media
- Making Work for Your Portfolio

PHOTOGRAPHING YOUR WORK
- Your Camera
- Camera Settings
- Location & Setup
- Photographing Paintings
- Photographing Sculpture
- Photographing Paper Works

DIGITAL PORTFOLIOS
- Photoshop: Image Calibration
- Photoshop: Reducing File Size
- File Saving & Naming
- Burning a CD

SUBMITTING SLIDES
- Getting Slides Made
- Labeling and Organizing Slides
- Example Slide List

PORTFOLIO ASSISTANCE
- Portfolio Days
- Portfolio Prep Courses
- Art Fundamental Classes
- Free Resources

INTERVIEWS
- Interviews
- The Portfolio Case
- Your Sketch Book
- Your Physical Art Work
- Sculpture Work

After four years of high school you may be asking yourself “why put myself through four more years of school?”. Here are several good reasons that come to mind and in addition there are many great unlisted reasons why post secondary is a good idea. It will challenge you in ways you never would have on your own. You will connect with people from different places and different backgrounds. You will:


- push yourself.

- learn so much.

- learn a lot about yourself.

- open doors to opportunities that may not arise otherwise.

- the chance to study something you are seriously interested in.

- work toward working in a field that you want to work in.

Although there are a lot of really great reasons to go to University or College there are still things to consider. It is naive to assume that a post secondary degree is the key to success. A diploma is not necessarily going to be your gateway to a big pay cheque. However, University and College will teach you how to work hard, how to stay focused, how to get over challenging hurdles, how to think critically, how to work through difficult situations, how to collaborate with different people and how to be creative.

Going into a visual arts program of any kind is going to bring a lot of different questions and concerns from people. Unlike going into Engineering, Business or Medicine the arts have less of a direct and simple job answer, however, this doesn’t mean that there are no jobs in the arts. (Please look at our Career Options section for more information about this). Some parents can be concerned about their kids wanting to go to post secondary just to expand their mind.

Don’t just go to school because you aren’t sure what else to do or you think it is the next step. Make sure you are interested in what you are going to school for. Being unsure or only going because you think it’s your obligation can result in a very large debt for little reward and also a very hard and long four years.

The Art School Guide, is meant to be a reference guide for those who are interested in applying to art school. It is meant to help you in the decision process and application process by providing relevant information for some one like you, who is interested in the arts as a post secondary school choice.

Grades are important, and your average should be as high as possible to guarantee academic qualification. If you don’t have the required grades (or courses) usually you will not be asked to submit a portfolio. A great portfolio can compensate for some bad marks when the department reviews and considers your application. So don’t get discourage from applying to a certain school just because your grades are just barely above the academic entrance bar. Grades are a reflection of your academic achievements and dedication to the pursuit of academic conquest, high grades show your dedication and devotion to school.

artwork by Genna Kusch

Applying to post secondary school can be a stressful experience for anyone, applying to an art program has the added stress and challenge of preparing a portfolio. Your portfolio is a major component in the application process. Most schools no longer conduct face-to-face interviews and so your portfolio will usually be the only way to make a lasting impression. With that said, it is strongly recommended that you give your portfolio great consideration.

The people reviewing your portfolio will likely be faculty members from the art department and possibly guest jurors from the local art community. The portfolio review process is kept to time restrictions, usually only a few minutes per applicant; therefore, a strong portfolio will make a big difference when it comes down to securing your position.

Creating a portfolio shouldn’t be a scary process so long as you approach it in a thoughtful and serious manner. The more time you give yourself to prepare the better. Take a breath, and try not to get discouraged. Keep in mind that they are not looking for perfection but rather a showcase of work that exhibits ability and a willingness to learn and try new techniques. You are not going to art school because you already know everything there is to know you are going there to develop your passion.

artwork by Kelly Taylor

The hope is that you have given yourself a lot of time to prepare. You don’t want to submit a portfolio that has been thrown together at the last minute. The idea of a portfolio is to present completed works that demonstrate your range of artistic abilities and competency. It should contain a balance of different media and categories of work. In this section of the guide you will find some helpful selection tips.

