What is a portfolio?
A portfolio is a collection of your work, which shows how your skills and ideas have developed over a period of time. It demonstrates your creativity, personality, abilities and commitment, and helps us to evaluate your potential.
When we assess a portfolio, the research and processes you have used to develop your work are as important as the final work itself. We are particularly interested in your most recent work, even if it is unfinished.
Portfolios for different levels of studyPortfolio requirements differ for Foundation, undergraduate and postgraduate courses. Make sure your portfolio is appropriate to the level you are applying for.
Postgraduate portfolios should demonstrate your ability to research through meaningful investigation, include reference materials and show your arguments to justify the result.
What should it contain?
The portfolio should contain examples of research, development of your ideas and final pieces. It might include drawings, paintings, sketchbooks, colour studies, materials investigation, design development (2D and 3D), construction, consumer and market information, written notes, design presentation sheets, or any other types of work you choose.
If you have 3D pieces you should photograph and present these within the portfolio and bring one or two physical examples with you if you have a face-to-face interview/portfolio review.
Should you include sketchbooks?
Yes. Sketchbooks show your research and help us to understand how you think. They form the background to the more finished work in your portfolio and, together, these tell the whole story of your creative journey.
How many pieces of work should it include?There is no limit, but you might need to transport the portfolio to an interview (if selected), so be practical. Five projects, plus sketchbook plans, is a manageable amount of content.
Do not include too many examples of one 'type' of work (for example, life drawing or painting); one or two of your best examples of each type is a good amount.
What size should it be and how should it be presented?
A portfolio can be of any size, dependant on what works for the content – A4, A3, etc. You should edit the work and compile the portfolio as a series of projects or studies. Keep the presentation format uncluttered and relevant. Avoid over decorating your portfolio as this can detract from the content.
By James D. Moran
For young children, a non-evaluative atmosphere appears to be a critical factor in avoiding what Treffinger (1984) labels as the "right answer fixation." Through the socialization process, children move toward conformity during the elementary school years. The percentage of original responses in ideational fluency tasks drops from about 50% among four-year-olds to 25% during elementary school, then returns to 50% among college students (Moran et al., 1983). It is important that children be given the opportunity to express divergent thought and to find more than one route to the solution.
Rewards or incentives for children appear to interfere with the creative process. Although rewards may not affect the number of responses on ideational fluency tasks, they seem to reduce the quality of children's responses and the flexibility of their thought. In other words, rewards reduce children's ability to shift from category to category in their responses (Groves, Sawyers, and Moran, 1987). Indeed, any external constraint seems to reduce this flexibility. Other studies have shown that structured materials, especially when combined with structured instructions, reduce flexibility in four-year-old children (Moran, Sawyers, and Moore, in press). In one case, structured instructions consisted only in the demonstration of how to put together a model. Teachers need to remember that the structure of children's responses is very subtle. Research suggests that children who appear to be creative are often involved in imaginative play, and are motivated by internal factors rather than external factors, such as rewards and incentives.
By James D. Moran
Creativity has been considered in terms of process, product or person (Barron and Harrington, 1981) and has been defined as the interpersonal and intrapersonal process by means of which original, high quality, and genuinely significant products are developed. In dealing with young children, the focus should be on the process, i.e., developing and generating original ideas, which is seen as the basis of creative potential. When trying to understand this process, it is helpful to consider Guilford's (1956) differentiation between convergent and divergent thought. Problems associated with convergent thought often have one correct solution. But problems associated with divergent thought require the problem-solver to generate many solutions, a few of which will be novel, of high quality, and workable--hence creative.
For a proper understanding of children's creativity, one must distinguish creativity from intelligence and talent. Ward (1974) expressed concern about whether creativity in young children could be differentiated from other cognitive abilities. More recent studies (for example, Moran and others, 1983) have shown that components of creative potential can indeed be distinguished from intelligence. The term "gifted" is often used to imply high intelligence. But Wallach (1970) has argued that intelligence and creativity are independent of each other, and a highly creative child may or may not be highly intelligent.
Creativity goes beyond possession and use of artistic or musical talent. In this context, talent refers to the possession of a high degree of technical skill in a specialized area. Thus an artist may have wonderful technical skills, but may not succeed in evoking the emotional response that makes the viewer feel that a painting, for example, is unique. It is important to keep in mind that creativity is evidenced not only in music, art, or writing, but throughout the curriculum, in science, social studies and other areas.
Most measures of children's creativity have focused on ideational fluency. Ideational fluency tasks require children to generate as many responses as they can to a particular stimulus, as is done in brainstorming. Ideational fluency is generally considered to be a critical feature of the creative process. Children's responses may be either popular or original, with the latter considered evidence of creative potential. Thus when we ask four-year-olds to tell us "all the things they can think of that are red," we find that children not only list wagons, apples and cardinals, but also chicken pox and cold hands.
For young children, the focus of creativity should remain on process: the generation of ideas. Adult acceptance of multiple ideas in a non-evaluative atmosphere will help children generate more ideas or move to the next stage of self-evaluation. As children develop the ability for self-evaluation, issues of quality and the generation of products become more important. The emphasis at this age should be on self-evaluation, for these children are exploring their abilities to generate and evaluate hypotheses, and revise their ideas based on that evaluation. Evaluation by others and criteria for genuinely significant products should be used only with older adolescents or adults.
2015 International Postcard Design Contest
Participating Countries: USA, China, Japan, France, Germany, Thai
Deadline: April 30th, 2015
Size: 20.5 X 10.5 CM
Awards: 8 winners out of 100 entries, including Gold, Silver, Bronze and Excellence. Each participant will receive an Honorable Certificate. All entries are not returned.
規格： 11’X 14’
EDI City Newsweek Children Drawing Contest
Deadline: June 30th, 2015
Theme: “If I Were Ten Years Older”
Age: 3-15 years old
(Age Group: 3-5 years old, 6-8 years old, 9-11 years old, 12-15 years old)
Size: 11’X 14’
Tel: (626) 856-3889
West California Academy of Art and Design strives to offer only the highest level of art education for your children!