Especially for you Foundation Art & Design's programme leader Gabriela Boiangiu recorded a short video instruction on how to make a good portfolio.
Here is Gabriela's interview on the same topic given to BHSAD:
What is a portfolio?
Portfolio is a collection of images which would show the student's ability, creativity and personality.
Is it correct to say "a good portfolio" or "a bad portfolio"?
We talk about good and bad in terms of a format and organization of information in it, not meaning the mastery level of our potential students. Regarding the mastery of works, after the interview students might be recommended to attend the Foundation course or any of the other courses we run before Foundation'. Interview is not an exam. It aims at finding of a perfect fit for a student.
What are the requirements for a good portfolio?
First, we expect students to bring an A1 size portfolio which would include their original artwork, not only digital prints. A portfolio should contain at least 10 plastic sleeves. Works should be displayed on both sides, so, totally, it will be around 20 pages of works. There is no need to put sections and titles. The portfolio should speak visually about the journey, no need to make it clear to us, we do understand.

Second, students should make sure that in the portfolio they demonstrate a variety of skills. One of the skills we are looking for is the observational skills. Drawing from real life from looking at objects, or the landscape, or the portrait. It includes student's capability to use a variety of materials. For example, when recording the reality from direct observation, perhaps, they can use pencils, watercolors, acrylics and different mediums, such as collage.

The third thing for students is to show that they have passion for something. It is important how they put the skills in works they have done during the courses, at school, in teacher taught projects, but it is also important if students demonstrate something they've done of their real creative desire.

The last but not least, we are interested in how students are developing ideas. It might be little sketches and developments in the variety of techniques in the portfolio which show how a student come up with the outcome. We expect 9-12 small images of developing idea plus one bigger image of the outcome to show how they come from the initial idea to the outcome.
Do students need to bring a sketchbook in addition to portfolio?
Students should definitely bring in their sketchbooks. We expect to see at least one or two of A4-3 and A5 sizes. Sketchbook is a personal visual diary which should support some of the works in the portfolio. It should include some research, developments and little writings, kind of self-reflecting annotations. And of course in sketchbooks we are interested to see student's mistakes as well as fabulous works. We want to see that students can overcome difficulties, as we are not looking for perfect students. They come to us to learn, but they need to show us that they can learn from a journey.
Any tips you would like to share with students coming to a Portfolio review?
1. Bring your own portfolio even if it is not finished, even if it is something basic or just a sketchbook. Your work might not fit with the examples of works we are giving. This is fine, because we can't bring 20 different works. So if you bring your own work, we can advise you personally. Use this opportunity. Don't be just a spectator.

2. Show us everything you have done. Sometimes you can be wrong with self perception. You might think that you are absolutely rubbish in painting, and that might not be true. Let go your preconception of what you are good at. Let your weaknesses to be explored. Otherwise they will never be developed into something else. Even you have a completed portfolio, bring in your sketchbooks as well. They might be things there which are important but were not included as part of portfolio. You are relatively new to the creative world so allow our tutors to advise you. Even you have been advised by other tutors, it is important to show to us everything you've got. Even if it is not fabulous. For we can decide what is good and you might be surprised.

3. It is important for students not to focus only on the absolutely perfect work. We are interested to see mistakes as well, we are interested to see the journey. If you have a lot of interesting sketches, some of them could also be mounted and presented in the A1 portfolio.

4. Make sure you demonstrate artworks done through a rigorous process of research. For example, if you like an artist, who makes portraits, investigate, how did she or he do it, what techniques did he or she use. Did he or she draw from a random people from the streets? Did he or she invite relatives to pose in his studio? What are the stories behind his portraits? Try to do something similar to that. Then have a look at the second artist who has a slightly different approach to portraits. Try it on. If some ideas are not working for you, don't just drop them, reflect on them. Why didn't it worked for me, but it worked for the artist I was researching? This is quite an organic process of finding ideas.

5. Be themselves, don't stress out and forget the phrase "I don't know". When we ask students on how did they come to the outcome the answer should be an honest explanation of the story. Every artwork has a story behind it.
How important is the Portfolio review day?
Portfolio review is an important part of the recruitment process. On that day we give a presentation about the course and the quality of work students might be doing if they enter the course. But also we will show current portfolios from our students. And I think that this is really important that students come and see that. Because there is no substitute for meeting the tutors and current students in person, having a discussion and seeing live portfolios. All of that will give potential students a head start for the enrollment interview. And if anyone doesn't speak English we do welcome them. We will have Russian tutors and students.

