Portfolio Development
In class solutions
For your next in class assignment, you must choose from one of the following suggestions to complete in class. Outline your strategy, materials, supplies and surfaces. Return the tear off by tomorrow.
Portfolio Suggestions
If you are struggling with ideas for your portfolio, consider using any of these ideas. You should complete 7 pieces by the end of the cycle.
A composition of two or more objects representing and object grown and an object manufactured
A full figured self portrait in profile
A view from a roof
A series of drawings or images of the opening out or unfolding of that which is wrapped
Displacement
Design a directional system for a garden used by the deranged
A composition incorporating 2 objects viewed from two unusual vantage points
A full length self portrait
A sequence or series of separate images depicting emergence
A kinetic relationship (observed or imagined)
Design a monument meant to commemorate an event that has been significant in your life
I ______choose suggestion___________________ for my next in class assignment .
I will be bringing in the following supplies and materials
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2.
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4.
Additional information:_________________________________________
Artist’s Statement
The artwork you selected for your portfolio reveals your investigation of certain media. In a statement of approximately 350 words, discuss the process of creating your portfolio addressing the:
The development of personal style throughout the years studying art
Use of elements and principals of design to get your final product
Use of materials and techniques and how they enhance your ideas
Challenges you faced while creating and how you overcame
Intentions for the future where your art is concerned
Refer to the artwork in your portfolio (all work must be titled) and use specific examples
Portfolio Reflection
What did you learn through the process of making this project? (Skills, ideas, etc.)
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What areas do you think are the most successful in your final project?
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What areas of your project could have been improved, or what would you change about your final project?
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If you were to do this project again, how would you start it differently?
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What suggestions would you make to improve this project or the way you work in the future?
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Assignment Options:
Create an artwork based off of a natural form that has been abstracted in some way, either through magnification, color choice, line quality, etc. Keep composition in mind as a strong point of consideration.
Create an artwork that reflects the idea of human memory- the biology of the brain and its storage capabilities, faults, etc.
Create 4 sketches of a dream environment- meaning any surroundings that give a “dream-like” feeling or quality. This can be surrealistic, symbolic, abstract, etc. Each of the 4 sketches should emphasize a different color scheme. Choose the one you like best to finalize into an installation using your choice of media. Take photos from several angles of your installation.
Create a 3-D mini-landscape out of recycled materials (wrappers, paper, metal scraps, caps, etc.) Use your imagination and create many layers. Consider the use of the product in your placement of the object within the piece.
Create an artwork that emphasizes an object/many objects silhouette(s). Composition will be a strong factor in this work as the silhouettes should be filled in completely with a color/material. Consider what should be done with the negative space to help the composition.
Create a self-portrait in any media and utilize color somewhere within your work. This can be a bust (just your face) or a full-body portrait. Consider abstracting your image depending on your choice of construction material.
Create an assemblage using boxes and found objects in the style of Louise Nevelson. At the intersection of each box, change the depth (shadows), shapes, lines, number of objects etc. so that the end product in unified but in pieces. It should look very much like a patchwork quilt, where you can see changes from box to box. Unify the piece by spray painting it in a single color to emphasize form.
Create a self-portrait construction with the theme of a “mask”. This means either literal mask wearing, symbolic mask wearing, or just a partial covering of the face from another object in the work (could be shadows, hair, environment, etc.) Make the masking object have purpose for your personality.
Create a sculpture/construction using various materials to build up texture. Try to create a sculpture/construction that reaches 3-4 senses in the viewer (sight, smell, touch, hearing, taste).
Create an artwork that symbolizes seasonal change. This does not have to involve a landscape. Think of this on a deeper level for how you could communicate this message through a particular object, color scheme, etc. Even abstract/non-objective works can accomplish this if thought about carefully. Think of the lines, colors, shades, and shapes that make you think of particular seasons when working. Organic forms will also need to be considered.
Create a 3-D landscape made out of still-life objects as the subjects. (For example, a cityscape visually completed through soup cans and the lightposts would be matchsticks). Use your imagination but make sure the final product realistically resembles a landscape (structurally) at first glance.
