FIRST IMPRESSIONS COUNT
This guide is designed to assist you in selecting and arranging material for your portfolio, preparing a piece of written work and presenting your work and yourself effectively at the interview. Pages 5-8 focus on hardcopy portfolios and pages 10-13 give advice about presenting some or all of your material digitally. Each year, we see similar work from applicants submitting coursework that responds to the same brief set by the same exam boards. By tackling each project with a distinctive approach, you can set yourself apart from other applicants. Using a wide range of influences, techniques and perspectives, as well as your own experiences and attitude to your work, will help you develop something unique. It makes a big impact on the selection panel and generates more meaningful conversations at interview.
1 Zoe Alleyne BA (Hons) Fine Art
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BEFORE YOU GET STARTED
To help you stand out, you should consider the following areas: Interesting ideas - your unique approach to developing ideas and response to briefs and projects can be a way to distinguish yourself. Risk taking - one of the key components of a creative individual; be brave and challenge yourself to step outside your comfort zone or to try new techniques, ideas, materials or collaborations.
Projects - include things that you are truly passionate about, the projects that take up your spare time: influences, travel, work experience, hobbies, competition entries, showcases. If you get excited talking about them, we will be interested to hear about them. A combination of these factors will ensure that you are memorable for the right reasons.
Will Reyes BA (Hons) Graphic Communication
THE FUNDAMENTALS Be consistent and clear. For example, using a theme or colour scheme will tie your portfolio together; but don’t pick something too distracting from your work. Labels should be neat, consistent and act as a secondary encounter. Avoid anything longer than a sentence, which is particularly tempting on websites. Use the layout to narrate the story of your work and show how ideas were developed. If you are using digital files, will the interviewer know which order you want them to view your work? Avoid repetition. Too much of the same type of work will give your audience the impression that your ideas or techniques are limited. Think practically. Is your work too heavy or delicate for travelling? Do you need specialist software? Is your laptop or tablet fully charged? 3
Remember... put your name on your portfolio so we know whose work we are looking at. Mary Gibson BA (Hons) Fashion
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THE WRITTEN PIECE By asking for evidence of your written work we are looking for academic writing skills, critical analysis and reflection, and originality of thought. This might be an essay, report or research thesis completed as part of your course. Alternatively, you might include a creative journal or a blog.
Relate it to the course you are applying for, such as a critical review of a game for BA Games Art and Design. This will show a deeper understanding of your subject area. All written work must be in English. If you are submitting your written element digitally, send it via email as a PDF file.
It should be 500 – 1,000 words. Remember... your written work is likely to be discussed during your interview so make sure it is something that you are confident and passionate about.
Ben Taub BA (Hons) Graphic Design
HARD-COPY PORTFOLIOS If you are attending an interview on campus or at an overseas event you should aim to bring work in its original form, particularly for Art and Design subjects. It can come in varying sizes and presentation methods: Portfolio folders - ideally A3 – A1 Photography boxes - such as Solander or Archive Box Creative presentation options - keep it relevant to your practice and medium, i.e. a garment protector for a fashion portfolio Remember... a portfolio should always complement your work, not distract from it. 5
Tania Cimatti BA (Hons) Illustration
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THE CONTENTS OF A HARD-COPY PORTFOLIO We will be looking for evidence of experimentation and an understanding of materials and concept. Include 20 – 30 pieces of your strongest work. Select relevant and current work. This can also include work in progress. Include work you created outside your comfort zone. Show you are experimental and prepared to push yourself. You may include drawings, paintings, collage, photography, prints, models, maquettes, textile samples or other media as long as it complements and highlights your subject area. Remember‌ quality should be prioritised over quantity. Jessica Clarke BA (Hons) Fashion
THE FINE DETAILS Plastic sleeves It is important to consider whether plastic sleeves suit your work. If your work is textured and has a tactile quality to it, you may want the viewer to interact with the work unobstructed. Plastic sleeves work well with 2D work such as graphic design or photography. Photography Photographs and images of large scale sculptural work or of delicate or detailed items are welcomed. Capture work from a number of angles to show intricacies of any 3D work. If you have exhibited your work in galleries, museums or shops, you can also include these images. 7
Remember... show your understanding of your audience by giving some context to the photographs, such as a sense of scale, location and atmosphere. Matthew Sawyer BA (Hons) Architecture
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THE SKETCHBOOKS Sketchbooks offer the interviewer a chance to deepen their understanding of your practice and creative processes.
Sketchbooks should show project development including artist/design influences, sketches, research and planning.
Bring no more than two to three sketchbooks to the interview.
Drawing is a fundamental skill to most courses at NUA so include observational drawing and experimentation.
Remember... be prepared to talk about a number of relevant artists, influences and projects you have worked on.
