Gillham, B. & McGilp, H. (2007) ‘Recording the Creative Process: An Empirical Basis for Practice-Integrated Research in the Arts’ International Journal of Art and Design Education, 26 (2), pp177-184

Gillham, B. & McGilp, H. (2007) ‘Recording the Creative Process: An Empirical Basis for Practice-Integrated Research in the Arts’ International Journal of Art and Design Education, 26 (2), pp177-184

The article explores the use of ‘creative process journals’ (CPJs) to record the practice-integrated research activity in the creative arts as a formal research tool. Although the emphasis is on how this concept can be used for research purposes, there are clear fundamental parallels between this and creative portfolios in terms of practitioners, and presentation of process. As a caveat to that statement however, the authors state that their discussion is discrete to that of journals “primarily concerned with ‘reflection’ and self-analysis.” (p.178) Instead they talk about the “detailed description to provide the raw data for critical interpretation.”

The authors comment on the differences between research through synthesis and through analysis, suggesting that art and design researchers are inclined to the former. The function of the CPJ therefore would be to provide an account for which analytical interpretation can occur. Within this, there are experiences identified that relate to the need for accurate representation of journal content in order for the analysis to take place in context.

James, A. (2004) ‘Autobiography and Narrative in Personal Development Planning in the Creative Arts’ Art, Design and Communication in Higher Education, 3 (2), pp103-118

James, A. (2004) ‘Autobiography and Narrative in Personal Development Planning in the Creative Arts’ Art, Design and Communication in Higher Education, 3 (2), pp103-118

The article examines PDP in a creative arts context, exploring the tension between uses, the “external, sociocultural role (the demonstration of skills and assets to others) and capacity to enhance internal, individual understanding.” (p.103) – reflective and presentational facets.

The discussion concludes that PDP is neither discrete to academic or professional goals. But it does suggest that it is a record of a learning journey that has multiple applications for the synthesiser, acknowledging the learner centred nature of the PDP activity by stating; “This sense of self is both represented by and defined in various modes of expression”.

Tarnowski, M., Knutson, M., Gleason, E., Gleason, C., & Songer, E. (1998) ‘Building a Professional Portfolio’ Music Educators Journal, 85 (1), pp17-20+38

Tarnowski, M., Knutson, M., Gleason, E., Gleason, C., & Songer, E. (1998) ‘Building a Professional Portfolio’ Music Educators Journal, 85 (1), pp17-20+38

The article is a nearly a decade old but iterates some of the key needs for a professional portfolio (music teacher). The author describes this type of portfolio as needing three facets: 1) professional development, 2) teaching abilities, 3) personal and professional attributes. There is also an indication for the need for audio elements within the music educator’s portfolio, digital portfolios lending themselves to this multimedia requirement.

Creative Review (2004) ‘How to get a Job’ Creative Review, Nov 2004, p37

Creative Review (2004) ‘How to get a Job’ Creative Review, Nov 2004, p37

Significantly, the article talks extensively about the use of traditional paper-based portfolios during interviews for jobs in the design sector. This goes against the other emerging idea of digital portfolios being used by graduates and employers aside of the interview period. The implication is that the physical portfolio is still seen as important; “…it is always good to include hard copies for the ‘feel factor’.”

The article also focuses on the need for graduates to tailor their portfolio for the individual company that they are aiming to gain employment with one interviewee stating that they are including information about how to do this on their website. “Candidates themselves can prepare by tailoring their portfolio to suit the job which they are up for.”

Butler, P. (2006) A Review of the Literature on Portfolios and Electronic Portfolios

Butler, P. (2006) A Review of the Literature on Portfolios and Electronic Portfolios [Online] Available at: https://eduforge.org/docman/view.php/ 176/1111/ePortfolio%20Project%20Research%20Report.pdf (accessed 23 July 2007)

2006 review of literature on e-portfolio research with some focus on art and design specific e-portfolio use. The most significant points emerging relate to the purpose and use of e-portfolios and from where these are driven. (Purposes: what an e-portfolio is designed for. Uses: What e-portfolios are actually used for.) Although there are several interpretations of the purposes of e-portfolios, they essentially range from, at one end of the scale, a process / learning portfolio to, at the other, representational / showcase.

Art and design specific analysis is based on a relatively small sample of literature but indicates a subject-oriented preconception that is also evident in other fields. For art and design this is that the portfolio is fundamentally a collection of visual work, often supported with reflective / explanatory information.” (Blaikie et al., 2004)

The review highlights benefits associated with electronic portfolios: skill development; evidence of learning; feedback; reflection; psychological benefits; assessment; artefacts; maintenance; portability and sharing. (p11)

Perry, M. & Medler, A. (2004) Marketing your Creativity: New Approaches for a Changing Industry, Lausanne: AVA Publishing

Perry, M. & Medler, A. (2004) Marketing your Creativity: New Approaches for a Changing Industry, Lausanne: AVA Publishing

The authors have written the book for graduates who are readying themselves for employment in the design sector. They talk about the changing face of employment in the sector describing, “client spending on marketing activity is undoubtedly down and permanent jobs in the industry have suffered, freelance is more buoyant.” (p38) The authors offer an alternative ethos for enhancement employment opportunities, suggesting interdisciplinary awareness and diversity of skill-base being key elements.

The book describes ways that graduates can market themselves for employment. Digital portfolios – CD or web based – are first on the agenda and assert a need for easy to access and readily compatible content the key. A number of other approaches are listed; digital direct mail, email, multimedia, but the portfolio is seen as a fundamental tool. “Turning your traditional portfolio into a digital portfolio opens up all kinds of doors or you.” (p54) And the authors re-state the need for individuality and asserting the “brand of you.”