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  1. Curating a Portfoliowith for Dani Pontus, Elsik HS, Houston, Alief ISD Linda Fleetwood, Marshall HS, San Antonio, Northside ISD

  2. Agenda/Goals • Curate a portfolio for a specific purpose • Step-by-step approach • Model • Create your own • Definition: Curate – tr. v. to organize and oversee; To take care of.

  3. Portfolios are Communications • Curating a portfolio is an act of authorship. • The curator has a voice and a message that must be consistent through all elements of the design. • The curator must show using the included works that the yearly TEKS objectives have been met. • The curator showcases best works as proof of their movement upward through the contiuum.

  4. Purposes of portfolios • General Portfolio/Working Portfolio • To showcase objectives met in an End-of-Course assessment format • Presentation Portfolios • Project/Class • Academic- AP Portfolio • Job Application/Career • Best Works (Showcase)

  5. Portfolios must communicate Good communication is a dialogue, a continuous loop.

  6. Portfolios as StoriesJennie Harper (AP Design)

  7. “I like it when I'm critiqued because it gives me feedback on things that I can improve on in my work, as well as a confidence boost when I receive positive feedback on my work. Critiquing is also helpful in creating well rounded developing artists because it gives them a chance to both show what they have learned thus ...far and to learn more about the principles of design, photography, and techniques to use on Photoshop and other programs used to create digital artwork.” -Jennie Harper 2009

  8. Define the Objective • What is the message in my work? • Who is the audience receiving this work? • What is the purpose for compilation? • What is the desired outcome? • How will I know I have succeeded?

  9. Define the Objective • What is the message in my work? The message in my work is that emotions can easily overtake someone once a stressful or horrible event takes place. The woman in my pieces fell prey to her emotions of loneliness, longing, and despair after her husband was sent off to war in the armed forces. She constantly missed him and her missing grew and festered inside her until she eventually saw his loss of presence everywhere she went, including in everyday items. My piece where she is sitting on the floor in front of the doors is an excellent example of this. In the end, the woman's emotions completely overpowered her, and she ended up taking her own life.

  10. Define the Objective • Who is the audience receiving this work? In general, the audience is the panel of judges critiquing my portfolio. However, there are a couple target audiences, the first would be those who look at my works and see a part of themselves in the woman's personality and in how she responds to her problems. She chose to let her emotions control her, instead of the other way around. A lot of people, including myself, fall prey to their emotions once in a while, specifically negative ones. It's human nature and extremely difficult to avoid. I wanted to give those certain people something to connect with, something that evokes emotion.The second, and last, target audience would be writers. I wanted to create a well developed story line, turn it into a poem, and incorporate the actual stanzas from the poem into my pieces.

  11. Define the Objective • What is the purpose for compilation? I put all of my works together to create a portfolio to submit it to college board to show my knowledge of digital media, my growth as an artist, my understanding of the principles of design, and to received AP credit. • What is the desired outcome? My desired outcome after completing my portfolio was to show my understanding of the principles of design through my Breadth pieces and my understanding of the growth of an idea in my Concentration pieces. I wanted to show that I had real artistic ability, that I had grown as an artist, and to hopefully make a 5 on it.

  12. Define the Objective • How do you know you have succeeded? I know I've succeeded because I received a score of 5 on my portfolio, and because I believe I accomplished all of my purposes for compilation. I also know I have succeeded because my Art teacher, Danielle Pontus, approved all my work. --On a side note, I know I have succeeded because I wouldn't be answering these questions for Danielle Pontus if she did not believe I had not done exceptional on my portfolio, and because I gained her approval. To me, her word above all others that I have done well on something, means more than anything. If she says I succeeded, then I did.

  13. Selections • Why is each artifact important? • Is their an artifact to meet each objective? • When was each created and for what purpose? • What reflection pieces do I have to accompany each artifact?

