Tufts Blogs

If you’re applying to the SMFA at Tufts, we have some things for you to think about as you develop and edit your portfolio.

Because we are an interdisciplinary program, we value students who are interested in progressing both their technical skills and conceptual interests – it is the combination of these two strengths that allows our students to create ground-breaking work that changes the world. Ultimately, we want to see students who are interested in using their skills in service of their ideas. There are no rules on what should be submitted regarding media; you should use the portfolio to highlight your strengths and interests and to minimize any weaknesses.

Here are some ways to think about how your creative decision-making can be used to showcase your concepts:

Composition

All too often, we are told that we need to obey the rule of thirds in composition – regardless of the medium. I disagree. Often, yes, this is a great compositional rule because it can create a dynamic image that pulls the viewer in and around the picture. But there are other times when I want to create an image that is more iconic. In that case, I would choose to use a centralized composition and pair it with bold, illustrative line-work or I’d execute it as a wood-carved print or screen-print. There’s no right or wrong composition; it’s about choosing the composition that best achieves the goal of the work and making sure that the other elements (like all the things below) support that too.

Contrast

Most students are told countless times to “go darker,” to increase the contrast in a drawing. And, for that reason, we most often associate contrast with drawing. Yes, when drawing, using the full range of light-to-dark tones will better allow the viewer to process the image. On the other hand, if you want to create a drawing that feels ethereal or ghostly, maybe you want to purposefully limit the range of tones to better achieve that effect. But contrast goes far beyond drawing; contrast can be achieved through the use of color in your photographs, texture in your sculptures, weight in your performances, pattern in your designs, or pacing in your videos. Use contrast (or lack thereof) to make a difference – don’t just go darker for no reason.

Scale

I get it. There are usually limitations to the scale of materials available to us. A lot of time, we can only work with what is mobile or what is available in the classroom or what is affordable. But when you have options, the scale you choose for your work can make a huge difference in the final impact on the viewer. Work that is big (like Jumbo big) is always overwhelming – the viewer is immersed in it and can’t back away. Work that is tiny is always cute. This is why miniature cooking videos are a thing. Regardless of the subject matter, the scale can change the interpretation of it. I don’t watch videos of normal-sized cooking, that’s for sure.

Context

This is my favorite one to talk about because context changes everything. If you’ve ever had a portfolio review, someone has probably told you at some point to fill in a background. But I’m interested in context, not just backgrounds. I once met a student who had been given a school assignment to draw fabric. Everyone else came to class with a drawing of a drape hung over something and depicted the dramatic lighting on the material. This student shined because she drew a pile of clothes sitting next to the trash bin in front of her house – she said it was the tale of a scorned lover. The understanding of where this pile of clothes “lived” is what transformed it from a fabric-study into a story.

I know someone else who loves to draw robots; he draws them in all different times and places. Seeing a robot in 18th century Scotland is different than seeing it in a present-day setting and that’s different than seeing it riding a bus to work like every other robot in the future. Get it? The context changes the narrative. And this applies to all different media. Understanding where work is meant to exist can change its meaning. Does this photograph belong in a gallery, or is it meant to be in an unexpected public space where it confronts the viewer? I’m someone who always asks, “can I touch it?” The context of where a work of art lives after it’s made should inform me if I can develop a personal interaction with the object or if it’s meant to be on a pedestal – pristine and coveted from afar.

Content

You have control of your content. Push it. If you decide to create a still life painting, make some purposeful decisions about what the subject will be. Will you paint a bowl of fruit and vase of flowers? If you’re really into fruit and flowers, go for it. But the consideration of content asks, how will you make it clear that you are showing your love of fruit and flowers instead of making a sarcastic statement about western art history? Will you paint objects that are meaningful to your childhood? Objects that represent your future? If you want to practice figurative sculpture, decide if you want one figure or two. If it’s a sculpture of two figures, what is the relationship between them? Are they close together or far apart? Are they physically leaning on each other or is one in a position of power? If you’re going to paint a landscape, will it be done in a tropical color scheme that speaks to some vibrancy or will it be muted and moody and lonesome? Every decision you make is important. These decisions allow you to transform a subject (like fruit and flowers) into content (like value and personal history).

I can’t stress enough, if you’re applying to the SMFA at Tufts visual art program, use your skills in service of your ideas, to push your content forward – because that is a true measure of success within the school.

Put it out there.

Really, my advice is to get a portfolio review with us before you apply. Connect with us on campus, attend a National Portfolio Day event, or email us images of your work to start a conversation. And get portfolio reviews from different types of art schools. Starting discussions about your work with professionals in art education will give you an idea of what the classroom is like at each particular school. You might get a review from the SMFA and walk away feeling invigorated and inspired – and challenged! You might get a review from another school and walk away feeling complimented but not motivated. Another may tell you that A + B + C = Degree. And that structure might work best for you. But if you’re choosing more of an adventure in your story, if you want a creative challenge in your education, come talk to the SMFA.

Digital photograph by Cordelia Jones, BFA