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The Royal Academy of Arts, located in the heart of London, is a place where art is made, exhibited and debated.

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The Royal Academy of Arts, located in the heart of London, is a place where art is made, exhibited and debated.

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The Nation's Gallery. The story of European art, masterpiece by masterpiece.

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ICA | ICA - Institute of Contemporary Arts

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The ICA puts on club nights and film festivals, gigs and exhibitions, talks and digital art - with interplay and interaction at the core of all we do.

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One of the world's leading contemporary art galleries, White Cube has spaces in London, Hong Kong, Paris, New York and West Palm Beach.

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Whitechapel Gallery - The artists’ gallery for everyone

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Exhibitions, Talks & Events, Whitechapel Gallery Archives, Education, Limited Edition Prints, Films, Publications, Documents of Contemporary Art

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The Serpentine Galleries are among London's most popular art venues showing modern and contemporary art. Free admission.

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What's on? Now Upcoming Past About Story Art since 1985 Patrons Story OUR HISTORY Since 1985, Saatchi Gallery has presented contemporary art exhibitions showcasing the work of emerging artists. Exhibitions which drew upon the collection of Charles Saatchi, led to Saatchi Gallery becoming a recognised authority in contemporary art globally.

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Artworks, films, articles, biographies, glossary terms and more. Explore Tate's growing collection of British and international art, and our archive of sketchbooks, letters and photographs.

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London Art Galleries - Museums Exhibitions - Time Out London

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Find listing information for the best London art galleries as well as reviews of the hottest art and museum exhibitions.

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A2 Art students are required to produce a detailed Personal Study (previously known as the Related Study for CIE students). The Personal Study is a critical and visual appraisal or theoretical study of any aspect of the visual arts. It is usually an analysis of art or design that focuses on one or both of the following:

Process and materials (the way an artist or group of artists use/s media);

Subject or theme (the way an artist approaches a similar topic, generally with reference to composition, technique and the visual elements - line, texture, space, colour etc).

It may or may not relate to your AS or A2 Coursework, although a link between the two can be helpful. (This is a new requirement - it used to be that the Personal Study had to relate to Coursework).

Whatever topic is chosen, students must have first-hand access to at least some of the art or design work analysed in their study. It is also beneficial to have access to sketches, planning, incomplete and finished works, so that students are able to understand and illustrate the art-making process. Please read how to select a great A2 Art Personal Study topic for more guidance with this.

Students are required to submit:

1 x Personal Study (max 3,500 words, maximum size A1). It may be presented in any appropriate written and/or practical format, including an illustrated formal essay; a structured sequence of annotated art or design work; a presentation of slides; VHS video footage; digital or multimedia presentation (these must be backed up by hardcopy). The Personal Study must include an:

Introduction

Conclusion

Bibliography

Prior to beginning the Personal Study, students should submit a Outline Proposal Form, which details: intentions (the focus of the Study); sources for first-hand study; sources of other information; bibliography; and your teacher's comments.

A2 Personal Study assessment

The A2 Personal Study is worth 40% of your A2 Art course and 20% of your final A Level Art grade. It is externally assessed (i.e. marked by CIE examiners). Most countries send the Personal Study to Cambridge University to be moderated; other counties, like New Zealand, are lucky enough to have the examiners travel to them.

The Personal Study is given a single mark out of 100, using the following criteria:

Personal Study presentation ideas

CIE gives the following recommendations:

If a balance of visual and written analysis is presented it should not exceed 3500 words. Alternatively, a carefully structured sequence of annotated drawings, paintings, photographs, prints or three-dimensional objects may be presented in any appropriate format. A carefully-ordered slide, tape or video presentation or any combination of written or recorded analysis with any possibility of graphic presentation is also permissible. An introduction, a conclusion and a bibliography are expected to be included in each type of presentation.

In other words, virtually any format is acceptable. Formats that have not been specifically mentioned above include a mounted display or an onscreen presentation, such as a PowerPoint, blog page or vlog (as long as examiners travel to your school for assessment and there are facilities for setting up computers in the moderation and assessment area when the examiners arrive). If you are contemplating a digitally displayed presentation, it is best to seek advice from the examiners prior to beginning your study.

The best personal studies are those that are visually appealing; show artistic and literary skill; communicate a message clearly; and visually complement the artist/s or designer/s studied.

The Personal Study is a substantial project, which cannot be completed at the last minute. Every aspect of the study should be carefully researched and organised. Students must plan and consider the content, order and structure of their study, as well as the presentation methods, including, for example, how they will integrate text and image, as well as selection of font style and colour (the examiners must be able to read the text clearly - if there is any doubt about this, send a typed copy of the text with your submission), text alignment, page format, paper colour and weight, column widths and so on. Illustrations should be exceptionally high quality, relevant to the topic and selected carefully. It is advisable that many of these are hand-crafted or photographed by the student themselves, rather than the majority being second hand images sourced from the internet. Tactile, textured paintings are likely to be better displayed in the flesh, whereas photographic or graphic work may suit a digitally created presentation. Those who are able to create beautiful video footage of an artist working might consider making a DVD. It is worth noting here that while the presentation should be exciting, beautiful and visually interesting, a wildly unusual presentation style is not always necessary - a beautifully composed 'book' presentation is more than capable of achieving 100%.
Image (above right) sourced from Tom Wood.
A Level Art Personal Study examples

Below are some examples of some ordinarily presented (yet beautiful) sketchbook layouts, as well as some more creative Personal Studies. I am actively looking to illustrate a wider range here. If you have or know anyone who would be willing to share their work on this website then please read our Featured Art Project submission guidelines.
An A2 Painting / Fine Art Personal Study by Jennifer Neeve from William de Ferrers School: An A2 Painting / Fine Art Personal Study by Nikau Hindin of ACG Parnell College: A CIE A Level Art Personal Study by Tirion Jenkins from YMCA of Hong Kong Christian College: An A Level Art Personal Study by Elizabeth Nicholson from William de Ferrers School: A Personal Study by Scott Robinson from William de Ferrers School: A Personal Study by Yantra Scott from William de Ferrers School: Digital presentation (below right) by Martyn Littlewood:
Note: This article relates to the A2 Personal Study, Component 4, CIE 9704 A Level Art and Design - the International version of A Levels, assessed by the University of Cambridge. Information is sourced from the CIE A Level Art and Design syllabus. It is hoped that the examples of student work will also be of value to students studying A Level Art under other examination boards.

Did you find this article helpful? You might be interested in reading:

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A2 Art students are required to produce a detailed Personal Study (previously known as the Related Study for CIE students). The Personal Study is a critical and visual appraisal or theoretical study of any aspect of the visual arts.

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Last Updated on September 14, 2023

What should be in an art school application portfolio? How do you present a portfolio? What gives you the best chance of being accepted by the art school of your dreams? This article explains how to make an art portfolio for college or university and is packed with tips from leading art and design school admissions staff from around the world. It is written for those who are in the process of creating an application portfolio for a foundation course, certificate, associate or undergraduate degree and contains advice for specific art-related areas, such as Architecture, Fine Art, Graphic Design, Illustration, Interior Design, Animation, Game Design, Film and other creative, visual art-based courses. It is presented along with art and design portfolio examples from students who have recently gained acceptance to a range of art schools from around the world, creating a 9,000 word document that helps guide you through the application process.

What is an art school application portfolio?

In addition to meeting academic requirements, Art and Design Schools, Universities and Colleges typically require a practical art portfolio as part of the application process (this is often accompanied by a personal statement and/or an art school interview - more on this soon). So what is this?

The University of the Arts London gives the following definition of an application 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.

Just as every art student is different (with individual strengths, experiences, passions and ideas) every art school has different requirements and expectations. While some universities and colleges have strict criteria when it comes to preparing a portfolio, others are open and flexible. This variation in expectations can leave students uncertain about how to proceed. Even when criteria is clear, applicants may feel overwhelmed and wonder what to draw/paint/make/create, which mediums to use and how to best select and present their work.

Producing an art portfolio is not to be taken lightly. Top art schools often accept very small percentages of applicants. Understanding how to produce a great portfolio is crucial. Although it is impossible to generate a list of criteria that are appropriate for all applicants in every circumstance (there is unfortunately no guaranteed magic formula for creating a winning art portfolio) this article highlights tips from experienced admissions staff and makes general recommendations to help you produce the best university or art college application possible.

A step-by-step guide to creating an art portfolio for college or university

1. Research carefully and record the art portfolio requirements for a number of courses that interest you

Deciding which art or design school is for you is a big decision (our upcoming article 'how to find the best art school in the world' will help with this). While you consider your options, it is advisable to apply to a number of different schools, in case you are not accepted into your first choice. There is no shame in applying to college or university and not getting in (many highly successful individuals are not accepted into their university of first choice); but being left with no place to go because you didn't apply to enough schools is an easily avoidable circumstance!

Create a list of art or design schools that you would be prepared to attend and find their admissions criteria (you can search for art schools in California and New Zealand on this website - more areas coming soon). All university and college art portfolio requirements are different. Record the exact admissions requirements carefully, well in advance, as deadlines can be earlier than you expect and portfolios take a long time to prepare. Print these out, highlight key information and keep on-hand, so that you can refer to them as needed throughout the application process.

In particular, keep careful records of:

Open Day times

Application and Portfolio due date/s. If you are currently studying Art at high school, check how the portfolio due dates compare to your own coursework deadlines and exam timetable. In some cases there may be issues with work needing to be in two places at one (i.e. submitted for assessment at high school and delivered to an art school in hardcopy at the same time). This occurs particularly for students studying international qualifications or applying to art schools in different countries, so you need to prepare for this in advance. Mark the deadlines of the schools that you are applying to clearly on your calendar.

Size and format of work required

Whether only finished pieces are expected, or whether sketchbooks, development and process work are also welcome (some schools require only finished pieces, particularly in the US; others love to see development work as well).

Whether submissions are digital, hardcopy reproductions or original artwork. If copies of work must be sent in, find out whether these should be colour photocopies, slides or photographs etc. Find out whether there are specific criteria for time based media (animation/moving image/video/interactive website design and so on).

Labelling and presentation requirements. Many art schools have precise portfolio presentation requirements, with work labelled or identified in certain formats, with details about titles, dates and materials used, for example. Digital portfolio submission may use online tools such as SlideRoom.

Whether there are special requirements for international or out-of-state applicants. If you are applying from another location, there may be special application criteria for you. For example, some colleges may accept international portfolios via email, instead of delivered in person.

Whether supplementary material is needed, for example, a personal statement or written essay (more on this soon). Art schools typically have academic requirements set by the university or college as a whole, which may require a separate application form and a different deadline. You may also be asked to submit images of work or objects that have influenced your work or teacher recommendations, testimonials or reports (only include these if specifically requested).

Requirements about what to draw / include. Many art and design schools leave applicants free to select what to include within their portfolio. Unless specifically stated, the portfolio should contain primarily visual artwork, not art history assignments, artist analysis or extensive annotation. You may have to submit a combination of personal artwork, work produced in high school classes and/or 'home tests', exams or assignments set by the art school you are applying to. In the RISD application portfolio, for example, applicants must respond to three set assignments, such as 'observe and draw a bicycle, or an interior space'. Some stunning RISD bicycle drawings completed as part of this application portfolio process are shown below:

As another example, Parsons the New School for Design asks applicants to submit a portfolio as well as the 'Parsons Challenge'. In the past, this challenge has included instructions such as:

Using any medium or media, explore something usually overlooked within your daily environment. Choose one object, location, or activity. Interpret your discovery in three original pieces. Support each piece of art with an essay of approximately 250 words.