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THE PORTFOLIO CHECKLIST Put your name on your portfolio Ensure the portfolio is tailored to the course you are applying for Spend time selecting work you are passionate and confident about Include high quality images and photographs of your work Think of the narrative of your portfolio and how it is composed Include your written work and sketchbooks If you are applying for more than one course, tweak your portfolio after each interview to ensure it best fits the course Remember... the most important part of the admissions process is that you let the work speak for itself and to be proud of your practice. 9
Grace Lawrence BA (Hons) Animation
DIGITAL PORTFOLIOS Digital portfolios are a necessity for all students based outside the UK but can be submitted by any applicant. These can be used for interviews in person and for meetings over Skype. We recommend that digital portfolios are submitted via a personalised website or blog (Wix.com, Weebly. com) or via a staging site (Prezi, Vimeo, YouTube). Where possible, have a backup plan, such as USB drives, image sharing sites, or PDFs of your work. Emailing examples of your work as an attachment is discouraged due to inconsistencies across email providers, which could affect the quality of the image / video or the size of your files may be too big to send. 10
Remember... drawing is a fundamental skill across our courses, including media-based degrees. This may be evidenced through concept development and design, storyboarding, observational drawing and 2D animation. Emma Bødker BA (Hons) Illustration
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CONTENT FOR DIGITAL PORTFOLIOS Students applying for NUA’s media-based courses will need to demonstrate a combination of skills and understanding towards their discipline. You may wish to include some or all of the following: A show reel of animation or film work 2D and 3D animation and games design concepts Character design and level design Scripts, short stories or story boards Sound design Scenes where convincing and undetectable alterations have been made (for BA (Hons) VFX)
BA (Hons) Animation showreel
THE FINE DETAILS OF A DIGITAL PORTFOLIO Experimenting & Editing A digital portfolio should show off your creative process, technical skills and ability to tell stories. This can include video editing and sound design with interactive software and special effects – e.g. flash/HTML5, coding language and open source game engines.
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Know What is Expected Check the specific requirements for each interview (timings, type of work and presentation equipment). For example, BA (Hons) Film and Moving Image Production at NUA want to see an uncut piece of narrative (no longer than five minutes), while the other media-based courses like to see compilation show reels. Mike Tomek BA (Hons) Animation
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THE DIGITAL SKETCHBOOK It is important to showcase an understanding of your field and your influences. This should be done through a digital sketchbook or scans of hard copy sketchbooks. Include information about relevant designers, directors or animators who influenced the way you work. Include concept development, whether it is a work in progress or finished piece.
Remember... use high resolution images of work. Do not risk letting poor quality images distract from your work.
Any projects you have worked on outside your taught subject area, e.g. design briefs, competitions or collaborations should be also be included. You can submit links to websites or blogs, along with scanned or photographed sketchbook work or research files. Liam Gathercole BA (Hons) Games Design
THE PREPARATION Once you have considered the presentation of your portfolio, make sure the work you have selected best reflects your creative practice. Ask family, friends and teachers to look through your portfolio and to suggest improvements. Use your portfolio as a talking point. Adding work you have created outside school or college, such as through work experience, exhibitions or any press articles, will give the interviewer an insight into your character and make you stand out! The work should speak for itself but be prepared to answer questions about the development and creation process. Remember... being proud of your work is different to being protective. If you have asked for someone’s opinion, try not to take it personally if they respond with honest, constructive feedback that you were not expecting. 14
Tara Peak BA (Hons) Animation
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THE INTERVIEW
Likely questions that may be asked during your interview: Why have you chosen Norwich University of the Arts? What do you know about this course? What informs your creative decisions? Who/what inspires your work? What are the strengths of your work and where would you like to improve? Are there any projects in particular that have been important to you, if so why? What galleries, exhibitions or festivals have you been to?
Remember... even if you are nervous, smiling and making eye contact will help you make a positive impression.
What is your understanding of the relevant industry/jobs market? Where do you see yourself in three years’ time? Do you have any questions for us? (Always have something prepared) Rachel Johnson BA (Hons) Textile Design
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THE INTERVIEW CHECKLIST Make sure you know the correct time and date for your interview
Remember... this is an opportunity to find out whether NUA is right for you. Prepare questions for tutors to show that you are interested and keen.
GOOD LUCK!
Research how long it will take to get to NUA and travel options, allowing for delays Prepare for likely interview questions by rehearsing with friends, family and teachers If you are being interviewed by Skype, ensure you are in a quiet, well-lit room where you will not be disturbed Dress in the smartest version of your everyday self; you should look and feel presentable and comfortable Make sure the presentation equipment is compatible and available, particularly for digital portfolios If you have any other questions or require subject specific advice please see the NUA course pages or contact: studentrecruitment@nua.ac.uk or call 01603 610561
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Sami Hogg BA (Hons) Fashion
Detailed course specific advice can be found by visiting www.nua.ac.uk/portfolio You can download the Aurasma app or visit our website to watch our short video to find out more.