First pull out the application guidelines and see what is required by the school. Get a piece of paper, write a list of what is needed, how many pieces, and key requirements. Most schools ask for a range of 10-25 pieces and may allow for a few additional works outside of the suggested requirements. The admissions board considers many different qualities when reviewing work; technical skill, craftsmanship, presentation, cleanness, concept, composition, expressiveness, experimentation, form, and a variety of other aspects.

Gather all of your artwork, school work, sketch books, paintings, design work, photography, sculptures, story boards, animations, films, etc. and take out all the work you have done in the past 2 years. This pile is what you’ll draw upon when building your portfolio. Sift through the other work and pick out anything that is outstanding (remember you want to focus on recent work so only pick old work if it is really high quality).

These works should reflect your personal interests and demonstrate your abilities. Try to include a variety of works in terms of media and style. A good rule of thumb is that at least 50% of your portfolio work should be original self-directed projects.

The specific requests of a school should be carefully reviewed and executed. The particular assignments the admissions board asks you to complete will be a common assignment that every applicant must complete. This will allow the admissions board to compare the applicants ability to complete the assignment against other applicants. Theses types of assignments will specifically focus on a few key abilities. Such assignments range from a self-portrait, to drawings of bicycles, to drawings of buildings. Have faith in the particular assignment requested, review and complete this assignment carefully. These assignments should be a high priority.

artwork by Min Shin

Observational art is easily defined as drawing or painting from life. Examples would include sketching a bowl of fruit (still life), drawing from a model (figurative), or drawing a street scene (landscape). The image is not taken from either a photograph or the artist’ imagination, but from real life observation. Traditionally the subject matter is rendered as accurately as possible. Typically most observational work is done pencil, charcoal or other drawing mediums but can include collage and painting.

This category is by far the most important and is vital to your portfolio. These works will demonstrate how you interpret the world, how you make compositional choices, how accurately you can depict form, light and shadow. During school you will be constantly asked to draw upon these skills to create work and will be continuously building this skill set. Nearly every school will ask for about 30-50% of your submitted work to be in this category.

When creating these works don’t be too hard on yourself, everyone struggles with observational art. Remember that it takes decades of practice to perfect this ability and generally all artists will continue to practice and hone this skill for their entire career.

Here are five suggestions to help you improve your life drawing skills:

1. Cut a square or rectangle out of a card-stock. Use this as a tool to help make compositional choices, observe your subject, walk around and select the best vantage point. This tool will help you define the edges of your composition and how you want to situate the subject within that frame work. If you use this tool make note of what in the visual plane two opposite corner reference, this will help you to continually frame the subject consistently.

2. This may sound silly but if you’re going to close one eye to look at your subject make sure you always close the same eye. Your eyes offer two different vantage points and when drawing something that is physically close to you switching eyes can really change the perspective.

3. Wherever you decide to sketch from make sure you move your head as little as possible. By shifting your weight in a chair or changing your posture you dramatically change your perspective.

4. Use big paper, or a really big sketch book, at least double the size of legal paper. A common problem students have when drawing from observation is that their paper is too small, greatly restricting hand movements and their ability to accurately render drawings because their eyes must change focal lengths constantly.

5. You should be looking at what you’re drawing at least 50% of the time if not more. Observe, take a breath and actually look at what you’re attempting to draw. Where do the lines intersect, what angle, what are the basic forms, what are the size and length relationships between certain key lines. Many students spend too much time looking at their paper.

Personal art is considered to be work that you do outside of the classroom. These pieces are meant to reflect your personal interests, subject matter and concepts. It is recommended that your artwork be original, not be copied from a photograph or other another artist’ work. If the school allows for it, these works can be completed in any media including, but not limited to, drawing, painting, performance art, mixed media, digital art, film, sculpture, animation and design work.

artwork by Kyle Topping

There is no doubt you’ve made a fair amount of work for school assignments. When considering these works try to select pieces you’ve completed in the past two years. School assignments are based upon criteria laid out by the ministry of education. Each assignment is designed to build upon certain skill sets, or teach students new skill sets. You may really dislike a work you made, but it might showcase a set your abilities better than any other work.

artwork by Kyle Topping

When considering using images from sketchbooks, journals and notebooks try to only use finished sketches that haven’t been smudged, torn, creased, or damaged. Sketchbook drawings can illustrate your abilities in composition, design, collage, life drawing, development of space, form, or perspective.