Once you have collected the requirements for the particular degrees you are interested in, the next step is to seek out existing portfolio examples.

2. Look at recent student art portfolio examples to gain a visual understanding of what is expected

Seeing examples of real portfolios is one of the best ways to understand the standard you are aiming for (and to gain your own art portfolio ideas). Many university and college art portfolio examples can be found online or in campus libraries (some art schools retain hardcopy examples to help students the following year - these can be invaluable) and a large number of varied student art portfolio examples are featured in this article below. These illustrate the range of different portfolio styles that are possible and help to show how submissions for particular specialisations or degrees might differ from one another.

If you feel daunted looking at other portfolios, it is worth stressing that is usually the best candidates who display their work (this is indeed the case within this article). Do not despair if your technical skill is not as strong as the work you see: remember art portfolios are assessed upon a wide range of criteria (more on this below). If you have a great academic background, innovative ideas and a passion for the subject, you can trump someone with technical skill who is lacking in creativity and personal drive. You might be surprised to realise how many famous artists do not have flawless observational drawing skill. Showcase your strengths and back yourself.
A portfolio for art school by Grace Camille Lee: Gray's School of Art publish a document containing examples of sketchbook pages from student portfolios (some of which are shown below): A Kingston University application by William Govoni: A university application portfolio by Kirsty Mackenzie: A Kingston University application by Lily Grant:
3. Attend Open Days

Open days are the ideal time to find out whether an art school is the right place for you (read more about this in how to find the best art school in the world - coming soon). Open days are also a great opportunity to find out more about the admissions process and what is expected by a school in terms of application portfolios. (As mentioned above, some art schools have past portfolios on display at the school permanently - in the campus library, for example).

4. Plan your art portfolio, aiming to demonstrate a range of artistic skill and experiences, creative ideas/originality and passion/commitment

This is the most important section of this article, because it is the area where people are most confused. All over the internet applicants beg to know: 'what should I include in a college art portfolio?' The answer is this: include a range of recent visual work (completed within the last year or two) that best communicates your artistic skills and experiences, creative ideas/originality and passion/commitment.

The detailed recommendations below explain this further:
a) Emphasise observational drawing
Most art and design courses require applicants to have a certain level of observational drawing skill. This is essential not just for Fine Art specialities, but for many others, such as Architecture and Fashion Design. Even degrees that do not seem to obviously focus upon drawing usually welcome the inclusion of this within an application portfolio. For example, Ringling College of Art and Design states:

For majors without as much drawing involved, the submission of drawing in your portfolio is always welcome but not required.

An observational drawing is a realistic representation of an object or scene that has been viewed directly in real life (as opposed to something that has been imagined or drawn from a photograph) - read more about how to produce great observational drawings. It can be produced using any medium or combination of mediums such as graphite pencil, charcoal, pen, ink and/or paint. For the majority of applicants, it is highly advantageous to demonstrate the ability to observe something in real life and draw it accurately. It is recommended that observational drawing (or painting) from first-hand sources form a substantial part of your portfolio.

The aim is that you:

Prove to admissions staff that you are able to competently record shape, proportion, tone, perspective, surface qualities, detail, space and form

Draw in a personal, sensitive way, rather than in a mechanical way (i.e. not a laborious copy of a photograph - drawings from photographs are specifically discouraged). This might involve more creative, expressive, gestural mark-making or the addition of non-realistic elements, textures, materials. In other words, communicate a strong sense of realism, but in a way that also capture an essence of the subject, rather than an exact, rigid copy of a scene. It can help to think about ideas and meanings behind a drawing - selecting a subject that holds meaning or relevance for you, rather than just selecting any random object to draw.

Clara Lieu, Visual Artist and Adjunct Professor at the Rhode Island School of Design, explains the importance of including original observational drawings in a university or college portfolio like this:

Create original work from direct observation. This is hands down the number one, absolutely essential thing to do that many students fail to do. Just doing this one directive will put you light years ahead of other students.

Accomplished drawings are above all else, the heart of a successful portfolio when applying at the undergraduate level. You might be a wizard in digital media, but none of that will matter if you have poor drawings.

Szivesen, a portfolio reviewer, explains:

Most schools emphasize drawing from direct observation as their primary basis for the portfolio, no matter what aspect of art you want to study. That's because basic drawing skills are fundamental and because drawing is a little more likely to be a uniform measure than other areas of art and design.

Examples of observational drawings from a university Foundation course application portfolio by Sinead Kirby:
It is worth remembering that you don't need to attend a formal life drawing class to complete observational figure drawing (although attending such a class can be an excellent experience for artists and art students and is highly recommended if available). The drawings below by Curelea Loana Andreea (part of a university Foundation course application) show captivating examples of observational figure drawings that could take place in a home or classroom setting:
Observational portraits in a university Foundation portfolio by Emma Hooper:
b) Explore a range of subject matter - make art about (and of) lots of interesting things
If you are wondering what you should draw: the possibilities are limitless. You may, for example, draw a landscape, still life, portrait, animal, human figure, interior or exterior environment, hands and feet, or any other interesting everyday object - focusing, perhaps, on subject matter that is relevant for your degree (see more about tailoring your application to your particular focus area below) and, more importantly, subject matter that has some meaning and relevance to you. You should try and avoid common or cliché approaches and include a range of different interesting objects and scenes - and do not exactly replicate the work of another artist.

Dorian Angelo, of Ringling College of Art and Design, suggests:

...if you're not sure what to draw, draw the things in your room. Draw your hands, draw your feet, draw your dog. That's perfectly fine. Try not to get into any clichés or any traps of drawing all the same thing. We don't want to see a sketchbook full of horses. We don't want to see a sketchbook full of just cartoons or anime. Show that you are looking at real life; that you're looking at different subject matter...

In Ringling College of Art and Design's Game Art & Design portfolio requirements, they state:

Please do not copy directly from another artist, or include such things as anime, tattoo designs, dragons, unicorns, etc.

In the words of Clara Lieu, Rhode Island School of Design:

Do not copy your work from photographs or other sources. This means no fan art, no anime, no manga, nothing from another artist's work. Admissions officers have seen hundreds, probably thousands of images from student portfolios. They are well trained to quickly spot artworks that have been copied from photographs or that have been lifted from other resources.

It is never, ever good to have fan art in any portfolio. By fan art, I mean drawings of celebrities and other characters that are not your own. That's basically the kiss of death, and will immediately cause people to see you as nothing more than a hobbyist.

If you are stuck for observational drawing ideas, these examples by students in portfolio preparation courses at Ashcan Studio of Art may trigger some ideas.
Artwork by Suyeon Moon (shoes, top left) (accepted into the Parsons AAS Graphic Design program), Soojin Lee (crumpled clothes, top right), accepted into Parsons Fashion Design program with a 4 year scholarship, Insuk Kang (shelving scene, upper middle), accepted into Parsons Fashion Design with a 4 year scholarship, Kalene Lee (bottom left) accepted into Pratt, Industrial Design, with a 4 year scholarship and Jiwon Hwang (bottom right), Parson's Fashion Design with a 4 year scholarship:
For more tips about what to draw, read how to come up with great ideas for an art project.
c) Use a range of mediums, styles, art forms and techniques
Your art portfolio should show a diverse range of skill and visual experiences. Demonstrate that you are able to use and experiment with a range of styles, mediums and techniques and can control, apply and manipulate mediums in a skilful, appropriate and intentional way. Someone who is able to create acrylic paintings, sculptures, prints and pencil drawings, for example, is infinitely more flexible than someone who is only able to sketch only with a pencil. The former applicant demonstrates growth, diversity and a breadth of skill, as well as an interest in learning new things. The latter may be a 'one trick pony'.

Recommendations:

Choose a range of mediums that highlight your artistic strengths. Use wet and dry mediums (graphite, charcoal, ink, pastel, acrylic, watercolour, oil, ceramics, film etc and other mixed mediums) and paint / draw upon a range of different surfaces (see here for great ideas about things to draw or paint on if you are looking for new ideas), but don't include weaker work, just for the sake of covering a greater range of mediums.

Explore a range of appropriate styles. Choose artistic styles that showcase your skill, interests and strengths. Don't try and guess what the university of art school would prefer (despite common misconceptions, they rarely favour one style of art-making more than another); choose those that align with your strengths.

Experiment with a variety of tools, techniques, processes and art forms. Unless otherwise specified, an application portfolio may include drawings, paintings, photography, digital media, design, three-dimensional work, web design, animation, video and almost any other type of artwork. This does not mean you should endeavour to include every different technique or art form possible (this would create a scattered and incohesive portfolio) but that you demonstrate that you are willing to experiment and try new art-making experiences, focusing on areas that interest you and highlight your strengths.

A portfolio by Kisa Sky Shiga, completed as part of a portfolio preparation course at Ashcan Studio of Art: Printmaking in a university Foundation application by Henry Richardson: A university Foundation application portfolio by Aqsa Iftikhar: A university Foundation application portfolio by Ayse Kipri: e) Include a range of varied, well-balanced compositions - show an 'eye for aesthetics'
All work - even observational drawings - should show that you understand how to compose an image well, arranging visual elements such as line, shape, tone, texture, colour, form and colour in an pleasing way. Compositions should be well-balanced and varied - with a range of viewpoints/scales included throughout the portfolio.

Avoid drawing items floating in centre of a page unless this is an intentional, considered decision (see our Art student's composition guide (coming soon) which explains more about how the formal visual organisation of artwork. Think about the shadows, spaces and surfaces in and around objects. Think carefully about cropping of images and positions of items within each work.

Select and use appropriate colours, making sure that if multiple works are arranged on one page, the colours work well together too (more on this in the portfolio presentation section below)

Make sure the proportions and spatial relationships between different elements in graphic designs (such as text, images and space) are carefully considered

f) Include process / development work if permitted
Some art schools - particularly in the US - require that every piece in your application be a finished, realised work. Others - particularly those in the UK and NZ - love to see process, development or sketchbook work. If an art or design school specifically states that this material is permitted, this is an excellent opportunity to flaunt your skills, commitment and depth of knowledge. The research and processes undertaken to develop your work are often as important as the final work itself and allow the selection panel to understand your work in context and see how it has been initiated and developed. Process and development work helps colleges and universities to understand how you think (the ideas and meanings behind pieces, for example) and see that you are able to take an idea from concept and develop it through to a final resolution. It provides evidence that you are able to analyse / experiment / explore and trial different outcomes and make sound critical judgments.

We want to see how you generate and develop ideas from your visual research. It is important that we see how they progress from the starting point right through to the conclusion of your ideas / project. - Grays School of Art, Scotland.

