Over the years we have visited your classroom and you have requested examples of Memphis College of Art's talented students. It is our pleasure to share with you and your students these works to use as a resource in your class and enhance your personal work.
For additional sketchbook ideas, please contact us for our new sketchbook poster and “The Complete High Schooler's Guide to Organizing Your Portfolio”. As a leader in art education, we want to assist you and your students’ endeavors in the best way we can.
Please contact us for a teacher packet, sketchbook poster and portfolio guide by emailing us at info@mca.edu or call us at 1-800-727-1088 or locally at 272-5151. We would love to add you to our mailing list and keep you updated on all upcoming events. Please fill out the information card below and hit submit! We look forward to hearing from you soon!
What's the best way to show off your work to a college - for admissions and scholarship consideration? This brochure is designed to give you some advice that should be helpful in getting your work together and presenting it for entry into the school of your choice and for scholarship consideration.
What should you include?
It may be easier to start with what not to include...old
work should not be considered since your most recent work will
usually be your best. Try to choose from work done in the past
two years (three years at the most). At Memphis College of Art,
we ask to see ten to twenty examples, include on the high side
of that if you have enough to choose from (check specific requirements
at the schools you're applying to). But also try to think quality,
over quantity! In other words, don't include more work for the
sake of having a lot to show, be sure you're still choosing from
your best. We recommend not including any of the following: Viking
warrior men or women, unicorns or other mythological creatures,
anime cartoons or any other over used imagery - whether copied
or original, copies from magazines, or portraits of celebrities.
Even if that's what you might prefer to draw, colleges look for
a different type of original work. (Keep in mind, however, that
nothing is absolute - if you're interested in illustration and
want to submit one or two representations of work from reference
material, limit this to one or two. The bulk of your portfolio
should be drawing from direct observation.)
What is the admissions
committee looking for?
When we suggest drawing from direct observation,
we mean looking at three-dimensional objects and translating
that to the two-dimensional surface of your paper or canvas.
Draw still lifes, portraits, self-portraits, landscapes or cityscapes
from life! When you draw from a photograph, half the work has
already been done for you. The composition has been laid out
and your values captured by the camera. It is important that
you learn to visualize these things on your own. That's why we
encourage drawing from life. You may also like to draw from your
imagination, but again, schools are going to want to see the
direct observational drawing to look at your ability to see and
make the translation of imagery from life to your 2-dimensional
surface. It's more difficult to draw from life and may be frustrating
at first but as you strengthen your visual skills you'll see
a remarkable improvement. Self-portraits are a wonderful addition
to your portfolio. Admissions committees can get some insight
into you - also you can be your own best model, always available
when you're ready to draw–from
a mirror.
The next most important thing to keep in mind is variety. Varied subject matter, media, scale, techniques, even working methods. This will show that you are not afraid to experiment with new ideas, techniques and materials. You shouldn't be locked into any particular style yet; you'll want to show flexibility and diversity. Some color work, along with your black and white drawings will really add strength to your portfolio. Although you do want to show variety, you don't want to do that at the sake of adding something in an unfamiliar medium. Don't show the first watercolor that you ever attempted. Practice will make you comfortable and more proficient in your media and techniques. Some of your pieces can be carefully rendered while others may be quick studies, contour line, or gesture drawings that take less time. Both are appropriate to include.
If you are considering a career in graphics, illustration, photography
or another specific discipline, you may submit a few pieces from
those areas. In graphics, where craftsmanship is so important,
pay careful attention to your lettering, your layout and your
design. The concept is just as important as the final pieces;
both should be carefully executed. Illustrations often require
working from reference material and not direct observation. Illustrators
do work from photos to create images that a camera can't capture.
This is one of those exceptions to the rule where your work may
not be solely from life–but don't forget that the bulk
of your portfolio should be.
Other important considerations:
Interesting subject matter with varying textures or focusing
on and enlarging an area of a still life can lend interest
as can cropping an object off at an unusual angle. Concentrating
on a series can be interesting as well–it also shows
an admissions committee that you can take a problem through
several alternative solutions. You might explore the use of
one subject with varied media or a series of one technique
with varied subject matter.
Composition is important. Try to avoid the typical composition
of an object stuck in the middle of the paper. Consider placement
before you start your piece–don't leave it to chance. Do
preliminary sketches or thumbnail sketches; from these choose
the composition that you find most interesting. Letting your
image run off the edges of the picture plane can break up the
negative or background space. Be sure to show a full range of
values in your drawings, whether you're working in black and
white or color. It is important to show value contrast which
is achieved by making your shaded areas very dark and your lighted
areas very light. Consider your background as important as the
imagery in your drawings as well. You can ruin a good piece by
concentrating on the image and quickly treating the background
to get it done.
What should I draw?
You should never lack for
ideas about your art (what to draw or what to try next). Explore
other artists' work by looking through current art publications
such as Art in America, Graphis, and by visiting galleries to
see what contemporary artists are doing or by going to art museums
and reading art history books to see what artists before you
have done. Not only can this be inspirational, but you can apply
some of these ideas to your own work.
Presentation
Presentation of your work will speak of your craftsmanship and
professionalism. It's like going on a job interview—you
want to make the best impression possible. Take pride in your
work and in how you present it. Keep it stored in a safe, clean
place—not under your bed or in an attic collecting dust.
A portfolio case can be purchased at any art store or you can
make a case with two large pieces of cardboard taped together.
Once you've made decisions about which pieces you plan to include
in your portfolio, clean them up as much as possible. It is
not necessary to mount, matt, or especially, frame your work.
If you choose to do so, simple is the best. Don't use colored
matts– they detract from your drawing which is what you
want to be most obvious. Nothing should obscure it.