The most important element to your sketchbook is it’s ability to demonstrate your creative process. It is important as an artist to continually use your sketchbook to visually think through ideas and build concepts. The sketch book is an integral part of the application review process.

artwork by Amy Uyeda

You may love to draw in pencil, or paint in black and white but it is important that you demonstrate your ability to use colour. You must be able to convey an understanding of colour. It is extremely important as an artist that you know how to use it.

Every applicant is different, and will have unique backgrounds and interests. When applying to art school don’t rule out the projects you have done in other fields. Perhaps you’ve worked in a darkroom, made jewelry, done set design, costume design, filmed a movie, built a website, made ceramics, written a storyboard, 3D animation… all of which are totally valid and usable in a portfolio. A lot of applications will ask for ‘other media’ and this is a great section for you to demonstrate specific interests or abilities that are not focused in drawing and painting.

After assessing what work you have determine what still needs to be completed or worked on further. It is not unusual to create several new pieces to fulfill your portfolio requirements. It also might be in your best interest to replace lower quality works. Remember that when you make new work to use your sketch book to establish a basic idea and use visuals to develop and build that idea before commencing the final piece.

You’ll want to use the best digital camera you have access to. If you don’t have a very good camera borrow one from your family or a friend. A digital ‘SLR’ is going to give you the best control and highest image quality.

Get a tripod, if you don’t have one and no one you know has one you can use a box or a table. If you use a makeshift tripod make sure it is solid and sturdy. Tripods are invaluable for taking steady pictures.

If you are unfamiliar with camera settings use an automatic setting, this will produce a decent photograph. Use a setting such as ‘no flash’ or ‘outdoor’. Make sure that your photographs are in focus, crisp, and not skewed. Avoid using the built in flash on the camera. Ideally you should use a manual setting with an automatic focus to get the best control over the image.

Take multiple photographs of each work. Review in the viewfinder the first few shots of each artwork and check to make sure you’re getting a decent exposure, that the image is in focus, the edges of the work are parallel to the viewfinder and that the sun isn’t washing out the colour. Make the necessary adjusts each time until you have the best shot possible.

One common issue is swelling. If your artwork appears to swell in the photograph, move your camera away from the artwork and zoom in slightly. Zooming in slightly will create a more natural depth. This swelling is an issue that stems from the type of lens the camera has.

artwork by Kyle Topping

Your best bet is to photograph your artwork outdoors. The natural light outside is a superior quality to the lights indoors. Indoor light will yellow your photographs and if you are using automatic settings on your camera poor lighting conditions will lead to low shutter speeds causing blurry images.

So, get all your work together and head outside. Find a wall to prop your artwork against. Prop you work as straight up and down as possible to limit distortions. Later on you’ll crop down the photos so the wall is not visible in the final photograph.

Setup your work in direct sunlight if possible. If it is really bright out you may find that your photographs are over exposed or washed out, find a shaded wall to prop your artwork against and try taking the pictures there. The most ideal conditions to photograph work is on a slightly overcast day.

Setup the tripod and camera. Zoom out on the camera as far as you are able to. Position the camera far enough away that the artwork almost fills the entire viewfinder window. The camera height should be a little higher than the middle of your artwork. The camera should be slightly tilted down to compensate for minute distortion the artwork receives from leaning. Adjust the position of the camera, the tilt and height until the edges of the artwork are parallel to the viewfinder. The camera should be aimed and aligned to the center of the artwork. Take your time in setting up the shot, you do not want to submit distorted or tilted imagery.

artwork by Julia Stephens

As mentioned under ‘Location & Setup’, lean paintings against a wall as straight up as possible. Try to find a wall that has a lot of flat ground in front of it. Make sure to fill the viewfinder as much as possible with the artwork and that all the edges of the work are parallel to the viewfinder.

As mentioned under ‘Location & Setup’, lean paintings against a wall as straight up as possible. Try to find a wall that has a lot of flat ground in front of it. Make sure to fill the viewfinder as much as possible with the artwork and that all the edges of the work are parallel to the viewfinder.

Scan paper work if you can. A scanner is exponentially better than a camera.