Images of pages from your workbook/s can be very helpful to the selection panel. This could include: evidence of ideas, thinking processes, experimentation and analysis. - Elam School of Fine Arts, University of Auckland, New Zealand

Development work might include sketchbook or workbook pages that show:

In depth investigations into subject matter (sketches / photography and other visual documentation of first-hand sources)

Investigations into mediums, materials and techniques and technologies

Development of concepts, compositions or details

Written analysis alongside visual work and annotation discussing ideas behind your work

Evidence of links to the historical, contemporary and/or social context in which works have been made - i.e. connections to artists and real world issues

Annotated screen captures, contact sheets, and documentation of digital processes

A university Foundation application by Lola: A university Foundation application by A Level Art student Heather Meredith: A university Foundation application portfolio by Violet Volchok, who was offered a place on courses at Kingston and Ravensbourne, United Kingdom: This video contains a good overview of what a portfolio might contain, particularly for universities that request process / development work:
For more tips about producing great process work, you might find it helpful to read our guide to producing an outstanding high school art sketchbook or how to develop ideas in an art project.
Note: If development work is not permitted as part of the portfolio itself, it is usually appropriate to bring this to the interview. g) Communicate creative ideas: be original
It is important to remember that artistic skill must be accompanied by creativity, original ideas and some form of visual curiosity. In other words, technical skill is no use if you are unable to think of how to put this to use in a unique, interesting way. Someone who is able to generate original and captivating ideas that rip into your heart and soul is far more appealing than someone who produces dull, predictable, yet technically excellent artwork. Although skill is an excellent asset - and a certain level is necessary - applicants to colleges and universities and art schools should not aim to be glorified 'photocopiers', but rather the creators of exciting, unexpected visual outcomes. To achieve this within your portfolio, it may help to:

Be experimental - try different things and push techniques, materials and technology in innovative and unexpected ways

Make art about something (visually communicate ideas) rather than just laboriously depict a scene - demonstrate your intellectual potential.

Be yourself - reveal your personality and interests. Never submit art that is an imitation of someone else's. Aim for artwork that is new, fresh and about something that matters to you. Don't replicate any of the portfolios you see on this page or elsewhere. Your portfolio should be individual to you. Let your portfolio reflect your strengths, interests and experiences and represent who you are.

On the whole, greater emphasis is put on evidence of your visual curiosity, idea generation and exploration, and your energy, engagement and contextual awareness, than on high level technical skills and finish. - Edinburgh College of Art, Scotland

...[A good portfolio] demonstrates how you can think in innovative and contrasting ways, and shows originality, inventiveness and commitment to being creative. - Massey University, New Zealand

... stand out from the crowd by pushing the boundaries of a prescribed curriculum, personalising a theme or project to demonstrate their invention and creativity. Work that reflects an applicant's own enthusiasms, thought processes and ideas is always of interest to the selectors. - University of Dundee, Scotland

It's no good promoting house styles, as that makes all students' work look the same. If a student is showing a piece of work from a course, it's important that it also shows a personal theme. - Helen Heery, University of Salford, United Kingdom

A portfolio assignment by Amelia Eaton: A Fine Art portfolio by Karen Park, completed during a course at Ashcan Studio of Art: A university Foundation application by Anna Clow: A Fashion Design portfolio by Halim Ki, completed during a course at Ashcan Studio of Art: Some great tips are contained in this video by the University of the Arts London about the importance of ideas, enthusiasm and creativity - providing some excellent thoughts, especially for those who might not have gained a strong Art education at high school: h) Communicate passion, commitment and enthusiasm
Universities want people who will represent their school well - who will go on to do great things that will reflect positively upon their place of study. They want passionate, keen students who will cope with the workload and who intend to actually go on and make use of their degree. This means that you must convey a sense of passion, commitment and enthusiasm within the portfolio (as well as during the interview - more on the art school interview soon). To do this, you can:

Ensure that work from classroom projects is thorough, personalised, self-motivated (goes the 'extra mile').

Include some personal, independent, self-directed work that has been completed outside of the classroom. This helps to give an indication of your current involvement and interest in the arts.

During the process of reviewing portfolios, the Ruskin staff always look for work that goes beyond the mere fulfilment of School curricula. We search for highly motivated activity, over and above any project-based work, and for a breadth of engagement, a sense of purpose and a strength of opinion in the way the portfolio is edited. Important for us is to be able to discovering a sense of the temperament laying behind the work, and sense the deeper interests that inform the portfolio. We are not interested in finding a particular formula or a specific style, but in signs of energy, ambition, critical reflection and creativity. - Ruskin School of Art, United Kingdom

Personal art is the work done outside of a classroom situation and reflects the artists' unique interests in use of materials, subject matter and concept. Work can be completed in any media including (but not limited to) drawing, painting, photography, mixed media, digital/computer art, film/video, ceramics, sculpture, animation and performance art. - Kavin Buck, School of Arts and Architecture at the University of California Los Angeles, United States

Involvement in art must be more than casual. - Tom Lightfoot, Rochester Institute of Technology, United States

Emma Rose, who works in the faculty of arts and sciences at Lancaster University, advises that students include some self-generated work - not just the projects that have been assigned on courses. "We want someone with that extra spark - perhaps you've gone off with a camera to take interesting photos." - The Independent

Self-initiated projects (artwork created independent of classroom assignments/exercises) are especially encouraged. - UCLA Department of Art, United States

Ultimately, it's all about passion and ideas, and so if you include the kinds of things that you're most excited about, that you're most proud of, then chances are your portfolio submission will make a strong impression. - Ringling College of Art and Design, United States

i) Tailor your application to suit your degree
Portfolio guidelines for different areas of Art and Design are often similar, but it can be wise to modify your portfolio so that it is appropriate for the degree you are applying for. Rather than creating a completely different set of images for each specialisation or major, however, a submission can be tweaked slightly, so that it showcases relevant strengths and an interest in the area you are applying for (for example, submitting observational drawings of city scenes or building interiors for an architecture application etc ( although this is not necessary - more on architecture portfolios below).

As an example, digital based degrees may like to see evidence of technological awareness and capability and the ability to work with a range of digital platforms, alongside traditional non-digital techniques. This might include time-based interactive work (film, animation, video, website design).
The following list gives some guidance about the sort of material that may be helpful for specific areas, in addition to the items discussed above, such as observational drawing. As with all recommendations in this article, you should refer to the university or college you are applying to for precise requirements. Graphic Design Portfolios:

Graphic design print work or web graphics

Font design or use of typography

Graphic illustrations

Video graphics

Interactive web media and any other related projects

A university Foundation application portfolio by Jacob Wise: Architecture Portfolios:

Many students assume that an architecture application portfolio must be filled with drawings of buildings or architectural designs. This is almost always not the case (as with all other recommendations made in this article, you should check the requirements of the particular course you are applying for). Admissions staff typically wish to see evidence of creativity with a range of media and strong observational drawing skill (as described in the first part of this article), including the ability to represent space, perspective and 3D form. This can be achieved through exploration of completely unrelated subject matter, such as still life, landscapes and human form. If you have a choice, however, drawing buildings, manmade structures, interior/exterior spaces, furniture and/or mechanical parts and so on, may help to demonstrate an interest in architectural design.

Architecture schools usually do NOT require formal technical drawings (instrumental or computer generated plans / orthographic projections etc) and if these are accepted as part of the application portfolio, they are often limited in quantity, so that you include a sufficient range of hand-generated work. You are not expected to understand how to design a building - this is what you learn upon the course.

Three-dimensional sculptures, installations, casts and/or model constructions can be great to include, as these communicate spatial awareness and an interest in working with 3D form. These might include conceptual models made from cardboard, paper, wire, wood and other found materials, for example.

Artwork in a wide range of mediums (printmaking / photography etc) are typically accepted.

Note: Some universities and architecture schools specifically request that the portfolio is not filled with Design Technology work, preferring to see work that has been produced as part of high school Art courses. (Although some high school Design Technology courses provide excellent preparation for architectural degrees, Art courses typically offer a stronger grounding in observational drawing and composition).

Examples of observational drawings submitted as part of an application to the University of Auckland, School of Architecture, New Zealand:
Images from an architecture application portfolio by Irence K, completed while studying at Ashcan Studio of Art:
An architecture portfolio example by Ken Liang, completed under the guidance of Evangelos Limpantoudis from the Architecture School Review who helps students gain admission to top architecture schools from around the world: Fashion Design Portfolios

Figure drawings - for example drawings of clothing on models

Documentation of original sewing, textiles or fashion design projects

Part of a Kingston University Art Foundation application portfolio by Annabelle Holden: A Fashion Design portfolio by Jinsoo Choi, prepared during a course at Ashcan Studio of Art: Game Art Portfolios:

Storyboards

Original character designs

Product Design Portfolios:

Subjects like product design often require strong practical, analytical and communication skills, as well as the technical and conceptual ideas and self-motivation required by other art-related degrees. This means that evidence of working with materials and in both 2D and 3D can be beneficial.

Film School Portfolios:
Filmmaking may combine many different skills including performing arts, music, literature and writing. As a result, portfolio requirements may be quite different from a traditional art school application. Applications may include:

Screen shots from original films, animations, videos or digital applications with video excerpts embedded (make sure these are short as admissions staff will not have time to view long reels of footage, and/or captured as a storyboard with screenshots). These may be submitted on DVD or flash drives or as URL links to YouTube, Vimeo or embedded on a personal website or blog (see why Art students should have their own website and how to make one)

Fashion, costume or set design

Storyboards

Website design and multimedia work

Evidence of involvement in theatre or performing arts

Screenplays and creative writing may also be appropriate

5. Take time to create new artwork and/or improve existing pieces (if required)

Once you have planned what you will include in your portfolio, you should set aside a period of time to produce this. If you have not taken high school Art classes, preparing a folio will take a lot of work - about 6 months to complete a portfolio from scratch (remember it is ideal to create more work than is needed, so that you can carefully edit and remove the weaker pieces). See if your high school Art teacher can help (even if you don't take Art). An experienced teacher will often have a long history of helping / observing students apply and may have a good knowledge of what helped successful candidates in the past. If your own art teacher is not experienced with helping students apply to university - or you feel you need more help preparing your portfolio - find out if there are local courses or workshops that address how to make a portfolio for art school. Portfolio preparation classes are often run by the universities / colleges themselves. These may be relatively inexpensive weekend workshops or be yearlong, such as Foundation or Art portfolio courses. Making a portfolio can feel less daunting when you produce work with a class of others and seeing others produce work can be motivating and inspirational.

You will likely have to use a considerable portion of your holiday and vacation time to create work or improve existing pieces - as well as generate personal work outside of your curriculum or complete 'home tests' or assignments if required.

The most important detail of preparing your portfolio for college admissions is to remember to give yourself plenty of time and have fun with it. It is almost impossible to create quality work if you are nervous and under a time constraint. Don't wait until the last minute, and make enough work so you can edit together the best portfolio for each school you plan to apply to. - Kavin Buck, School of Arts and Architecture at the University of California Los Angeles, United States

When it says put together a portfolio of 12 pieces, it doesn't necessarily mean just make 12 pieces. It's easier to just make, make and make and then narrow it down to 12 pieces. Not only will you have more to choose from, an admissions counselor during a portfolio review can help you decide what to submit for a final application. So don't limit yourself, just create! Katie, Admissions Counsellor, Parsons, United States

A University Foundation application portfolio by Nina Cavaviuti:
6. Select and Review Work

Once you have completed a significant body of work, seek feedback and modify / improve / redo pieces. Don't leave this until the last minute, because you will run out of time if changes are needed. Build in reflective time - time to set it aside and come back to it with fresh eyes.

This excellent video by Paul Stanford, Head of Department of the Foundation Course in Art and Design at Kingston University, shows the evaluation of an average student portfolio to be offered a place. It highlights the importance of editing a portfolio carefully and eliminating weaker work, as well as ending a portfolio well, so that the final impression is a good one.