It is not
required but you may consider covering your original pieces
with acetate mounting and/or shrink wrap. Not only does it
look good, but it keeps your work clean and helps protect it
from damage. Ask for shrink wrap or acetate at an art supply
store. Make sure your name is clearly marked on all your pieces–back
or front–and on the outside of your portfolio.
What about
slides or submitting work electronically?
Never give your work away or sell it without first documenting
it by taking a photograph or a slide. Slides are a good choice
as they will reproduce your work well, but they can be a lot
of work. Mark your slides with your name, the name of the piece,
medium, the size, and an arrow showing the top of the slide
for work where this is not obvious. You may also include a
description sheet along with your slides detailing assignments
and other information you feel the committee should know about
each piece. Slides should be focused on your work not on the
background–focus in on the image as close up as possible.
The easiest way to take your own artwork on a black cloth that
is covering a large chair (always use a neutral background),
place your work out of direct sunlight but in a light area,
and shoot. Be sure to take off the glass or acetate before
taking a slide.
Three-dimensional work, sculpture or ceramics,
or any work that is not flat, should be submitted in slide
form. You should include no more than two views of the same
piece. Remember if you are applying to more than one college
(and you should be) the deadlines often overlap, which means
you will probably need to take slides. Take your slides early
because you must have time to see if your film was exposed
correctly before you part with your work. Too dark or too light?
Do them over! It is less expensive to take several shots of
the same image if you want duplicates than to take one shot
and ask the processing lab to make duplicates for you. If you
need more help with making slides, call us for a copy of our
brochure, "Recipe for Good Slides."
The easiest way to submit work is in a digital format by taking
digital photos and submitting them on formats such as CD, email,
or on a web site. Check ahead to find out which format is best
to submit digital work in (i.e. jpeg). If you are attending a
portfolio day, you will be required to provide the equipment
necessary for viewing your digital work such as a lap top computer —including
your power supply.
Do you work on art each day?
A great way to get a feel for what art school is like is to keep
a sketchbook now. Working in a sketchbook is a good way to
keep your art–and your ideas about art–with you
at all times. Memphis College of Art's admissions committee
really likes you to submit your sketchbook as one of the pieces
in your portfolio. This tells of your thought processes and
ideas and shows that you do work on your art out of class.
Your sketchbook should be complete–all 100 pages. Now
if you wrote a grocery list on one page or so, that's fine,
Picasso did that in his sketchbook, too. (To see Picasso's
sketchbook, you could go to a library or bookstore and ask
for Je Suis Le Cahiers–that may give you some other good
ideas.)
How should you submit your work?
If you are planning to mail your portfolio, it is important to
package it in a sturdy box. Your local U-Haul or Mayflower
moving company has mirror boxes that are just perfect for mailing
portfolios. Of course, you should not submit pieces that are
under glass because of breakage. But protecting your work is
a good idea. If you have mailed your work to us, we will U.P.S.
it back to you, C.O.D., insured. If you're sending slides,
buy a plastic slide sleeve at a photography store; it holds
and also protects your slides. Remember to mark each slide
with your name and an arrow showing the top of the slide. If
submitting images of your work by slide, or electronically,
you’ll want to send a description page describing the
medium you used, the dimensions of your work, and the year
the piece was completed. Many schools, including Memphis College
of Art will look at your portfolio during a portfolio review
event and can accept the portfolio component of your application
at that time so you won’t have to send materials later.
Where
can you get help?
One great way to get more help with your
portfolio is to come to one of the National Portfolio Days (for
event dates go online to www.npda.org).
These are hosted at colleges and universities across the country,
so there is bound to be one within driving distance to you. Schools
such as Memphis College of Art, Parsons, Rhode Island School of
Design, Milwaukee Institute of Art and Design, and Art Center in
Pasadena participate. National Portfolio Day is a time when Admissions
representatives and faculty members will talk with you about your
work and about their school's programs. Each of the schools represented
at National Portfolio Days is accredited by the National Association
of Schools of Art and Design (NASAD). This is the only national
professional accrediting agency for educational institutions in
the visual arts recognized by the Council on Postsecondary Accreditation
and the United States Department of Education. Check to see
if the college or university you are considering is accredited
by NASAD.
In addition to National Portfolio Days, Memphis College
of Art offers and excellent opportunity for you to have your portfolio
reviewed at our Weekend Workshops. We invite high school sophomores,
juniors, seniors, college students considering transfer, art
teachers, and parents to visit the school. The day is filled
with working in the studios with our faculty, learning about
portfolio preparation and careers in art, talking with instructors
about your own artwork, meeting our students, touring the facilities,
and answering your questions about college.
Weekend Workshop dates
Memphis College of Art for 2008 are:
Saturday, February 19, 2008
Saturday, March 29, 2008 from 10am – 4pm
Call us to register:
For more information about applying to Memphis
College of Art and submitting work,
call Annette Moore, Director
of Admissions, at 1-800-727-1088.
In Memphis, call 272-5151.
Or write to: Memphis College of Art,
1930 Poplar Avenue, Memphis, TN 38104-2764.
E-mail us at info@mca.edu.
After students have spent a good deal of time
learning linear perspective and drawing from observation, which
usually involves still life, it is time for a challenge. Drawing
a human head offers plenty of complexity without overwhelming
them with a full figure. I think it is best that students work
from a sitter however a self-portrait from a mirror will also
suffice. Have them work from a three-quarter viewpoint and include
whatever is in the background.
Students should draw the head using
only lines and employ a ruler in the drawing of all lines. Using
the ruler should simplify the student’s line work and emphasize
the planes of the head and facial features. The block-like reduction
of the head should allow students to relate the head to perspective
and focus on proportion and volume. Emphasize to them that this
problem is about volume, not likeness.
Materials:
Click here to view information on the Alliance for Young Artists and Writers