Create an animal sculpture in the style of a particular artist. Research particular artists and their styles, brushstrokes, color palettes, etc. before working on your own work. Make sure the art style and media make sense for your choice of animal.
Find a newspaper or magazine article and create an artwork that is inspired by the message in the article. Cut up the article and work it into the piece if possible.
Create an artwork in the photorealism style. Work really hard to make every detail as realistic as possible. Create another work using the same subject or object that is very abstracted. Another choice could be to have the object morph from realistic to abstract in the same artwork instead of through two works.
Create an artwork that involves mixed media and includes wet media, dry media, and some aspect of collage on your finished 3-D form.
Create a self-portrait in which you choose one object that symbolizes yourself. Think of an object with symbolic value to the moods expressed by yourself in the piece. The object should have personality and seem to take on your characteristics. Shape, mold, and carve your media so that the object speaks in your “voice.”
Create an artwork that uses weighted line (changes in thinness and thickness) based on an extreme light source. The line’s width should change based on how close to the light source it is. Complete an interesting, finished composition using lines alone.
Create a self portrait that uses line quality to help aid in expressing an emotion. For example, choose hatch marks for a rough attitude/feeling, or fluid thick and thin lines for a calmer feel. Consider what psychological qualities lines have. Complete the composition, keeping lines as a main component of the piece.
Create an artwork that utilizes patterns in all negative spaces. Try to use a different pattern in each separate negative shape or, if you can decide on a strong pattern, unify the piece with a single pattern in all negative spaces. This can be words, shapes, designs, doodles, etc.
Create a still life that uses reflective materials such as glass, mirrors, containers, glasses, etc. Be creative in your choice of objects and in the arrangement for composition’s sake. Consider reflections from the environment seen in the items as part of your composition, whether it be other objects or yourself.
Create a still life that utilizes textural lines. If you choose objects that have specific textures or patterns already, it will make your work come to life easier through the use of these expressive lines. Also consider using them in the negative spaces and background.
Create an artwork that emphasizes a single object in an environment. Make sure that the environment is fitting for the type of object you chose (it can be symbolic, historical, etc.) and that both the object and the environment are equally emphasized.
Use colored paper to complete a still life, focusing on extreme lights and darks. You will need to use extreme black and white drawing utensils to add to the effect. Consider the color of the paper in choosing your objects (maybe using a theme or mood). Also try adding only lines that are necessary to make the composition understood, leaving out some lines can also add interest to the piece.
Create an artwork under the theme of “artists’ tools.” This can be obvious (paintbrushes, pencils, etc.) or not so obvious (hammer, brain, hands, etc.). Emphasize shading the negative space, especially right up next to your objects to help the items “pop” off the page. Dark charcoal works well for this.
Tape off sections of your paper before applying your media (purple painter’s tape works best). Untape layers gradually as you add new layers of media to play with the effects. Make sure that you don’t completely lose the sharp line quality from the masked spaces. Choose colors, value intensity of these spaces wisely to make them accented. This can be abstract or an actual drawing within these layers. Also consider both dry and wet media as well as collage within your layers.
Create a landscape that has extreme perspective with focus on lines and patterns (think bridge, skyscrapers, telephone poles, fences, etc.) You can choose 1, 2, or 3 point perspective, but zooming on your subject helps to aid in the focus of the composition. You may want to take a photo instead of trying to sit still and draw from life.
Create a landscape that has a strong focus on organic shapes. You may need to abstract the artwork to achieve these fluid-like shapes and lines. Another interesting angle would be taking subjects that are strictly geometric (like a cityscape) and morphing the setting into something organic.
Using a ballpoint pen, draw the outline of an object of your choice. Using textural lines, weighted lines, patterns, and designs, draw items that composite into the final desired object. For example, the outline could be a high-heeled shoe, but the objects within it could be a pencil, child’s slide, bowtie, etc. Shade and design each smaller object to fill in the space of the outer object.