Towards the middle of the portfolio, Paul begins to notice technical deficiencies - ' a bit of a boring drawing, you might say' - ' it's not a great life drawing, is it? ' - a reminder that students should only submit work that plays to their strengths. The student's skill set as a whole and estimated potential is evaluated, with observational drawing skill only one part of this equation.

Most people become too close to their own work and cannot see it objectively. Bring an unbiased person (not friends or family) to assist with your final portfolio selection, ideally someone who has a background in art or design. When selecting work, aim for quality over quantity, avoid repetition and include variety of subject matter, skill and medium.

Read the school's suggestions for portfolio submission carefully. Most will say "10 to 20 pieces" and I can tell you that more is often not better. If you have ten really strong works to submit, and then the quality level noticeably drops, better to show ten uniformly good works than a whole range. - Anonymous answer on Yahoo

Be selective. ...don't submit work that you are not proud of just for the sake of having variety. - Virginia Commonwealth University

Select projects that show a range of media and subject matter, while still emphasizing your strongest work. - Carnegie Mellon University

It's good to start with lots of work and then be super selective with what you put in the portfolio... - Charlotte Cook

Some institutions offer the opportunity to have your portfolio reviewed before submission (a 'preliminary portfolio review'). US students are also able to attend National Portfolio Day, where they are able to receive feedback on their portfolio-in-progress from university and college representatives. These are held all over the US and are highly recommended. Lines are long and you should arrive early to ensure that you are able to speak to the schools of your first choice.

At this event, brace yourself for harsh words. It's not uncommon for students to be told at National Portfolio Day that they essentially have to start over from scratch because their portfolio is headed in the wrong direction. Reviewers will be candid and direct about the quality and type of work that their school is looking for, so don't be discouraged if you get a tough critique. Rather, be glad that you got the feedback you needed to get yourself headed in the right direction. - Clara Lieu, Rhode Island School of Design, United States

Accept constructive criticism and advice - don't be offended (you'll need to get used to this if you want to go to art school!) - Virginia Commonwealth University, United States

What Should be In a Portfolio? This video from the University of Arts London explains how a good portfolio should have a sense of journey or 'story unfolding'. It is a good video that helps you understand which pieces to select. It is a good reminder to show a range of creative skills and techniques and well as communicating your personality, interests and a sense of your own experiences.
7. Organise, photograph and present your art portfolio

Presentation of your portfolio is very important. The organisation and arrangement of your portfolio has a direct impact upon the way the work is perceived. A good layout helps to communicate an eye for composition, a professional approach, shows your commitment and desire to attend a university or college: it leaves a positive, memorable impression. Poorly cared for work that is thrown together in a sloppy, thoughtless layout, or is overly decorative and laboured in presentation, significantly detracts from the quality of the artwork. Admissions staff may spend less than five minutes looking at your portfolio, so first impressions count.

This video about preparing a portfolio by University of the Arts London contains some great reminders about presenting a portfolio. In particular, they suggest that you should ' put nothing in your portfolio that you can't talk about' and organise it so that it is easy to navigate. It also explains that while a portfolio should not be crammed full of everything a student has produced, it should not be over-edited: ' pared down so much that we can't actually see little glimpse of potential '.

Carefully photograph work for digital submissions and any work that is three-dimensional/sculptural or that exceeds size specifications for hardcopy submissions (see our guide to photographing art like a pro - coming soon). Reread portfolio presentation requirements carefully to make sure that you present exactly what is required by the admissions departments of each of the schools that you are applying to (especially size and weight restrictions).

Here are some general portfolio presentation tips:

a) Select a simple, professional format that allows your work to be viewed easily.

If a portfolio size isn't specified, choose something that works well for your own work and that can be transported easily. A3, A2 or A1 is usually fine.

From my own experience, I find A3 is the most ideal (both in education and beyond). A3 marks the perfect balance because you can sufficiently display your artwork effectively, while making it easier to transport. - Recent UK art school applicant from the StudentRoom.

Choose a flat type of art portfolio case or folder that opens and close easily, while protecting work so that it doesn't get creased. (Avoid rolling work up, as it will be hard to get it to lie flat). The portfolio case may be a spine-mounted leather art portfolio (usually found in all good art retailers - see examples on Amazon) or a clear non-reflective clear file folder, for example. It doesn't need to be overly expensive: avoid extravagant folders and choose one that is simple, clean and practical.

Although presentation is important for your portfolio, don't spend loads of time and money buying flashy folders advises Wendy Rochefort, who is studying a foundation degree in Fine Art at Cornwall College. "Simple mounts and a tidy finish are fine." - The Independent

Have all sheets securely bound in such a way as to allow all sheets to lie flat when the portfolio is open. Be able to be easily and safely handled. There should be no exposed metal binders, staples or similar fittings. Sheet metal or other heavy or sharp materials should not be used for portfolio covers. - School of Architecture, University of Auckland, New Zealand

Choose plain, neutral portfolio colours (black, grey, white etc) and avoid busy, decorative or patterned presentations (you want emphasis to remain on your artwork). Similarly, avoid reflective surfaces that hamper vision (for example, glazing paintings or clearfiles with shiny plastic).

Keep the presentation format uncluttered and relevant. Avoid over decorating your portfolio as this can detract from the content. - University of the Arts London, United Kingdom

b) Order the work in a logical and aesthetically pleasing way.

Start and end with a great piece of work, so that you create a great initial and final impression. Space other great work evenly throughout your portfolio (avoiding a clump of weaker work). Think about grouping similar work together, by medium, subject or style - perhaps as a series of projects - or chronologically. An assessor must be able to 'understand' your portfolio and see any connections between pieces (for example, show the creative journey between development work/sketchbook pages and final outcomes). Aim to make it appear coherent, rather than a whole lot of scattered, disconnected pieces.

Narrative is an important element to consider when preparing a portfolio. How work is laid out and displayed changes how it is read, meaning the placement of pieces is vital to showing tutors your best ability in the shortest amount of time. - The Guardian.

Think about the composition of each page - which images are facing each other, whether the colours work well together etc. Consider the relationships between pieces, especially the relationship between sizes, colours and format of work.

Add greater contrast, crop tighter to make more dramatic compositions. Add a little more intense color. You'd be surprised how much stronger your work can look with just a few careful additions. - Karen Kesteloot, a portfolio development coach from PortPrep
c) Avoid unnecessary repetition
If you are asked to submit a specific number of images, ensure that each of these is a different piece of work. Where a certain number of sheets are asked for, it may be possible to mount smaller works onto a single sheet. If you want to submit different angles of one piece of work, it is usually best to digitally submit these on one sheet, or as one image. Read the guidelines of the particular university or college you wish to apply to carefully to find out what is expected.

There is no virtue in quantity alone and candidates should not include multiple colour variations of prints, for example. Duncan of Jordanstone College of Art and Design, United Kingdom

Do not include detail photos of work in your portfolio unless you consider them absolutely necessary. Under no circumstance should more than two detail shots be included. - Yale School of Art

d) Trim / crop everything in a clean environment and attach to the portfolio (if submitting in hardcopy)

Make sure work is thoroughly dry and that pages will not stick together

Make sure work is secured well, with no loose work falling out when pages are opened

Use fixative to stop charcoal, chalk or graphite drawings smudging and ensure that these are not directly facing other artworks in the portfolio. Existing smudges can be erased from drawings using a putty rubber, prior to spraying with fixative.

Avoid fold out flaps, and other irritating formats that may distract or irritate the viewer

Make sure photographs are focused, free of fingerprints, printed on matt (non-reflective) paper and are large enough to see details clearly

Don't mount things with distracting borders (it is not usually necessary to mount or mat your work); faming work is unnecessary. Let the work stand on its own. A clean, professional and minimal style is usually ideal, as described above.

e) Presentation of digital work (if submitting online or upon DVD or memory stick)

If you wish to include digital material with a hardcopy submission, ensure that the art school you are applying to is able to view work digital material in particular format (video / CD etc). Check carefully what type of new media presentations they accept and accompany this with a printed hardcopy version (screenshots etc) and a note about the programmes used, in case difficulties arise.

Label all digital files sensibly, such as firstname-lastname-application.pdf rather than 4690243fxz.pdf

Ensure images reflect the true colour and appearance of the artwork and are cropped correctly, without unrelated, disctracting background items

Ensure moving image or video footage is cropped to a sensible length (admissions staff usually have tight time limitations)

Consider embedding videos upon your own website, rather than as a link to youtube / vimeo. This creates a much more professional backdrop to your application (see how to create your own website).

As with physical submissions, think carefully about the organisation and grouping of images.

Save a record of all digital submissions as a backup!

f) Label work clearly but unobtrusively

Use small, clear writing to label work in a way that doesn't detract from the artwork. If labelling guidelines are not given (sometimes a separate sheet containing details of each image is required), label work in the corner or on the reverse with the title, mediums, dimensions, dates and additional info as required. Avoid decorative font and excessively large headings.

Proof for spelling errors and inaccuracies (get someone else to check this too). Make sure all links to digital moving images work.

Want more help with applying to Art school?

This article is accompanied by our Guide to the Art school interview (coming soon) - packed with advice from those who have recently applied. To make sure that you don't miss out on this article, please make sure that you are subscribed to our newsletter using the sign up form below!

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How to make an awesome art portfolio for college or university

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What should be in an art school application portfolio? What gives you the best chance of acceptance at a college or university art degree?

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Last Updated on April 2, 2023

Many art students begin the year by brainstorming possible ideas, topics or themes for their art projects. This article features creative mind map examples and other visual brainstorming illustrations to inspire high school students.

Sometimes coming up with ideas for an Art project takes place within the classroom - an interactive discussion between students and teachers; on other occasions students formally document ideas within their sketchbooks. Humans have a tendency to think in a multi-dimensional way - that is, with lots of things occurring simultaneously, triggering further ideas. Rather than attempting to record thoughts in a sequential, linear fashion (i.e. writing these down in lists or paragraphs), students can find it helpful to collect, record and organize ideas graphically, using visual diagram such as a mind map. If this brainstorm is submitted as part of assessment material, it is essential that this is presented well.

What is a mind map?

Mind map creator Tony Buzan coined the term 'mind map' to refer to a diagram that has a branch or root-like structure radiating from a central image on the page, and which uses lines and color to show relationships, groupings and connections between words, ideas and images. A mind map helps students think clearly and ensures that a range of possibilities are considered, encouraging thinking outside-the-box.

How to make a mind map

Tony Buzan's recommendations include: using a landscape format; starting with a central image to represent your topic or theme; using curving lines to add main branches to the center and then connecting these to smaller branches; using single words and images; and adding colors for aesthetic and organizational purposes.

It should be noted, however, that when your Art teacher asks you to begin creating a mind map, they are almost always happy with any visually pleasing representation of ideas - such as a tree diagram, spider diagram - or even just a splurge of thoughts on paper, as long as it documents a range of ideas and possibilities connected to a theme (or a set examination topic). The examples below, therefore, contain different visual brainstorming methods, not just those that are official mind maps.

Guidelines for Art Students

When brainstorming ideas for a high school Art project, remember that:

Single words are unlikely to express an idea adequately. As you think though possibilities, it is likely that you will want to jot down whole phrases and brainstorm possible ways of beginning or approaching a subject. Intentions and possibilities should be clear to someone else who reads the mind map at a later date;

Images should be sourced first-hand (i.e. drawn or photographed yourself) or clearly referenced, and should be integrated within the mind map in a visually pleasing way;

The appearance of the mind map is crucially important. This is likely to be one of the first things an examiner sees when opening your sketchbook - first impressions count.