A great solution to photographing large paper work is to get a blank canvas, board or any flat support, and tape the paperwork to the board and photograph it just like you would a painting. Loosely tape the backside of the paperwork as to not damage the art itself. Make sure to mount the paper work squarely onto the support, if it is crooked you’ll just end up with crooked photographs which will lead to a cropping nightmare later. When you mount the work to a support try to mount it as flat as possible.

Wrinkled, curled, or wavy artwork should be flattened before photographing. If at all possible avoid rolling your work, try to store your work flat and in a safe place that will not lead to damages.

artwork by Eli Wilson

Unless you are a professional photographer with loads of gear, your digital photographs can always benefit from some light Photoshop touch-ups. If you do not have Photoshop other photo manipulation programs will work. This guide will be written with the assumption that you have access to Photoshop.

Where to Start:

First, import your images onto your computer. Then, open the images in Photoshop. Assuming you had taken a number of images select the best pictures of each piece and close the rest. What you are looking for is images that are in focus, without distortion, and good lighting.

Next, find the “image” tab in your tool bar and use the “auto tone” function (older versions of Photoshop will have this labeled “auto levels”). This function will balance out the light and dark ranges in the image and usually removes yellow tinting. You may also perform to manually adjust your tones or levels, but you can quickly run into visual complications if you don’t understand how the tool works.

Finer Adjustments:

In the same tool bar you can find ways to adjust finer elements such as exposure, brightness/contrast and colour. This step may not be necessary for each photograph. The best way to determine if your image needs further adjustments is by comparing your original artwork to the Photoshop file.

If you find there is a great difference between the photo and the actual work than you will want to determine what is wrong with the photo. If it is an issue with the contrast of the image you may want to go to “image”, “adjustments”, “curves”. This tool will bring up a histogram of your picture. Adjusting this channel will alter the overall image to be slightly darker or lighter in the specified range. With the “curves” tool, adjustments are made by bending the diagonal line up, down or adding new pivot points along the line. The trick is usually a very subtle ‘S’ curve. Reference your original artwork and make adjustments to best imitate reality. If the image is suffering from a colour issue than you should select the “colour balance” tool from the “image”, “adjustments” menu. Select, shadows, midtones, or highlights and adjust the sliders appropriately until you correct any colour issues.

Once you have the image looking the same as the work select the “crop tool” from the side tool bar. Crop the image to the inside edges of your artwork. You want to preserve as much of the artwork as possible; yet, you do not want to have a background boarder around the work. Never drastically crop out sections of the image unless you are required to submit detail images.

Always Remember:

Your digital photograph should now be a good representation of the original artwork. Again I cannot stress how important it is to avoid extreme adjustments, alterations, or radical cropping and above everything else do not use any filters. The point of a digital portfolio is to replicate original artwork as accurately as possible. Always reference the original image rather than adjusting to your eye’s aesthetic. When referencing artwork try to do so in natural sunlight or under white florescent bulbs.

There will be file size limitations when submitting digital portfolios. It is important that you not submit images that go over the requested size or that are drastically under the file size limit. Paying attention to small details like file sizes will demonstrate to the admissions board that you possess a sense of professionalism they are looking for.

Knowing Your File Size:

First you want to determine the size of the file. This can be done by opening the finder or search window and checking the properties.

In Photoshop you can check the rough file size by saving the image.

Go to “save as” and change the format to jpg, click “save”, in ‘JPEG Options’ window look below the “Cancel” button, here you will see a preview options button. Ensure that the preview option is check on. Below you will see a number indicating the rough final file size. Remember how to access this number we’ll be referring back to it frequently, let’s call this ‘the final .jpg size’.

Note that by changing the ‘quality’ slider in the ‘JPEG Options’ window, the final file size will go down the closer the slider approaches 1 (low quality). Never reduce file size by saving an image at a ‘lower quality’ setting, this results in massive amounts of lost information- colour range, amount of colours and pixel sharpness.