Create a drawing that utilizes natural prints or rubbings such as leaves, rocks, bricks, etc. Work with various colors and layers to complete your composition. You may also need to draw by hand objects or lines to complete each layer. Printmaking techniques are acceptable as long as the qualities of drawing are obvious.
Create a grid drawing of your choice (portrait, landscape, still life). At the intersections of the lines, change value shading, texture, color, or pattern to create a definitive divide. The finished work will look fractured, much like a Chuck Close painting.
Create a drawing of your choice (portrait, landscape, still life). Allow parts of the drawing to have fine line details, but group other sections of the work into blocky, filled-in shapes. Try to balance the “holes” that are created by the filled-in shapes throughout your composition.
The sketchbook is an important part of your Coursework. It shows the journey (or development) towards your final pieces and usually contains:
Drawings, diagrams, thumbnails, composition plans, paintings and/or designs (particularly those that are incomplete or experimental)
Practice and trials of different techniques and processes
A range of mixed mediums and materials
Evidence of first-hand responses to subject matter and artworks, demonstrated through observational drawings, photographs and annotated pamphlets and sketches from exhibitions or gallery visits. (Note: the sketchbook must NOT be used as a dumping ground for fliers and pamphlets. If you are going to glue something in, evaluate it, discuss its relevance and explain how it helps to inform your own work)
Digital printouts of relevant artist work
Annotation (see below)
Note: The sketchbook should NOT be used as an all-purpose journal for doodling cartoon characters or scribbling notes to a friend. All work contained within your sketchbook must support your Coursework project as a whole.
How to annotate
The following tips and guidelines should help you understand how to add quality notes to your pages:
Reveal your own thinking and personal responses (rather than regurgitating facts or the views of others)
Explain the starting points and ideas, emphasizing personal relevance and your own connections to subjects
Critically analyze and compare artwork of relevant artist models (both historical and contemporary artists, from a range of cultures). Discuss aesthetics, use of media, technique, meaning/emotion/ideas and the influence of an artist upon your own work. While it is important to conduct research into your artist models (and to convey an understanding of this information), avoid copying or summarizing large passages of information from other sources. Instead, select the information that you think is useful for your project and link it with your own viewpoints and observations. Use research findings to make you sound clever and knowledgeable – to prove that you are aware of the artists and cultural influences around you – and to help you to critically evaluate artworks (by giving you background information and a peek into the mind of an artist): do not use it to fill your sketchbook with boring facts
Demonstrate good subject knowledge, using correct vocabulary (phrases such as ‘strong contrast’, ‘draws the eye’ and ‘focal point’ etc)
Reference of all images, artwork and text from other sources, ensuring that artists, websites and books are acknowledged (it should be obvious to an examiner which work is yours when viewing a page, so cite sources directly underneath the appropriate image. Photographs taken by yourself should be clearly labelled, so examiners know the work is yours and reward you for it)
Communicate with clarity. It doesn’t matter whether you jot down notes or use full sentences, but never use ‘txt’ speak and try to avoid incorrect spelling, as this indicates sloppiness and less than stellar care for your sketchbook.
When annotating a sketchbook, it may benefit you to contemplate the following:
What subjects / themes / moods / issues / messages are explored? Why are these relevant or important to the artist (or you)?
What appeals to you visually about this artwork?
How does the composition of the artwork (i.e. the relationship between the visual elements: line, shape, color, tone, texture and space) help to communicate ideas and reinforce a message? Why might this composition have been chosen? (Discuss in terms of how the visual elements interact and create visual devices that ‘draw attention’, ‘emphasize’, ‘balance’, ‘link’ and/or ‘direct the viewer through the artwork’ etc.)
What mediums, techniques (mark-making methods), styles and processes have been used? How do these communicate a message? How do they affect the mood of the artwork and the communication of ideas? Are these methods useful for your own project?
How does all of the above help you with your own artwork?
Remember that these questions are a guide only and are intended to make you start to think critically about the art you are studying and creating.