Creative mind map examples and visual brainstorming ideas

Please note that although some of these presentation methods are more complex and time consuming than others, this not does mean they are better. Sometimes a quick, expressive splurge of ideas upon paper is all that is needed.

Take a beautiful photograph to place in the center, as in this example of a mind map by Dave Tiedemann:

Use painted areas to contain text, as in these creative examples by artist Martha Rich:

Draw lots of small pictures to illustrate ideas visually, as inspired by this map of London reimagined as the human body, illustrated by Nicole Mollet:

Use collage to make a mixed media mind map, as in this example by high school student Chloé Zinn:

Integrate a mind map with an 'incomplete' image that extends across the page, inspired by this digital illustration by Alex Plesovskich:

Collage torn images, textures and surfaces together, as in this example by Brittney:

Create mind maps from flowing painterly forms, as in this amazing example by artist Ward Shelley:

Draw over an abstract watercolour ground, as in this artist mind map by Roberta Faulhaber:

Create a simple mind map using text, with circles and dots for emphasis, as in these examples by Lia Perjovschi:

Record a stream of consciousness using handwriting and images, as in this journal by Sabrina Ward Harrison:

Brainstorm ideas using chalk on a blackboard or whiteboard and photograph it, such as this mind map by Julien Muckensturm:

Make a mind map on small pieces of paper and cardboard, inspired by the road map created from multiple sketches by strangers, compiled by Nobutaka Aozaki:

Attach images and notes to a pinboard, as in the 'Capturing Memory Mind Map' by Red Biddy:

Hand write ideas over a photograph, as in this example by Stefan Sagmeister:

Create a mind map online using free mind map software, a mind map app or any other digital drawing tool, as in these bubble diagrams by Leoni Wharton:

Make a textural collage of ideas, as in this GCSE Art mind map by Jessica Rump, while studying at King's Lynn Academy:

Produce a sprawling hand-drawn mind map, as in this example by Tlemermeyer:

Use illustrations and colors to communicate and emphasize ideas, as in these sketchbook pages by Eva-Lotta Lamm:

Integrate observational drawings, as in this example by high school student Laura Viruly:

Organize ideas visually in a grid formation, as in this illustration by Grid London:

Add a painterly splurge in the center, from which ideas extend, as in this Year 11 exam example from Bishop Luffa School:

Integrate text within an artwork, as in this example by Julia Lewis-Thomas:

Use multiple colored pens, as in these examples by Asiphe Sinari and Elà Aguiar:

Use a ruler to frame images and text, as in this example by Annie Richardson:

Once you have selected a presentation method for your brainstorming, the next step is to actually generate some ideas! Please read our guide to selecting a great Art project idea.

You may be interested in our new book: Outstanding High School Sketchbooks. This book has high-resolution images so that fine details and annotation are clear, making it an excellent resource for students and schools. Learn more!

Need more help with your high school sketchbook?

This article is part of a series we have published about high school sketchbooks. You may also be interested in viewing our other sketchbook resources:

This mind map collection is continually updated. Please bookmark this page so that you can return to it when needed! If you would like to submit your own mind map for inclusion, please contact us. ????

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How to Make a Mind Map: Creative Examples for High School Art Students

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This article features 23 creative mind map examples and other visual brainstorming illustrations to inspire high school Art students.

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Last Updated on August 16, 2023

This article has been written for high school art students who are working upon a critical study of art, sketchbook annotation or an essay-based artist study. It contains a list of questions to guide students through the process of analyzing visual material of any kind, including drawing, painting, mixed media, graphic design, sculpture, printmaking, architecture, photography, textiles, fashion and so on (the word 'artwork' in this article is all-encompassing). The questions include a wide range of specialist art terms, prompting students to use subject-specific vocabulary in their responses. It combines advice from art analysis textbooks as well as from high school art teachers who have first-hand experience teaching these concepts to students.
COPYRIGHT NOTE: This material is available as a printable art analysis PDF handout. This may be used free of charge in a classroom situation. To share this material with others, please use the social media buttons at the bottom of this page. Copying, sharing, uploading or distributing this article (or the PDF) in any other way is not permitted.

Why do we study art?

Almost all high school art students carry out critical analysis of artist work, in conjunction with creating practical work. Looking critically at the work of others allows students to understand compositional devices and then explore these in their own art. This is one of the best ways for students to learn.

Art analysis tips

'I like this' or 'I don't like this' without any further explanation or justification is not analysis. Personal opinions must be supported with explanation, evidence or justification.

'Analysis of artwork' does not mean 'description of artwork'. To gain high marks, students must move beyond stating the obvious and add perceptive, personal insight. Students should demonstrate higher order thinking - the ability to analyse, evaluate and synthesize information and ideas. For example, if color has been used to create strong contrasts in certain areas of an artwork, students might follow this observation with a thoughtful assumption about why this is the case - perhaps a deliberate attempt by the artist to draw attention to a focal point, helping to convey thematic ideas.

Cover a range of different visual elements and design principles. It is common for students to become experts at writing about one or two elements of composition, while neglecting everything else - for example, only focusing upon the use of color in every artwork studied. This results in a narrow, repetitive and incomplete analysis of the artwork. Students should ensure that they cover a wide range of art elements and design principles, as well as address context and meaning, where required. The questions below are designed to ensure that students cover a broad range of relevant topics within their analysis.

Write alongside the artwork discussed. In almost all cases, written analysis should be presented alongside the work discussed, so that it is clear which artwork comments refer to. This makes it easier for examiners to follow and evaluate the writing.

Support writing with visual analysis. It is almost always helpful for high school students to support written material with sketches, drawings and diagrams that help the student understand and analyse the piece of art. This might include composition sketches; diagrams showing the primary structure of an artwork; detailed enlargements of small sections; experiments imitating use of media or technique; or illustrations overlaid with arrows showing leading lines and so on. Visual investigation of this sort plays an important role in many artist studies.

Finally, when writing about art, students should communicate with clarity; demonstrate subject-specific knowledge; use correct terminology; generate personal responses; and reference all content and ideas sourced from others. This is explained in more detail in our article about high school sketchbooks.

What should students write about?

Although each aspect of composition is treated separately in the questions below, students should consider the relationship between visual elements (line, shape, form, value/tone, color/hue, texture/surface, space) and how these interact to form design principles (such as unity, variety, emphasis, dominance, balance, symmetry, harmony, movement, contrast, rhythm, pattern, scale, proportion) to communicate meaning.

This video by Dr. Beth Harris, Dr. Steven Zucker and Dr. Naraelle Hohensee provides an excellent example of how to analyse a piece of art (it is important to note that this video is an example of 'formal analysis' and doesn't include contextual analysis, which is also required by many high school art examination boards, in addition to the formal analysis illustrated here):

Composition analysis: a list of questions

The questions below are designed to facilitate direct engagement with an artwork and to encourage a breadth and depth of understanding of the artwork studied. They are intended to prompt higher order thinking and to help students arrive at well-reasoned analysis.

It is not expected that students answer every question (doing so would result in responses that are excessively long, repetitious or formulaic); rather, students should focus upon areas that are most helpful and relevant for the artwork studied (for example, some questions are appropriate for analyzing a painting, but not a sculpture). The words provided as examples are intended to help students think about appropriate vocabulary to use when discussing a particular topic. Definitions of more complex words have been provided.

Students should not attempt to copy out questions and then answer them; rather the questions should be considered a starting point for writing bullet pointed annotation or sentences in paragraph form.

CONTENT, CONTEXT AND MEANING

Subject matter / themes / issues / narratives / stories / ideas

There can be different, competing, and contradictory interpretations of the same artwork.
An artwork is not necessarily about what the artist wanted it to be about.
- Terry Barrett, Criticizing Art: Understanding the Contemporary

Does the artwork fall within an established genre (i.e. historical; mythical; religious; portraiture; landscape; still life; fantasy; architectural)?

Are there any recognisable objects, places or scenes? How are these presented (i.e. idealized; realistic; indistinct; hidden; distorted; exaggerated; stylized; reflected; reduced to simplified/minimalist form; primitive; abstracted; concealed; suggested; blurred or focused)?

Have people been included? What can we tell about them (i.e. identity; age; attire; profession; cultural connections; health; family relationships; wealth; mood/expression)? What can we learn from their pose (i.e. frontal; profile; partly turned; body language)? Where are they looking (i.e. direct eye contact with viewer; downcast; interested in other subjects within the artwork)? Can we work out relationships between figures from the way they are posed?

What props and important details are included (drapery; costumes; adornment; architectural elements; emblems; logos; motifs)? How do aspects of setting support the primary subject? What is the effect of including these items within the arrangement (visual unity; connections between different parts of the artwork; directs attention; surprise; variety and visual interest; separates / divides / borders; transformation from one object to another; unexpected juxtaposition)?

If a waiter served you a whole fish and a scoop of chocolate ice cream on the same plate, your surprise might be caused by the juxtaposition, or the side-by-side contrast, of the two foods.
- Vocabulary.com

A motif is an element in a composition or design that can be used repeatedly for decorative, structural, or iconographic purposes. A motif can be representational or abstract, and it can be endowed with symbolic meaning. Motifs can be repeated in multiple artworks and often recur throughout the life's work of an individual artist.
- John A. Parks, Universal Principles of Art

Does the artwork communicate an action, narrative or story (i.e. historical event or illustrate a scene from a story)? Has the arrangement been embellished, set up or contrived?

Does the artwork explore movement? Do you gain a sense that parts of the artwork are about to change, topple or fall (i.e. tension; suspense)? Does the artwork capture objects in motion (i.e. multiple or sequential images; blurred edges; scene frozen mid-action; live performance art; video art; kinetic art)?

What kind of abstract elements are shown (i.e. bars; shapes; splashes; lines)? Have these been derived from or inspired by realistic forms? Are they the result of spontaneous, accidental creation or careful, deliberate arrangement?

Does the work include the appropriation of work by other artists, such as within a parody or pop art? What effect does this have (i.e. copyright concerns)?

Does the subject captivate an instinctual response, such as items that are informative, shocking or threatening for humans (i.e. dangerous places; abnormally positioned items; human faces; the gaze of people; motion; text)? Heap map tracking has demonstrated that these elements catch our attention, regardless of where they are positioned - James Gurney writes more about this fascinating topic.

What kind of text has been used (i.e. font size; font weight; font family; stenciled; hand-drawn; computer-generated; printed)? What has influenced this choice of text?

Do key objects or images have symbolic value or provide a cue to meaning? How does the artwork convey deeper, conceptual themes (i.e. allegory; iconographic elements; signs; metaphor; irony)?

Allegory is a device whereby abstract ideas can be communicated using images of the concrete world. Elements, whether figures or objects, in a painting or sculpture are endowed with symbolic meaning. Their relationships and interactions combine to create more complex meanings.
- John A. Parks, Universal Principles of Art

An iconography is a particular range or system of types of image used by an artist or artists to convey particular meanings. For example in Christian religious painting there is an iconography of images such as the lamb which represents Christ, or the dove which represents the Holy Spirit.
- Tate.org.uk

What tone of voice does the artwork have (i.e. deliberate; honest; autobiographical; obvious; direct; unflinching; confronting; subtle; ambiguous; uncertain; satirical; propagandistic)?

