<p>Well the thing I can tell you is the most important is that regardless of whatever major you are interested, INCLUDE ONLY YOUR STRONGEST WORK. A lot of people want to include this painting to show they have done oil or another piece to show they have worked in color, but your portfolio should always consist of only your best work. If it is not up to par with the rest of your work, do not include it. Your portfolio is your first impression. A bad piece with a lot of good ones can ruin that effect. </p>
<p>Second, for the most part, I can tell you that most colleges want to see conceptual and technical work. Conceptual being anything that you are interested in, especially work that is conducive to your major. This means any fashion sketches, character designs or etc. Colleges want to get an idea of what you would be interested in if you go their school. Nevertheless, you don’t need to have work included that applies to your major if its not good or up to par yet. Most animation majors don’t enter undergrad with reels. Just show your potential. Show what you can do. Your technical work should show your skills. Don’t include a bad figure drawing just because you want to show you did it in highschool. Show your strengths. If you are good with still-lifes, include them. If are an awesome painter add those. But your technical work should always be showcasing your strongest skills.</p>
<p>Now how much technical work and conceptual? To be honest, do not try to separate them by a specific number. I like to think of it like when your seasoning something to taste. You should be able to look at your portfolio and be like oh it needs a little more conceptual stuff or more paintings or stuff like that. Look at how the work goes together. NPD and research on accepted portfolios can be really useful in telling you what each school is looking for. From my experience, SAIC leans more conceptual and less figurative (though they respect good work for being good work), RISD wants to see your personal voice as an artist combined with strong technical skills, MICA wants to see your personal voice a little more than RISD, and etc. I applied to eight schools last year and I can honestly say I used the same portfolio for at least 5 schools. Some schools are outliers (like SAIC or CalArts) but for the most part most schools want to see the same thing so after you get that right formula down, you can mass send them out in Slideroom. </p>
<p>The next thing I work focus on after you have your conceptual work is that you don’t just want a bunch of random illustrations (though that’s is fine too) but you also want to show in your portfolio that you can build an idea. This is why AP Art can be so useful. Your concentration asks you to do just that. I’d have at least 3 or 4 pieces (or at least 2) that explore a common idea. Doing so will make your portfolio stronger and leave a better impression. </p>
<p>And the last thing I would include (and some schools ask for them) are sketchbook pages. Art is as much about the process as it is about the final product. Drawings from life, character designs, thumbnails, writing, doodling, experimentation, are all great things to see in a portfolio. And if you have a page or two that show thumbnails or sketches you did for a work you have in your portfolio thats even better. 2 or 3 pages from a sketchbook or even one really awesome one are totally game to put in your portfolio.</p>
<p>The best way to make a good portfolio is to look at a lot of good portfolios. There is a thread in this forum for portfolios and Conceptart.org has an extremely long thread of accepted portfolios as well. NPD will also be really good in helping you determine your best work. I had one reviewer who would smile at some pieces and flip through others. Guess which ones I included? Having an art teacher or another art friend look your portfolio is helpful. And don’t be afraid to call up a school to ask whether they can give one over email or by phone. I’ve had some reviewers offer to do that. </p>
<p>All in all, a good portfolio should tell that admissions person who you are as an artist now and what kind of artist you can become. Your technical work and conceptual work should branch together and work cohesively as well. I once was at a portfolio review where a student asked the reviewer which paintings should she choose. She had two paintings in one style and one in a completely different one that did not seem like the same person made the other two. The reviewer told her to take that one piece out. When you have everything photographed scroll through it. Is this the impression you want to make? Are you showcasing all your skills? And most importantly, is this your best work? If you do all that, you should be able to send a similar portfolio to a bunch of places.</p>