Select a good quality sketchbook and/or a collection of artist papers and found materials. The difference between work produced upon cheap, flimsy sketchbook pages that warp at the mere hint of moisture and that produced on thick, rich, ‘wet strength’ paper can be enormous. Even a garish cover design can negatively influence enthusiasm. If you have a choice in this area, buy a quality sketchbook and/or collection of paper / drawing surfaces. Begin with something that inspires you.
Let the artwork shine. Do not distract from your practical work by using large lettering, decorative borders, or unnecessary framing or mounting. Do not spend weeks researching, preparing and reworking beautiful backgrounds – wild drips of coffee, torn paper, layer upon layer of careful speckled mediums – if this compromises the amount of time you spend on the artwork itself. Producing quality art or design work is your number one goal.
Vary page layouts to provide variety and visual interest. Some pages should have many illustrations; some should have single, full-page artworks; others should be somewhere in between. Position items carefully on the page as you work: making sure pages are well-composed.
Use a consistent style of presentation, so that a consistent visual language unites the sketchbook. Some students are drawn towards hard-edged, ordered presentation methods (often those studying graphic design, for example); others prefer messier, looser, gestural presentation styles. Neither is better than the other: both can be amazing. Inconsistency, however (pages jumping from one presentation style to the next), can result in a submission that is distracting, busy and hard on the eye.
Be selective. More is not necessarily better. This does not mean that you should discard everything which is not perfect (work should rarely be thrown away, as most things can be worked over and saved for far less effort than would be required starting anew), but you must discriminate. Don’t automatically include everything. Select work which shows the journey your project has taken and presents your skill in the best light.
Save the annotation until last. It doesn’t matter how intelligent, well informed or clever your annotation is – it cannot redeem rushed, poorly executed practical work. Only once images on a page are complete (or as complete as needed) should you fill some of the gaps with notes. Even the hurried addition of annotation can be done harmoniously – making a sketchbook page appear thorough and well-balanced. Use text as a compositional element. Write neat and small (this way spelling or grammatical errors are less obvious), and – if your examination board allows it – in pencil (so that mistakes can be easily changed); otherwise, write in black or white pen: not ink that switches color every sentence or is ‘enhanced’ by hearts on the ‘i’s.
Give every page of your sketchbook some love. Use each page as an opportunity to remind the examiner that you are a hard-working, dedicated student who cares passionately about this subject. This does not mean that your sketchbook must be crammed to the brim with intense, labored work (sometimes an expressive, ten minute charcoal drawing on a page is all that is needed) but that each part of your sketchbook is produced with care and dedication.
OUTSIDE PROGRAMS FOR STUDENTS
The Summer Arts Institute (SAI) is a free, four-week intensive arts program for public school students entering grades 8–12. Students study dance, theater, vocal music, instrumental music, visual art, or film under DOE arts teachers, arts organizations, and master guest artists. Students build portfolios and develop audition skills. They also help students plan for their next level of study, be it an arts-focused high school, college, or conservatory.
Email SummerArtsInstitute@schools.nyc.gov with any questions.
Founded in 1968, Cooper Union's Saturday Program has offered free art and architecture classes to New York City public high school students for over 55 years. The Saturday Program plays a crucial role in supplementing missing or underfunded arts instruction in NYC schools and promoting the participation of historically underserved communities in the arts. The program offers free visual arts instruction typically reserved for exclusive courses, as well as additional learning opportunities for students in the form of field trips, studio visits, and presentations from working artists. Writing workshops are integrated into the curriculum to bridge visual and written thinking.
Introductory Saturday Program classes are open to 9-12th grade students and are taught by current Cooper Union undergraduate students, which allows high schoolers to learn from “near peer” mentors. 11th and 12th graders hoping to pursue art in college can apply for the Portfolio Prep classes, which are specifically designed to assist students with the creation of college-ready portfolios. Portfolio Prep classes are led by a team of professional artists and undergraduate instructors.
Eligibility
The Saturday Program prioritizes students from historically underserved communities with limited access to educational opportunities in the arts. We especially welcome applications from women and individuals who identify with groups historically excluded from visual arts careers, such as Black, Latino/a, LGBTQ+, and Neurodiverse communities.