  14. Analyze, Sequence, Pace, and Format • How do the artifacts relate to each other? • How do they relate to the message? • How will I order them? Where will the reflection(s) reside? • How will I control the pace at which I wish my viewer to move through these works? • What format will best display them and allow the strong relationships to emerge?

  15. The Portfolio Container • How can the container support the message contained within the works? • What is the best container for addressing the long-term maintenance of the portfolio? • How will this container help enable or hinder growth in numbers and types of artifacts to be presented?

  16. Reflect • Did this portfolio communicate its message to the audience? • How might it be improved? • Where are its shortcomings? • What elements bolster its success? • How does this portfolio guide me to a new direction or the next step in my learning?

  17. Portfolios and the Learning Continuum • Portfolios can capture learning in many subjects across a long span of time. • Analyze your portfolios. • Where are you on the continuum? • How might you move to the next level?

  18. Portfolios as StoriesAndrea Vega (Art 1) Perception & Drawing Cultural/Heritage & Tempera Painting

  19. Response/Evaluation State VASE & Drawing Perception/Environment & Acrylic Painting

  20. Creative Expression/Direct Observation & Pastel Drawing Career & Design

  21. Sculpture/Ceramics Design/Career & Printmaking

  22. Technological Considerations for Electronic Portfolios Key technological considerations include student and teacher access to • Tools for digitizing and capturing works and reflections • High speed internet connections and networked computers • Desktop and online software • Media storage such as CDs, DVDs, USB flash drives, & external hard drives.

  23. Web Tools & Resources • Blogging Tools (WordPress, Blogger, Typepad, LiveJournal) • Wikis(WikiSpaces) • Social Networks (Facebook, MySpace) • Google Applications (Google Docs, Google Pages, Picassa Web Albums, Google SketchUp) • Content Management/Learning Management Systems (Drupal, Plone, Moodle) • Proprietary ePortfolio Systems (Epsilen, Digication)

  24. Benefits of DIGIcation Portfolio & Assessment • Take ownership of learning • Dialogue and collaborate with peers and teachers • Connect classroom work to the real world • Learn to identify purpose and audience • Reflect on learning and growth as related to long-term goals • Public advocacy for art programs

  25. Accessibility for students, teachers, administrators and parents • No need for storage of large image files on school computers and servers • Authentic assessment – measuring actual student learning. • Moves students along the Continuum to higher level learning • Accountability for mastering TEKS objectives • Encourages districts to provide enough funding for supplies to meet all the TEKS

  26. Becoming Technology “Stars” to meet Texas objectives for technology in the classroom • Provide working example that the arts can be measured reliably, objectively, and quantifiably • Platform for all the arts to be measured (because of video and written samplings) • Accounts provided through TAEA membership and/or the State of Texas (future) • Can be compatible with electronic gradebooks and management systems

  27. Drawbacks to DIGIcation Portfolio & Assessment • Lack of computers in classrooms • Lack of digital cameras in classrooms • Teachers’ lower level of technological expertise • Lack of professional development for training to use the tool • More time requirement on teacher if students do not take the ownership of their portfolios • Reliance on technology (servers) that can malfunction or not be available at times

  28. Concerns with online security for students • Electronic gradebook or management system incompatibility • Accountability for mastering TEKS objectives • Teachers view as loss of educational freedom to teach the content they choose • Financial restrictions for supplies to cover all areas of the TEKS • Teachers’ financial restrictions (until State provision is active)

  29. DIGIcationPilot • An offer: • Free DIGIcation account for you – active NOW • Set up student portfolios by Level. • BIG HINT…students load images all during year as projects are finished • Accountable to reflect on usage once a month on TAEA DIGIcation Blog • Accountable to finish student portfolios and then submit to the Assessment portion by May 13, 2011 • Scores reported in June

  30. Dani Pontus, Elsik HS, Houston, Alief ISD Linda Fleetwood, Marshall HS, San Antonio, Northside ISD