Changing Your File Size:

We will use an example to illustrate this process. We are starting with am image that is 7.1 M. The school guidelines ask for images to be under 2.0 M. Therefore we must reduce the file size by 5.1 M. We begin by opening up the image in Photoshop. Then we go to “image”, click “image size”, making the window labeled ‘Image Size’ appear. Next we make sure the ‘constrain proportions’ button is clicked on. We’re going to resize the file by changing the dimensions not the quality. The pixel dimensions of our image are 3504 wide and 2336 high. A word of warning: this process will take some trial and error. Into the pixel width field we type a new

number of 2200. This is a random number and at the moment there is no way to judge what the final file size is until it is saved and verified. Because constrain proportions is clicked on all the other numbers on the page also change to keep the image in it’s proper aspect ratio. Our document is now 2200 pixel in width and 1467 pixel in height.

Now we click “ok” and go through the saving process mentioned above to verify the change in size. It indicates the new final .jpg size is 2.9M. Not quite the 2.0M we wanted to compress the image down to so we don’t save the file.

So after this set, unfortunately, you have to start over. Do this by undoing the last action. Go to “edit”, click “step backward”, or “undo”. Alternatively you can also undo the action through the history menu. It is important to undo the action rather than just continuing to fiddle with the dimensions. If you curious to know why this is important, try changing the pixel width to 100 pixels, clicking “ok”, then changing the pixel width to 2000 pixels. Observe the blurry image.

Now that we’re back at square one, knowing that the pixel width dimension must be smaller than 2200, we can go back to the “image size” pop-up menu and change the pixel width field to 1800, making the final .jpg file size exactly 2.0M.

Now we can save that image into its appropriate folder with the appropriate name format the school requests. Never save over the original image, or the file that was created in the ‘school portfolio’ folder.

It is always in your best interest to verify the file size once more (I know this seems repetitive) by opening the finder or search window and checking the properties of the file. Why is this important? Because when looking at our file with this method it indicates that the file is actually 2.2M not the 2.0M Photoshop had displayed. Which means we have to, once again, play with the pixel width. However, with a small adjustment we end up with a file that is 1700 pixels wide and 1.8M in size, which displays properly outside of Photoshop. Although this process takes some time it will ensure that you send files that are properly formatted and that have not lost any content in the file reduction process.

Once you have edited all of your photos it is best to save them in one folder labeled ‘school portfolio’ or something similar. For the moment all you are doing is assembling all of the potential portfolio images into one common folder. The following format is the best and most common way to name your files: title_year_media_size.

Remember to:

Only use lowercase alphabet.
 Not to use any symbols.
 Use an underscore instead of a space.
 If the title or media is several words long write it as one word with no spaces
. Use inches as your measurement and state the height first then the width, separating them with an ‘x’.
 No matter what format you use, be consistent when naming the files.

Saving Your Image in the Correct Format:

Save the image as a .jpg file. To do so go to “file”, click “save as”, and in the pop up window click the drop down menu labeled “format” and select “.jpg”, to finish click “save”. Now a new window will appear called ‘JPEG Options’ use the highest quality setting available when you save it as a .jpg, this is quality 12, click “ok”. Do not save over or delete the original imported photographs.

Examples of a Properly Formatted and Named Files:

title / year / media / size (inches) .jpg

judgement_2010_etching_20x24inches.jpg
subjecttothelaw_2007_mixedmedia_60x84inches.jpg
frank_2008_acrylicpainting_10x20inches.jpg
everythingandanythingelse_2007_oilpainting_30x22inches.jpg

Separating Files for Different Schools:

At this point we have not resized the image. We have only built an archive of the works you have selected for your portfolio applications.

Create a separate folder for each school you are applying to. Copy selected images from the ‘school portfolio’ folder and paste them into the school specific folders. As you go through this process consult the guidelines and make sure that the files are named in the school’s desired format and adhere to their specified requirements. Rename and resize the file if necessary.

When selecting a burning program you will want to make sure that the program can burn CDs readable by both MAC and PC platforms. Most burn programs have an option you can click to enable this or it will automatically tell you what platforms the CD can be read by. Within the admission requirements there should be a section indicating what platform the CD must be readable by.

Rename the CD and the first folder on the CD to your name, so that when the CD loads the admissions board will see your name first. Drop all required images and documents into the burn folder and ensure that the items are named correctly and in accordance with their requested format.

Now it is finally time to burn the CD. The program will verify if the CD burnt correctly or not. When done pop out the CD and in marker, write your name and information on the front of the CD. Some people have used stickers for this information but this can sometime ruin the CD drive of a computer.