To be eligible, students must meet one or more of the following criteria:
• Attend a New York City public or charter high school
• Attend a school without a comprehensive visual art program
• Qualify for free school breakfast and/or lunch
• Come from low- or moderate-income household
Offers a variety of art and design courses for students in grades 3–12 in subjects ranging from fine arts and illustration to design disciplines such as fashion design, interior design, animation, and more. Classes meet over 11 Saturdays in both the fall and the spring semesters.
Parsons Academy Certificate program
A five-week asynchronous online course for students in grades 9–12. The Parsons Academy Certificate Program is a noncredit program for students in grades 9 through 12 who plan to apply to colleges of art and design.
Parsons Academy Certificate Requirements
Two foundation courses: Choose from Fine Arts I: Drawing, Fine Arts II: Drawing and Painting, and Drawing and Painting (summer only)
Three elective courses (e.g., Graphic Design, Fashion Design, and Architecture)
Portfolio Development for students in grades 11 and 12
Students can fulfill the requirements by attending a combination of Parsons programs offered for pre-college students by Parsons Academy, described below.
Pratt Community Engagement K-12
The mission of Pratt’s Center for Art, Design, and Community Engagement K-12 is to increase access to instruction in art and design for children by leveraging the resources and expertise of the Institute to support school-age children, city-wide public schools, and youth-serving organizations.
Taught by our expert faculty and students our on-campus and in-school programs develop children and young peoples’ knowledge in the creative disciplines (art, design, architecture, and related fields) through hands-on studio-based learning. Our programs are carefully designed and structured to support creativity and innovation, and problem-solving and collaboration.
All programs offer undergraduate and graduate students studying art, design, architecture, and related fields opportunities in community-based education in their major while simultaneously bringing art and design classes to the K-12 community.
Saturday Art School - Since 1897, Saturday Art School has offered a broad range of classes for children and teens. Students are encouraged to explore a variety of media, techniques, and approaches. [ages 6-18]
Design Initiative For Community Empowerment (DICE) - An after-school program that introduces students to the challenges of creative thinking and problem-solving Design Initiative for Community Empowerment (DICE) offers studio classes in which students explore design disciplines such as fashion design, construction management, and architecture and urban design. [grades 9-12]
Pratt Young Scholars -Pratt Young Scholars is a need-based, three-year scholarship program that provides art and design instruction and college preparation for motivated high school students. [grades 10-12]
Summer Scholars - Summer Scholars is a two-week summer intensive program of studio classes and college preparatory classes for high school students, and high school application portfolio preparation classes for middle schoolers entering 7th or 8th grade. Classes take place online in July. [grades 7-12]
Pratt PreCollege
Pratt’s PreCollege program is taught by Pratt faculty and aligns with undergraduate majors and minors in fine art, fashion, graphic design, architecture, and writing as well as many other concentrations. With both Credit and NonCredit offerings, students immerse themselves in their art + design field and find their creative voice in a thriving network of artists and designers.
Explore your passions and be a part of the Pratt community.
Gain valuable undergraduate experience while working alongside Pratt faculty in state of the art facilities.
Earn college credit in credit bearing courses modeled after the Pratt undergraduate experience.
Develop advanced creative skills and techniques using new tools, software, and materials.
Create portfolio-ready artwork for college applications and your future career in art and design.
From paid internships to exciting free events, our teen programs support youth leadership, critical thinking, and creative expression. We’re committed to representing marginalized voices within the arts, putting young people of color and LGBTQ+, working-class, and immigrant youth at the center of everything we do. Through teen-led programming, we activate art to promote social justice and imagine new futures.
Casita Maria's educational programs offer after-school and summer day camp programming for up to 400 young people from kindergarten through middle school. Programs are built on a Creative Youth Development framework that combines arts education with academic assistance and positive youth development principles to empower young people to reach their potential as artists, scholars, and leaders.
