On Wednesday, September 28, Antonio Peters from the Rhodes Island School of Design visited the Dunwoody campus and graciously provided portfolio reviews for members of the Dunwoody Art Club and other art majors currently taking studio classes at Georgia State University, Perimeter College.
During these reviews a number of comments were made repeatedly, providing us all with some great general advice about preparing portfolios for transfer.
“Dig the light back out.”
Oftentimes, lighting can be an overlooked aspect in our compositions. However, this is a key factor in the overall believablity of the spaces and subjects we depict. Being clear about where the light source is coming from and creating a purposeful and fully expanded hierarchy of values can ensure that you achieve a level of sophistication in your portfolio pieces. You can readjust the lighting in your existing works by digging the light out in the right areas.
“Don’t disregard the background.”
Like lighting, the background is sometimes given little consideration in foundations student work. A good way to increase the level of sophistication in your work is by carefully developing the negative space and background around your subject. Fully detailed and realistic scenes are not required, however, as simply using a colored paper can help alleviate some of these issues. By including the suggestion of a blurry ground or background details you can also suggest a feeling of place for your subject that will propel your work to a higher level.
Avoid too much repetition across your collective portfolio works.
While continuity between portfolio works is frequently stressed in advice to young artists, it is easy to risk not having the necessary variety which will demonstrate your overall range as an artist. Avoid using the same types of compositions in every work. Where is your focus in your pieces? What types of color harmonies do you use most often? Is all of your work seen from a distance or up close? Be considerate to switch things up from time to time while still trying to draw connections between your portfolio items.
Move from the static to the dynamic.
Central compositions with straight-forward eye-level perspectives can be exceptionally boring at times. Try mixing things up by exploring different angles and eye-levels in your work and include a variety of perspectives that include both up-close and distance views. A deeper look at contrasting applications of definition, lighting, line work, color, etc. can do wonders for pepping up unexciting works.
For students wishing to pursue careers in animation, film, game development, etc., Antonio stressed how important it is for portfolios to provide evidence of in depth exploration of motion and emotion. Character studies using gestural lines which stress active mid-motion poses rather than static sitting or reclining postures is essential. Looking at developing a range of emotional expressions is also key.
“Give your viewer room to rest their eyes.”
While trying to develop more complex compositions it is easy to over do it. Creating visual pathways in your compositions can provide an easy way for your viewer to navigate your work and the key elements that you’ve included without getting overwhelmed. What is your view drawn to first? What do they look at next? How do they move around your piece? Pathways are created primarily by manipulating the lighting in your work; however, emphasis on the use of definition can also help engage the viewer in this way. Be careful to strive for clarity in this pathway by avoiding discordant points of emphasis which chaotically cause the viewers eye to dart back and forth across your composition – “give your views room to rest their eyes” so that they can enjoy the journey that you’ve taken them on.
“You have that, now. What’s next?”
Investigate the potential of alternative media use and mixed-media approaches to common imagery or themes in your portfolio. Combining these aspects can help create pivotal works that tie together the other works in your portfolio while also showing your range as an artist. There are no rules stating that your portfolio has to use specific media or even specific methods (such as traditional or contemporary) Consider using new media and processes like cut paper, digital sampling (of everything from walls, plants or even arm hair), etc. – “Have you considered making it into a lamp?” Antonio advises you to “get in there, use your hands, get dirty, and don’t be afraid!”
“Find your voice – who are you?”
One of the most critical things Antonio went over was the importance of finding your own unique voice in your portfolio works. He asked the question: “If you lost your portfolio at a bus stop and someone found it – what would the be able to learn about you both as a person and as an artist?” Breaking away from referencing the work of others (as in traditional Master’s Studies, fan art, etc.) is an important part of this. While these types of works are great ways of learning your craft, they limit your individual artistic voice and say little more about you as an artist than what you’re capable of doing technically. At a certain point, you have to take the leap into new (and sometimes slightly scary) territory.
Many thanks to Antonio for his time, compassion, and wisdom! It has been much appreciated by everyone who participated. If you didn’t get the chance to participate this year, Antonio is looking forward to returning next fall to see what we’ve all been working on and you’ll have the opportunity to pick his ear again.
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