Check out the date of the nearest Portfolio review on our website in «Events».
Examples of works for portfolio
Especially for you we gathered pieces from portfolios of students of Foundation Art & Design, Pre-Foundation Art & Design and Introduction to Art & Design. Use them as source of inspiration!
Portfolio development
Below are a series of creative exercises to help you develop your portfolio for your interview. These exercises have been prepared by the Programme Leaders for Pre-Degree Sean Kaye, Pamela McBain and Julia Stepanova.
Exercise 1. Draw a small object large

Make a series of 10 drawings of an everyday small object. For example, a pebble, a screw, a grain of rice, a button, a key, a coin, a screwed up piece of A6 paper, the top of a pen.

All 10 drawings should be made on A1 paper. All 10 drawings should depict the object at least 10 times larger than it actually is in real life.

Consider the angle that you draw the object from – how can you make the object look monumental?
Experiment with a range of different materials across the series of 10 drawings. Experiment with line drawing and tonal drawing across the series of 10 drawings.

  1. In five of the drawings you should draw the object so that 80% of the drawing is white paper. Experiment with the composition by locating the drawn object in different places within the paper on each of the five drawings.
  2. In four of the drawings you should draw the object so that 40% of the drawing is white paper. Experiment with the composition by locating the drawn object in different places within the paper on each of the four drawings.
  3. In one drawing you should draw the object so that it touches at least three different edges of the paper

Suggested materials: ink, charcoal, conte crayon, chalk, pencil, fibre tip pen – or a mixture from this list.

What is important is you follow the instructions for each drawing. Attempt each drawing with a specific intention – these are experimental drawings so enjoy the challenge!
    Exercise 2. A Repeated Journey

    Part 1
    1. You should plan and undertake the same 2 km journey a number of different times using different means of locomotion. Begin by walking your route. Then take the same journey again but this time you must not walk – this time you can run, cycle, scooter, or take a bus, tram or car. How does the same journey differ when undertaken at different speeds and by different means of locomotion?
    2. You must now take this route again but this time experiment with different ways of recording each distinct journey and each means of locomotion. Keep repeating these journeys in order that you test at least 3 different approaches to recording for each form of locomotion. Approaches could include:
    - Drawing
    - Photography
    - Video
    - Text
    - Collecting objects found on your journey e.g. tickets, leaflets, packaging, abandoned objects

    Attempt to record everyday details that are often overlooked, such as:
    - Repeated motifs
    - Textured and patterned surfaces
    - Typography and signage
    - Colours
    - Architectural details
    - Sounds Lighting – the time of day, going in and out of tunnels, the weather
    - Time and movement

    Consider viewpoint — the angle that you make a drawing, photograph or video from.

    Part 2
    The information that you have gathered on these repeated journeys is primary research. You must now process this research to develop a final outcome that presents the similarities and the differences of journeying the same route by different means of locomotion. Experiment with a range of different formats in order to determine the most appropriate visual solution. This could include:
    - One large single ground (piece on paper, textile or a combination) that includes multiple images that somehow contrast the different journeys.
    - An edited video
    - A series of images, this may be in a line, a book or an animation.
    - A book /zine – consider size and how is it folded.
    - An edited soundscape.
    Exercise 3. Sense of Contrast

    1. Print the Picasso 'Acrobat' and the Matisse 'Blue Nude' images out at 15.5 x 19 cm
    2. Cut seven pieces of cartridge paper 15.5 x 19 cm.
    3. Stick Picasso's 'Acrobat' on one and Matisse's 'Blue Nude' on another In five even stages, moving from left to right, you must change Picasso's 'Acrobat' into Matisse's 'Blue Nude'.
    4. As well as gradually changing the position of the figures you should also gradually change the colour of the figure from light grey to blue and the ground from dark grey to white.
    5. You will need to do a considerable amount of experimentation to achieve this successfully. You should present all the experiments that you undertook before making the final work as part of your portfolio.

    Henri Matisse 'Blue Nude'

    Pablo Picasso 'Acrobat'
    Exercise 4. Filmic Précis

    1. Pick a full-length movie of your choice.
    2. Watch it again and take careful notes.
    3. Attempt to deconstruct the film:
    - How does it begin?
    - How does it end?
    - Where is it set?
    - How many scenes/locations are there?
    - How many characters are there and who are the main characters?
    - How was it shot?
    - Which shots / dialogue are essential to the telling of the story?
    - Which shots / dialogue are essential to the style of the film?
    - What subjects does it deal with?
    - What is the essence of the film?
    4. Translate the full-length film into a three to five minute video without using any footage from the original movie. The form could vary from a series of drawings, photographs or collages shown in sequence to a single-shot video.
    5. Save the video as an MP4.

    Précis – a concise summary of the essential points.