All programs are free, and operate after-school from 2:30 to 6 PM. We accept participants on a first come-first served basis, regardless of need, but you do need to complete an application which you can fill out in person at Casita Maria or online and available here. You'll also have to submit medical and immunization forms signed and stamped by a doctor, and a passport photo. Finally, a parent or caregiver will be required to attend a parent/caregiver orientation.
Design Hive is a paid, youth-led initiative at Cooper Hewitt. High school juniors and seniors dive deep into design objects and processes to develop their own collaborative projects. Along the way, they learn how designers move from an initial idea to final design.
Design Hive takes place at Cooper Hewitt and offsite locations on Tuesdays from November to May between 4:30–6:30 p.m. Students must be based in the New York City area to apply. Participants must attend all weekly program dates and be available to meet at Cooper Hewitt (2 East 91st Street, New York, NY 10128).
Annually, Groundswell engages over 800 young people, primarily aged 14 to 21, in the creation of upwards of 50 public art projects across New York City in partnership with community-based organizations, public schools, local businesses, and government agencies.
Each mural residency is designed and overseen by an experienced Groundswell Lead Artist, supported by an emerging Assistant Artist. Through hands-on artmaking opportunities, the mural team creates its own visual language and vocabulary of images, colors, and gestures. Groundswell’s professional artists are then responsible for integrating these visual ideas into a single mural composition, with its own artistic integrity.
Art Explore (Ages 12–14) - Discover works of art from around the world and make art inspired by your ideas and The Met collection. Attend one or all of the monthly sessions.
Teen Studio (Ages 15–18) -Unleash your creativity and experiment with materials in unexpected ways during these art-making workshops in the galleries and studios. Materials are provided.
Teen Fridays (Ages 15–18) -Come on over to The Met for Teen Fridays—the place to be creative, have snacks, and meet other teens with similar and different interests. Explore passions, ideas, and new activities. Drop in to:
join in teen-centered activities planned by teens
hang out and listen to music in a stress-free space
meet and collaborate with teens and creative professionals
get creative in an open studio: hone your skills and experiment with fashion, design, writing, performance, music, art, and more. For teens at all levels of expertise and interest.
Saturday Sketching (Ages 12–18) - Sketch in the galleries from works of art with the guidance of an artist-instructor. Thinking of applying to an art high school or college? These classes are a great way to experiment with different drawing approaches and build a portfolio. Attend one or all of the monthly classes. Materials are provided.
Career Labs (Ages 15–18) - Thinking about life beyond high school? Explore careers in the arts, hang with other teens, learn from creative professionals, and build your skills in special workshops. Attend six or more sessions and receive a certificate of participation.
Summer Programs (Ages 11–18)- Join us for in-depth special summer programs that tap into your talents and invite you to explore The Met collection.
Empire State Arts Scholarship Program - The intent of the scholarship program is to fill any remaining funding gaps after receiving tuition aid from the program itself. Individual grants will be issued as a percentage of the remaining tuition balance and will be dependent on family income level and financial need. Financial need is assessed using your current NYS Tax Return. If more applications are received than available funding, scholarships will be awarded based on the most financial need.
Arts programs can specialize in music, theatre, dance, creative writing, ballet, fine arts, design, and more.
It is recommended that students submit an application after they’ve selected and been accepted to an arts program. If a student applies and is accepted to more than one program, the scholarship will only be able to be used at one program. Scholarship funding is not available at the time of applying or registering to a program, funding is provided to programs directly after a student is enrolled and has its own timed process.
Upon completion of the application form, the student and their parent/guardian will receive an email communication from our office. This email communication will contain instructions on how to submit financial information, tax forms, and detailed information regarding the arts program you are applying to/attending.
NYSSSA In-Residency Program- Established in 1970, the New York State Summer School of the Arts Program has trained over 20,000 students since its inception. The In-Residency NYSSSA Program offers an immersive summer experience for high school artists. The 4-week summer program will take place at SUNY Fredonia and delivers robust pre-professional training, personalized coaching, and leadership development to qualified students across the state.