Before you mail your submission check to see if the CD actually works on both a MAC and a PC. It is quite common for the CD to indicate that it will work on both platforms when in fact it does not.

artwork by Kyle Topping

Shockingly enough you may come across some schools that still ask for physical slides instead of a digital portfolio. Slides can be created from both film and digital files. A commercial camera store that processes film should be able to convert either format into slides. If you have film, bring in the original negatives. To convert digital files use the un-sized image files from your ‘school portfolio’ folder (refer to ‘Building a Digital Portfolio’ section). Creating slides will take upwards of a few business days, so plan accordingly. Most schools will return your slides if you include a self addressed stamped envelope.

Before you label the slides consider the order they will be reviewed in. It is up to you to determine their suggested viewing order. My advice is to organize them like you would an essay. Strong works positioned at the beginning, middle and end. Intersperse these slides with weaker works and studies. In addition you could also consider grouping slides into themes or subject matter. It is important to give consideration to the order of your portfolio.

Label your slides with a fine black marker in a consecutive numbering system followed by a last name. Example: 001 Smith, 002 Smith, 003 Smith, 004 Smith, etc. Label the fronts of the slides to indicate which direction they are to be loaded into the carrousel. Next you will create a printed accompanying slide list. The list should be clearly laid out and easy to reference. At the top should be your personal information. The list should progress numerically and it should contain: title, year, media, size (height then width) and a brief description.

Last Name, First Name,
Address etc.

#, title, year, media, size, description

001 – judgement, 2010, etching, 24×20 in.
Colosseum setting, a man on bridge.

002 – subject to the law, 2007, mixed media, 60×84 in.
Two people spray painting a brick wall.

003 – life study #4, 2008, pencil on paper, 12×8 in.
Pencil drawing of a pickup truck.

*Above everything, remember to consult and follow the guidelines that the school provides. Some schools may specifically ask for a certain formatting or ordering.

artwork by various artists

Some art schools offer a free, or low-cost, Portfolio Day where you can go into the school prior to your scheduled interview and get advice on the current state of your portfolio. The representative will be able to tell you what you need to work on and what should be removed.

Art schools may offer low-cost Portfolio Prep or Portfolio Development courses, theses are good to attend if you’re uncertain about what to put into your portfolio and if you need assistance on developing certain sections of your portfolio.

During the summer certain art schools and Universities offer Introduction, or Art Fundamental courses. These generally cost a fair amount of money and run for a few weeks. There should be no prerequisite to take these courses. These types of courses are designed to build basic fundamental skills in drawing, colour, composition and usually painting and sculpture. The objective of these courses is to build your fundamental skills up to a first year entry level. If you feel that you don’t have an adequate skill level these courses are a great way develop these skills. Consider taking this type of course at the school you’re interested in attending, it may assist you in getting your foot in the door. Many summer programs also offer housing. Check the school website for more information.

Discussing your portfolio with your art school teachers is an excellent and free resource. If they’re teaching art they should have some knowledge right? Try and talk to many different people about your portfolio. Ask for criticism, not just praise. You want to know what pieces are weak and which ones are strong and try to improve your portfolio.

Many schools will no longer conduct face to face portfolio interviews. Generally in this circumstance the school will only conduct interviews for applicants within a specified geographical radius. The school will provide a set of guidelines and a list of required materials. You can expect to be asked to bring a sketch book. Expect both quantity and size limitations for you artworks.

Talking with an interviewer who controls whether or not you get into their school can be stressful, intimidating, scary and every other adjective that comes to mind. Relax, it will be okay. The interview is not like the movies, you will not be in a long white room with 5 people sitting behind a table, a blinding light in your face, and impossible questions. It will an informal setting where you have the opportunity to open up your portfolio case, display your work and casually talk with the interviewer.