What is your emotional response to the artwork? What is the overall mood (i.e positive; energetic; excitement; serious; sedate; peaceful; calm; melancholic; tense; uneasy; uplifting; foreboding; calm; turbulent)? Which subject matter choices help to communicate this mood (i.e. weather and lighting conditions; color of objects and scenes)?

Does the title change the way you interpret the work?

Were there any design constraints relating to the subject matter or theme/s (i.e. a sculpture commissioned to represent a specific subject, place or idea)?

Are there thematic connections with your own project? What can you learn from the way the artist has approached this subject?

Wider contexts

Supported by research, can you identify when, where and why the work was created and its original intention or purpose (i.e. private sale; commissioned for a specific owner; commemorative; educational; promotional; illustrative; decorative; confrontational; useful or practical utility; communication; created in response to a design brief; private viewing; public viewing)? In what way has this background influenced the outcome (i.e. availability of tools, materials or time; expectations of the patron / audience)?

Where is the place of construction or design site and how does this influence the artwork (i.e. reflects local traditions, craftsmanship, or customs; complements surrounding designs; designed to accommodate weather conditions / climate; built on historic site)? Was the artwork originally located somewhere different?

Which events and surrounding environments have influenced this work (i.e. natural events; social movements such as feminism; political events, economic situations, historic events, religious settings, cultural events)? What effect did these have?

Is the work characteristic of an artistic style, movement or time period? Has it been influenced by trends, fashions or ideologies? How can you tell?

Can you make any relevant connections or comparisons with other artworks? Have other artists explored a similar subject in a similar way? Did this occur before or after this artwork was created?

Can you make any relevant connections to other fields of study or expression (i.e. geography, mathematics, literature, film, music, history or science)?

Which key biographical details about the artist are relevant in understanding this artwork (upbringing and personal situation; family and relationships; psychological state; health and fitness; socioeconomic status; employment; ethnicity; culture; gender; education, religion; interests, attitudes, values and beliefs)?

Is this artwork part of a larger body of work? Is this typical of the work the artist is known for?

How might your own upbringing, beliefs and biases distort your interpretation of the artwork? Does your own response differ from the public response, that of the original audience and/or interpretation by critics?

How do these wider contexts compare to the contexts surrounding your own work?

COMPOSITION AND FORMAT

Format

What is the overall size, shape and orientation of the artwork (i.e. vertical, horizontal, portrait, landscape or square)? Has this format been influenced by practical considerations (i.e. availability of materials; display constraints; design brief restrictions; screen sizes; common aspect ratios in film or photography such as 4:3 or 2:3; or paper sizes such as A4, A3, A2, A1)?

How do images fit within the frame (cropped; truncated; shown in full)? Why is this format appropriate for the subject matter?

Are different parts of the artwork physically separate, such as within a diptych or triptych?

Where are the boundaries of the artwork (i.e. is the artwork self-contained; compact; intersecting; sprawling)?

Is the artwork site-specific or designed to be displayed across multiple locations or environments?

Does the artwork have a fixed, permanent format, or was it modified, moved or adjusted over time? What causes such changes (i.e. weather and exposure to the elements - melting, erosion, discoloration, decaying, wind movement, surface abrasion; structural failure - cracking, breaking; damage caused by unpredictable events, such as fire or vandalism; intentional movement, such as rotation or sensor response; intentional impermanence, such as an installation assembled for an exhibition and removed afterwards; viewer interaction; additions, renovations and restoration by subsequent artists or users; a project so expansive it takes years to construct)? How does this change affect the artwork? Are there stylistic variances between parts?

Is the artwork viewed from one angle or position, or are dynamic viewpoints and serial vision involved? (Read more about Gordon Cullen's concept of serial vision here).

How does the scale and format of the artwork relate to the environment where it is positioned, used, installed or hung (i.e. harmonious with landscape typography; sensitive to adjacent structures; imposing or dwarfed by surroundings; human scale)? Is the artwork designed to be viewed from one vantage point (i.e. front facing; viewed from below; approached from a main entrance; set at human eye level) or many? Are images taken from the best angle?

Would a similar format benefit your own project? Why / why not?

Structure / layout

Has the artwork been organised using a formal system of arrangement or mathematical proportion (i.e. rule of thirds; golden ratio or spiral; grid format; geometric; dominant triangle; or circular composition) or is the arrangement less predictable (i.e. chaotic, random, accidental, fragmented, meandering, scattered; irregular or spontaneous)? How does this system of arrangement help with the communication of ideas? Can you draw a diagram to show the basic structure of the artwork?

Can you see a clear intention with alignment and positioning of parts within the artwork (i.e. edges aligned; items spaced equally; simple or complex arrangement; overlapping, clustered or concentrated objects; dispersed, separate items; repetition of forms; items extending beyond the frame; frames within frames; bordered perimeter or patterned edging; broken borders)? What effect do these visual devices have (i.e. imply hierarchy; help the viewer understand relationships between parts of artwork; create rhythm)?

Does the artwork have a primary axis of symmetry (vertical, diagonal, horizontal)? Can you locate a center of balance? Is the artwork symmetrical, asymmetrical (i.e. stable), radial, or intentionally unbalanced (i.e. to create tension or unease)?

Can you draw a diagram to illustrate emphasis and dominance (i.e. 'blocking in' mass, where the 'heavier' dominant forms appear in the composition)? Where are dominant items located within the frame?

How do your eyes move through the composition?

Could your own artwork use a similar organisational structure?

Line

What types of linear mark-making are shown (thick; thin; short; long; soft; bold; delicate; feathery; indistinct; faint; irregular; intermittent; freehand; ruled; mechanical; expressive; loose; blurred; dashing; cross-hatching; meandering; gestural, fluid; flowing; jagged; spiky; sharp)? What atmosphere, moods, emotions or ideas do these evoke?

Are there any interrupted, suggested or implied lines (i.e. lines that can't literally be seen, but the viewer's brain connects the dots between separate elements)?

Where are the dominating lines in the composition and what is the effect of these? Can you overlay tracing paper upon an artwork to illustrate some of the important lines?

Repeating lines: may simulate material qualities, texture, pattern or rhythm;

Boundary lines: may segment, divide or separate different areas;

Leading lines: may manipulate the viewer's gaze, directing vision or lead the eye to focal points (eye tracking studies indicate that our eyes leap from one point of interest to another, rather than move smoothly or predictably along leading lines⁹. Lines may nonetheless help to establish emphasis by 'pointing' towards certain items);

Parallel lines: may create a sense of depth or movement through space within a landscape;

Horizontal lines: may create a sense of stability and permanence;

Vertical lines: may suggest height, reaching upwards or falling;

Intersecting perpendicular lines: may suggest rigidity, strength;

Abstract lines: may balance the composition, create contrast or emphasis;

Angular / diagonal lines: may suggest tension or unease;

Chaotic lines: may suggest a sense of agitation or panic;

Underdrawing, construction lines or contour lines: describe form (learn more about contour lines in our article about line drawing);

Curving / organic lines: may suggest nature, peace, movement or energy.

What is the relationship between line and three-dimensional form? Are outlines used to define form and edges?

Would it be appropriate to use line in a similar way within your own artwork?

Shape and form

Can you identify a dominant visual language within the shapes and forms shown (i.e. geometric; angular; rectilinear; curvilinear; organic; natural; fragmented; distorted; free-flowing; varied; irregular; complex; minimal)? Why is this visual language appropriate?

How are the edges of forms treated (i.e. do they fade away or blur at the edges, as if melting into the page; ripped or torn; distinct and hard-edged; or, in the words of James Gurney, do they 'dissolve into sketchy lines, paint strokes or drips')?

Are there any three-dimensional forms or relief elements within the artwork, such as carved pieces, protruding or sculptural elements? How does this affect the viewing of the work from different angles?

Is there a variety or repetition of shapes/forms? What effect does this have (i.e. repetition may reinforce ideas, balance composition and/or create harmony / visual unity; variety may create visual interest or overwhelm the viewer with chaos)?

How are shapes organised in relation to each other, or with the frame of the artwork (i.e. grouped; overlapping; repeated; echoed; fused edges; touching at tangents; contrasts in scale or size; distracting or awkward junctions)?

Are silhouettes (external edges of objects) considered?

Are forms designed with ergonomics and human scale in mind?

Ergonomics: an applied science concerned with designing and arranging things people use so that the people and things interact most efficiently and safely
- Merriam-webster.com

Can you identify which forms are functional or structural, versus ornamental or decorative?

Have any forms been disassembled, 'cut away' or exposed, such as a sectional drawing? What is the purpose of this (i.e. to explain construction methods; communicate information; dramatic effect)?

Would it be appropriate to use shape and form in a similar way within your own artwork?

Value / tone / light

Has a wide tonal range been used in the artwork (i.e. a broad range of darks, highlights and mid-tones) or is the tonal range limited (i.e. pale and faint; subdued; dull; brooding and dark overall; strong highlights and shadows, with little mid-tone values)? What is the effect of this?

Where are the light sources within the artwork or scene? Is there a single consistent light source or multiple sources of light (sunshine; light bulbs; torches; lamps; luminous surfaces)? What is the effect of these choices (i.e. mimics natural lighting conditions at a certain time of day or night; figures lit from the side to clarify form; contrasting background or spot-lighting used to accentuate a focal area; soft and diffused lighting used to mute contrasts and minimize harsh shadows; dappled lighting to signal sunshine broken by surrounding leaves; chiaroscuro used to exaggerate theatrical drama and impact; areas cloaked in darkness to minimize visual complexity; to enhance our understanding of narrative, mood or meaning)?

One of the most important ways in which artists can use light to achieve particular effects is in making strong contrasts between light and dark. This contrast is often described as chiaroscuro.
- Matthew Treherne, Analysing Paintings, University of Leeds

Are representations of three-dimensional objects and figures flat or tonally modeled? How do different tonal values change from one to the next (i.e. gentle, smooth gradations; abrupt tonal bands)?

Are there any unusual, reflective or transparent surfaces, mediums or materials which reflect or transmit light in a special way?

Has tone been used to help communicate atmospheric perspective (i.e. paler and bluer as objects get further away)?

Are gallery or environmental light sources where the artwork is displayed fixed or fluctuating? Does the work appear different when viewed at different times of day? How does this affect your interpretation of the work?

Are shadows depicted within the artwork? What is the effect of these shadows (i.e. anchors objects to the page; creates the illusion of depth and space; creates dramatic contrasts)?

Do sculptural protrusions or relief elements catch the light and/or create cast shadows or pockets of shadow upon the artwork? How does this influence the viewer's experience?

How has tone been used to help direct the viewer's attention to focal areas?

Would it be appropriate to use value / tone in a similar way within your own artwork? Why / why not?

Color / hue

Can you view the true color of the artwork (i.e. are you viewing a low-quality reproduction or examining the artwork in poor lighting)?

Which color schemes have been used within the artwork (i.e. harmonious; complementary; primary; monochrome; earthy; warm; cool/cold)? Has the artist used a broad or limited color palette (i.e. variety or unity)? Which colors dominate?

How would you describe the intensity of the colors (vibrant; bright; vivid; glowing; pure; saturated; strong; dull; muted; pale; subdued; bleached; diluted)?

Are colors transparent or opaque? Can you see reflected color?