Be prepared to discuss your work. The interviewer is going to be interested in how you talk about artwork and use that language in a critical way. They will be interested in learning what artists you enjoy, where you see your skill level, what techniques you have developed or could use improvement on. They will want to discuss your creative process through observations in your sketch book. You may talk about why you choose their school or why you want to goto art school. Relax, breathe, be truthful and open with you thoughts and the conversation should go swimmingly. Remember the point of the interview is to learn about you and why you love art.

photograph by Kelly Taylor

Spend the money and buy a proper portfolio case to carry and protect your work. These cases can be bought from an art supply store. They will come in all different sizes and quality. Consider this as an investment and buy one that is nice and will suit your future needs. You will probably have this portfolio case for the rest of your life or until it breaks or you loose it.

I personally like the cases that have plastic sleeves for inserting work. The sleeves will protect work from rubbing against each other and will prevent the work from being jostled around when walking and possibly getting damaged. These cases are usually more expensive. If you decide on a shell case, insert tissue paper in-between your works to reduce rubbing, smudging and prevent unwanted image transferring.

artwork by Colleene Rowley

Conducting interviews gives the admissions reviewer a chance to see your sketch book in its entirety. In an interview setting the sketch book is as important as your finished work. The interviewer will spend a substantial amount of the time searching through the sketch book and engaging with you about what they come across. You should understand that what they’re interested in seeing is how you think, how you plan out ideas, how you illustrate ideas in a visual language, your rough sketches, your written thoughts, how frequently you use the sketch book and what you use your sketch book for.

Your sketch book does not have to be the stereotypical physical black sketch book. Some artists use a sketch book then rip the pages out. Some artists use loose paper in a box for a sketch book. Regardless, what the interviewer is interested in is your thought process and ability to think in a visual language.

If you have sketch book, consider how full it is and what it is full of. You don’t want to have lots of blank pages or just pages with scribbles and crossed out drawings. Sketch books of this nature do not say anything about you as an artist. You will want to show a sketch book that is full and rich with content. The physical condition of the book does not matter too much, for instance if the spine is broken cause the book is full and well used then that may actually benefit you.

If you’re in the loose paper world, gather up your papers and hopefully they are in somewhat of a decent condition and not balls of crumpled paper. Buy a nice box with a closing lid to present your loose papers in. Don’t be too curatorial with what you put into the box, remember what the interviewer is interested in seeing.

The best strategy to prepare for this section of the interview is to plan ahead, months in advance, and use your sketch book on a regular basis. The worst thing you can do is panic a few days before your interview and attempt to fake months of sketch book use. The interviewer will see through this as you cannot fake genuine use.

Since you will be bringing original artwork to the interview demonstrate your professionalism by transporting well kept artwork in a safe manner. Don’t bring torn, or poorly cared for work regardless of quality. You want to convey to the interviewer a sense of your seriousness, dedication, and professionalism. The selected works should primarily consist of what you have done in the past two years. Try to only bring your best work. Try to only bring finished work. Don’t roll your artwork, this is a huge no. If your work has been stored rolled, try to flatten the pieces two weeks prior to your interview. Works that are liable to smudge should be fixed or mounted in frames or interleaved with issue paper to protect them from smudging and damaging other works. Your artworks should be identified with your name.

artwork by Justin Steinburg

Sculptural work is usually limited to specified sizes for portfolio interviews with obvious reasons. Some interviews may not even allow sculptural work and will request photographs. However in the event if you are allowed to bring in sculpture there are some things you want to consider.

Make sure you are transporting the work in an adequately safe manner. The best containers are custom built specifically for individual works. Theses are expensive to construct and there are other alternatives for the budget minded person. Cardboard boxes are great temporary substitutes for transporting works. Try and find the heaviest cardboard and avoid using thin cardboard boxes, as this cardboard does not offer much rigidity or protection against mishaps. The box should ideally be a few inches larger in dimension than the actual sculptural piece.

First wrap the sculptural work in thin soft blankets with several layers. Insert a blanket into the bottom of the box. Gently place the wrapped sculpture into the box and fill any negative spaces with fabric. Tuck another blank on top of the sculpture. Finally seal and label the box. The overall idea is to secure the artwork in a barrier of plush blankets that can absorb any shock from transport. Depending on the sculpture other materials like newsprint, paper towel, styrofoam peanuts, or bubble wrap may be used as protective barriers.

Every sculptural piece is going to require it’s own type of security. Blankets and fabrics are pretty standard items when securing work. Fragile objects like glass and paper sculptures require different considerations when packing and are perhaps best to just to be photographed.