Has color contrast been used within the artwork (i.e. extreme contrasts; juxtaposition of complementary colors; garish / clashing / jarring)? Are there any abrupt color changes or unexpected uses of color?

What is the effect of these color choices (i.e. expressing symbolic or thematic ideas; descriptive or realistic depiction of local color; emphasizing focal areas; creating the illusion of aerial perspective; relationships with colors in surrounding environment; creating balance; creating rhythm/pattern/repetition; unity and variety within the artwork; lack of color places emphasis upon shape, detail and form)? What kind of atmosphere do these colors create?

Would it be appropriate to use color in a similar way within your own artwork?

Texture / surface / pattern

Are there any interesting textural, tactile or surface qualities within the artwork (i.e. bumpy; grooved; indented; scratched; stressed; rough; smooth; shiny; varnished; glassy; glossy; polished; matte; sandy; grainy; gritted; leathery; spiky; silky)? How are these created (i.e. inherent qualities of materials; impasto mediums; sculptural materials; illusions or implied texture, such as cross-hatching; finely detailed and intricate areas; organic patterns such as foliage or small stones; repeating patterns; ornamentation)?

How are textural or patterned elements positioned and what effect does this have (i.e. used intermittently to provide variety; repeating pattern creates rhythm; patterns broken create focal points; textured areas create visual links and unity between separate areas of the artwork; balance between detailed/textured areas and simpler areas; glossy surface creates a sense of luxury; imitation of texture conveys information about a subject, i.e. softness of fur or strands of hair)?

Would it be appropriate to use texture / surface in a similar way within your own artwork?

Space

Is the pictorial space shallow or deep? How does the artwork create the illusion of depth (i.e. layering of foreground, middle-ground, background; overlapping of objects; use of shadows to anchor objects; positioning of items in relationship to the horizon line; linear perspective (learn more about one point perspective here); tonal modeling; relationships with adjacent objects and those in close proximity - including the human form - to create a sense of scale; spatial distortions or optical illusions; manipulating scale of objects to create 'surrealist' spaces where true scale is unknown)?

Has an unusual viewpoint been used (i.e. worm's view; aerial view, looking out a window or through a doorway; a scene reflected in a mirror or shiny surface; looking through leaves; multiple viewpoints combined)? What is the effect of this viewpoint (i.e. allows certain parts of the scene to be dominant and overpowering or squashed, condensed and foreshortened; or suggests a narrative between two separate spaces; provides more information about a space than would normally be seen)?

Is the emphasis upon mass or void? How densely arranged are components within the artwork or picture plane? What is the relationship between object and surrounding space (i.e. compact / crowded / busy / densely populated, with little surrounding space; spacious; careful interplay between positive and negative space; objects clustered to create areas of visual interest)? What is the effect of this (i.e. creates a sense of emptiness or isolation; business / visual clutter creates a feeling of chaos or claustrophobia)?

How does the artwork engage with real space - in and around the artwork (i.e. self-contained; closed off; eye contact with viewer; reaching outwards)? Is the viewer expected to move through the artwork? What is the relationship between interior and exterior space? What connections or contrasts occur between inside and out? Is it comprised of a series of separate or linked spaces?

Would it be appropriate to use space in a similar way within your own artwork?

Use of media / materials

What materials and mediums has the artwork been constructed from? Have materials been concealed or presented deceptively (i.e. is there an authenticity / honesty of materials; are materials celebrated; is the structure visible or exposed)? Why were these mediums selected (weight; color; texture; size; strength; flexibility; pliability; fragility; ease of use; cost; cultural significance; durability; availability; accessibility)? Would other mediums have been appropriate?

Which skills, techniques, methods and processes were used (i.e. traditional; conventional; industrial; contemporary; innovative)? It is important to note that the examiners do not want the regurgitation of long, technical processes, but rather to see personal observations about how processes effect and influence the artwork in question. Would replicating part of the artwork help you gain a better understanding of the processes used?

Has the artwork been built in layers or stages? For example:

Painting: gesso ground > textured mediums > underdrawing > blocking in colors > defining form > final details;

Architecture: brief > concepts > development > working drawings > foundations > structure > cladding > finishes;

Graphic design: brief > concepts > development > Photoshop > proofing > printing.

How does the use of media help the artist to communicate ideas?

Are these methods useful for your own project?

Finally, remember that these questions are a guide only and are intended to make you start to think critically about the art you are studying and creating.

Further Reading

If you enjoyed this article you may also like our article about high school sketchbooks (which includes a section about sketchbook annotation). If you are looking for more assistance with how to write an art analysis essay you may like our series about writing an artist study.
BIBLIOGRAPHY
[1] A guide for Analyzing Works of Art; Sculpture and Painting, Durantas

[2] A Short Guide to Writing About Art, Sylvan Barnet (2014) (Amazon affiliate link)

[3] Analysing Paintings, Matthew Treherne, University of Leeds

[4] Writing in Art and Art History, The University of Vermont

[5] Art History: A Preliminary Handbook, Dr. Robert J. Belton, The University of British Columbia (1996)

[6] Criticizing Art: Understanding the Contemporary, Terry Barrett (2011) (Amazon affiliate link)

[7] How to Look at Art, Susie Hodge (2015) (Amazon affiliate link)

[8] How to Look at a Painting, Françoise Barbe-Gall (2011) (Amazon affiliate link)

[9] Imaginative Realism: How to Paint What Doesn't Exist James Gurney (2009) (Amazon affiliate link)

[10] Art History, The Writing Centre, University of North Carolina at Chapel Hill

[11] Universal Principles of Art: 100 Key Concepts for Understanding, Analyzing and Practicing Art, John A. Parks (2014) (Amazon affiliate link)

[12] Landscape and Visual Impact Assessment using CGI Digital Twins, Dr. Ben Guy, Urban CGI (2023)

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How to analyze an artwork: a step-by-step guide for students

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A list of questions to help high school students with sketchbook annotation, essay-based artist studies, or the critical study of art.

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Last Updated on February 2, 2022

This article contains a collection of sketchbook pages from art students around the world, including those who study IGCSE / GCSE Art, A Level Art, VCE Studio Arts, NCEA Level 3 Scholarship, and IB Visual Art. Many of the sketchbook pages shown below are from projects that achieved full marks. These examples illustrate the wide range of possible approaches to sketchbook content, annotation, and page layout.

You may be interested in our new book: Outstanding High School Sketchbooks. This book has high-resolution images so that fine details and annotation are clear, making it an excellent resource for students and schools. Learn more!

Examples of great art sketchbooks

This sketchbook page collection features work from students who specialize predominantly in drawing, painting, mixed media, and Fine Art. The examples cover a wide range of presentation techniques and layout styles. It is worth remembering that these represent only a fraction of what is possible.

These International GCSE Art sketchbook pages were created by Nikau Hindin, while at ACG Parnell College, Auckland, New Zealand. This page includes first-hand observational drawings of a still life arrangement and a handmade flax (harakeke) flower, made by Nikau. You may wish to view Nikau's full A* IGCSE Coursework project (98%) or her AS Coursework project (awarded 100%). Larger file sizes of Nikau's sketchbook pages can be viewed in our publication: Outstanding High School Sketchbooks.

This A* sketchbook was completed by Emilya Swan, while studying A Level Fine Art at Godalming College, Surrey, England. The left-hand page includes a copy of work by Leonard Baskin; the right-hand page contains experimentation with a wide range of media, including pencil on tracing paper and old book pages, Quink ink and bleach, spirit markers, ink and pen, fineliner and oil pastel. Emilya's sketchbook pages can be viewed in our publication: Outstanding High School Sketchbooks.

These sketchbook pages were produced by Kate Powell, while studying at North Halifax Grammar School, West Yorkshire, England. Kate gained A* in OCR GCSE Art as a Year 9 student (two years younger than is expected) and A* for A Level Art in Year 12 (one year younger than expected). She achieved full marks (100%) for A Level Photography, in Year 13. You may wish to read about how Kate launched her career while at high school.

This sketchbook page was completed by Annie Loh, while studying Edexcel GCSE Art and Design at Sha Tin College, Hong Kong. This page references the work of artist Stephen Conroy. Annie gained 100% (A*) for this qualification.

These sketchbook pages exploring the human figure were completed by Chloé Zinn, while studying National Senior Certificate at Rustenburg High School for Girls, South Africa. The right-hand image is a mixed replica of an illustration by Kaethe Butcher, completed using masking tape, gouache paint, tracing paper, fine liner, and crumpled magazine paper. A larger file size of the left-hand sketchbook page can be viewed in our publication: Outstanding High School Sketchbooks.

This A Level Art sketchbook page contains drawings of visual analysis of a sculpture by Bernard Meadows. This project was completed by William Govoni, Bedford School, England. More of William's artwork can be viewed in our guide to preparing an art portfolio for college or university.

These graphite paper drawings were part of a sketchbook exercise completed by Jenny Ha, while studying AS Level Graphic Design (A*) at ACG Parnell College, Auckland, New Zealand.

These two International GCSE Art sketchbook pages by Rhea Maheshwari, ACG Parnell College, Auckland, New Zealand, analyzing the work of Jim Dine. Rhea achieved an A* grade. More of Rhea's sketchbook pages (larger file sizes) can be viewed in our publication: Outstanding High School Sketchbooks.

This A Level Art sketchbook page is by Daisy Wrigley, completed while studying AQA A Level Art & Design (Fine Art) at St. Mary's Catholic High School. Investigating the work of Crystal Neubauer, this sketchbook page explores a wide range of media, including ribbon, maps, book pages, parcel tape, corrugated cardboard, tissue paper, fabric, paper towel, charcoal, stitching, and acrylic. Daisy gained 98% (A*) for her final A Level Art grade. More of Daisy's sketchbook pages can be viewed in our publication: Outstanding High School Sketchbooks.

This is part of a Process Portfolio by Enrico Giori, completed as a part of IB Visual Arts at St. Louis School of Milan. Enrico was awarded Level 7, obtaining full marks in all three components of the course. You may wish to view more of his IB Visual Art project or his CIE IGCSE Art exam or IGCSE Coursework project (A* Grade). Some of Enrico's sketchbook pages can also be viewed in our publication: Outstanding High School Sketchbooks.

This Edexcel AS Level Textile Design sketchbook page is by Halima Akhtar, completed while studying within the Woldingham School Art Department, UK. Halima achieved 95% for her AS Exam and 100% for her AS Coursework (A*). She also gained 100% for A Level Fine Art. This sketchbook page references the work of Naum Gabo and contains drawings in pencil and fineliner pen, photographs of a paper sculpture and a polyprint carving. You may wish to view more from Halima's outstanding AS/A2 textiles projects. Some of Halima's sketchbook pages can also be viewed in our publication: Outstanding High School Sketchbooks.

These A* A Level Art sketchbook pages were created by Nettle Grellier, St. Edward's School, Oxford, England. Nettle currently runs workshops for art students while travelling around Europe in her studio on wheels.

An A Level Art sketchbook page by Ruth Beeley, St George's School, Hertfordshire, England. Using 'modrock' (a plaster of paris bandage) and glue to create raised areas, with other mixed mediums such as wire, ink and Biro pen, Ruth adds detailed drawings over a chaotic ground. You may wish to view more of Ruth's 100% A Level Art Coursework project.

Sketchbook pages completed as part of a VCE Studio Arts folio by Australian high school student Heesu Kim. Heesu writes about the project: "I want to create a narrative-like line of work that illustrates the process of birth and innocence to slow corruption and finally death of soul. For me, the 'death of soul' is when our minds are shaped to fit the norms of society and cut to think only in the values that it presents. This process both starts and finishes at high school. Ultimately the conclusion is thousands of machine-like individuals, fresh and ready to become slaves to the system. I talk to my friends and see peers that conclude their whole lives and future based on how high their ATAR score is, who adopt dreams that their parents decide for them, dreams that make more money, instead of following their real passion. I'm aware of it but accept it myself as there is no other choice but to. So subtle and complete is the control over us that we embrace it, actively acknowledge to it, and at the same time still suffer emotionally under it."

This Francis Bacon study was completed by Stefan Iyapah, while studying A Level Art at Beal High School, Redbridge, England. In his own words, Stefan "broke out of a timid and controlled way of working and became heavily influenced by the emotion-filled paintings of Francis Bacon which encouraged me to use color experimentally and loosely".

A sketchbook page by Louis Trew from Bideford College, Devon, England.Louis achieved the best equal result in 2011 for his A Level Art submission (AQA). In this sketchbook page (exploring the work of graphic illustrator Russ Mills) every splash of paint, every pen line and every torn piece of background material is placed with care. Even in a page that contains multiple elements, the composition of the page as a whole is important. Louis demonstrates superb technical skill, with the ability to place, balance and integrate items in a harmonious layout.

This eye-catching sketchbook page by Iona Judd includes dripped white spirit (mineral turpentine) through oil paint. Triangles are cut out, with black stitching used to define the human form.

This sketchbook page was completed by Year 12 student Stenelee Taminaya, while studying at St Francis Xavier College, Australia, taught by Damien Veal. Beautiful pencil and biro drawings of hearts and lungs are inspired by images of preserved food in jars.

These expressive sketchbook pages are by Lina Abu Sita, completed while studying AS Art and Design at the British international school Doha College, Qatar. The gestural, painterly experiments combine a range of mixed media, including collage, acrylic paint, oil pastel, and trial various compositional approaches.

These two A* sketchbook pages were completed by Rhea Maheshwari, as part of her IGCSE Art Coursework project at ACG Parnell College, Auckland, New Zealand. This section of work was derived from observational drawings of a still life arrangement of shells in flax (harakeke) bags. The sketchbook page on the left features composition studies created from digital manipulations of her own scanned drawings. More of Rhea's sketchbook pages (larger file sizes) can be viewed in our publication: Outstanding High School Sketchbooks.

These rich, textural mixed media pages are part of an A Level Art project by Ellie Green, while studying at Graveney School, London, England (awarded A*). The work shows clear first-hand sources and a personal response to local environment: shells, feathers, rope, and coastal landscapes. The pages include drawings and collage using a range of mixed media, with the repetition of blue and brown colors visually linking different parts of the page together.

These sketchbook pages are by Hojeong Bonnie Park, completed while studying Edexcel A Level Art and Design at Colombo International School, Sri Lanka. Bonnie explored the exam topic, 'Inside, Outside, In Between,' using a still-life theme, analyzing the artwork of Juan Sánchez Cotán. Bonnie gained 100% (A*) for her final grade. More of Bonnie's beautiful sketchbook pages can be viewed in in our publication: Outstanding High School Sketchbooks.

This GCSE Art and Design sketchbook page is part of an exam unit by Alisha Khanna from Highclare School, UK. This sketchbook page analyzes the work of Andy Warhol, and includes a range of media including colored pencil, crayon, and corrugated cardboard. Alisha gained 94% for her GCSE Art exam. More of Alisha's sketchbook pages can be viewed in our publication: Outstanding High School Sketchbooks.

This sketchbook page was completed by Heather Louise Thomas, while studying Edexcel GCE Art, Craft and Design at St Edmund Campion Catholic School, UK. This page analyzes the artwork of Terry Flannery and contains highly detailed colored pencil replications of Flannery's work. Heather achieved A* overall. Some of Heather's sketchbook pages can be viewed in our publication: Outstanding High School Sketchbooks.

This is an AS Level Fine Art sketchbook by David Wasserman, from Monks' Dyke Tennyson College, England. Referencing the work of M.C. Escher, this page explores reflections upon curved surfaces, such as a glistening eyeball, and a shiny Christmas bauble. Photographs of work in progress have been included, documenting drawings at different stages of completion.

This A Level Art sketchbook page contains pen drawings from life at a string ensemble practice in a music hall, exploring ways of capturing the movement of the violin. This project was completed by William Govoni, while studying at Bedford School, England.

This NCEA Level 3 Scholarship Printmaking workbook exemplar by a high school student in New Zealand. It provides a great example how second-hand imagery can be seamlessly integrated with your own photographs, written documentation and analysis. This student looks at architectural abstraction and references the work of Gordon Matta-Clark and Young Ae Kim. More information about this project can be viewed at NZQA.

These sketchbook pages were completed by Manisha Mistry, as part of her A* IGCSE Art Coursework project, ACG Strathallan, Auckland, New Zealand. You may wish to view more of Manisha's 98% IGCSE Art project, which explored natural forms, such as shells, seaweed and fish.

These sketchbook pages are by Elliswg, a high school student studying at a Sixth Form college in Derby, UK. Exploring portraiture, the sketchbook pages contain a thorough and competent investigation of emotion and facial expression, sketched using a range of drawing mediums.

This A Level Art sketchbook page was completed by John Hui, while attending St John's College, Portsmouth, England. The page includes detailed investigation of eyeballs, mouth infections and diseases, working from a combination of first and second-hand images.

These sketchbook pages are by Sabrina Syed, completed as part of her IB Visual Arts Diploma, at the International School of Geneva, ISG La Châtaigneraie, Switzerland. These pages analyze the work of Leonardo da Vinci and Auguste Rodin and contain a variety of media, including collage, ink pen, felt pen, graphite pencil, water-soluble colored pencil, and tracing paper. Sabrina was awarded the highest grade (level 7) for IB Visual Arts. Some of Sabrina's sketchbook pages can be viewed in our publication: Outstanding High School Sketchbooks.

An A Level Art sketchbook page by Lucy Luu. At its essence, a sketchbook page should provide insight into a student's ideas and intentions, as well as revealing the influence of other artists. This A Level Art sketchbook page is beautiful in its simplicity: devoid of all superfluous decoration, it shows a dedicated and committed student learning a technique from artist Jonathan Yeo and then carefully applying this to original artwork.

This A* sketchbook page was completed by Hania Cho, while studying A Level Painting at ACG Strathallan College, Auckland, New Zealand. This page examines the work of Claude Monet. You may also wish to view Hania's A* IGCSE Coursework project.

These sketchbook pages are part of an IB Visual Arts project by Wing Yung Ng, completed while studying at Sha Tin College, Hong Kong. Wing Yung Ng gained the highest grade (level 7) for this project. Wing Yung Ng is one of many students from Sha Tin College with work in our publication: Outstanding High School Sketchbooks.

These sketchbook pages were created by two different students. The image on the left was created as part of a Higher Level Investigation Workbook (IWB) by Naomi Ng, completed as part of the IB Visual Arts Diploma Programme at Sha Tin College, Hong Kong. You may wish to view more of Naomi's IB Visual Arts project, which was awarded Level 7. This right-hand AS Art sketchbook page by Charlotte Taylor shows the visual investigation of hands: drawing from a range of angles and in a range of different mediums. Charlotte has worked over scraps of lined note paper (some with maths equations left on them) with meticulous, detailed pen drawings, developing familiarity with the human form.

This A Level Art sketchbook page by Robyn Yeang from Queen's College London, UK, commands the attention of the examiner, without superfluous decoration, enlarged headings or busy page layouts.

This is part of a 98% A* IGCSE Art and Design Coursework project by Sarah Loh, completed while studying at ACG Strathallan College, Auckland, New Zealand. In this sketchbook page, Sarah has produced observational drawings of shells, line drawings and printmaking experiments. You may wish to view Sarah's AS Coursework project.

These sketchbook pages by Allison Ho were completed as part of IB Visual Arts at Sha Tin College, Hong Kong. These pages include composition development and critical analysis of work by Ian Murphy. Allison achieved the highest grade for IB Visual Arts (level 7). Larger file sizes of some of Allison's sketchbook pages can be viewed in our publication: Outstanding High School Sketchbooks.

This sketchbook page was completed by Heather Louise Thomas, while studying Edexcel GCE Art, Craft and Design at St Edmund Campion Catholic School, UK. Inspired by the work of Jessica Drenk, Heather created porcelain shells, decorating these with tissue paper and power towel soaked in porcelain slip. She then added patches of color to the textural surfaces, contrasting with the areas of satin and gloss glazes. Heather achieved A* overall. Some of Heather's sketchbook pages can be viewed in our publication: Outstanding High School Sketchbooks.

This sketchbook page is by Rebecca Fawdry, completed while studying Edexcel GCSE Art and Design at West Island School, Hong Kong. (You may wish to follow WIS Art Department on Pinterest). This sketchbook page includes critical analysis of work by artists Ian Murphy and Emily J. Hay. A range includes a range of media has been used, such as graphite pencil, ink pen, marker pen, tissue paper, tracing paper, and newspaper. Rebecca was awarded 100% (A*) for GCSE Art, and is one of many students featured in our publication: Outstanding High School Sketchbooks.

These Edexcel A Level Art sketchbook pages are from a Grade A* student project from Steyning Grammar School, UK. These sketchbook pages are two of many excellent examples shared by the school on the SGS Art Department Pinterest profile.

This Edexcel GCSE Art and Design (Fine Art) sketchbook page is by Sophie Blow, completed while studying at the Frances Bardsley Academy for Girls, UK. This page shows analysis of a portrait, with original interpretation, using graphite pencil, colored pencil, and acrylic paint. Sophie gained 93.5% (A*) for GCSE Art.

This AQA GCSE Art and Design sketchbook page is by Genevieve McGechie, taught by Kate Ash at Christopher Whitehead Language College and Sixth Form, UK. This page explores the work of Timothy Hyunsoo Lee, and includes a range media such as watercolor, acrylic paint, colored pencil, and graphite pencil. Genevieve gained an A* for GCSE Art.

These sketchbook pages by Allison Ho were completed as part of IB Visual Arts at Sha Tin College, Hong Kong. These pages include critical analysis of work by a range of artists, including Michael Shapcott and Zhong Biao. Allison achieved the highest grade for IB Visual Arts (level 7). Larger file sizes of some of Allison's sketchbook pages can be viewed in our publication: Outstanding High School Sketchbooks.

These sketchbook pages are from an OCR GCSE Art and Design project by Annie Richardson, Hall Park Academy, UK. These pages show composition experiments in the style of Matthieu Bourel, developing and refining ideas towards the final piece. Annie gained A* (100%) for GCSE Art.

Need more art sketchbook ideas?

This article is part of a series showcasing and celebrating outstanding sketchbooks by students, artists and designers. You may also be interested in viewing our other sketchbook resources:

This sketchbook collection is continually updated. Please bookmark this page so that you can return to it when needed! If you would like to submit your own sketchbook page for inclusion, please contact us. 🙂

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Art Sketchbook Ideas: Creative Examples to Inspire Students

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Looking for art sketchbook ideas? This article showcases excellent high school sketchbooks - inspiration for the student and teacher.

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KS5 Life and Death personal investigation unit.