University of Portsmouth — BA Animation
Portfolio Requirements & Assessment Criteria
Updated for UCAS 2026Portsmouth accepts portfolios in multiple formats (PDF, video, website, Instagram/TikTok) and asks for 5 pieces including observational drawings and storyboards. They encourage generous, inclusive submissions.
Requirements change — always verify directly with University of Portsmouth before applying.
Assessment at a glance
Assessment framework developed by Folovio based on published selection criteria and portfolio guidance from University of Portsmouth.
What are the portfolio assessment criteria for BA Animation?
Drawing and Observational Skills
25%Life Drawing and Figure Work
Evidence of direct observational practice — gesture drawings, understanding of human anatomy, and observational drawing of people and animals from life, not from photographs.
Common pitfall: No life drawing or figure studies. Most UK animation programmes consider this foundational. Even sketching people in cafés or on public transport demonstrates observational practice.
Broader Observational Drawing
Observational curiosity beyond figure work — environments, objects, animals, architecture. Location-based drawing is valued as evidence of genuine looking rather than working from reference images.
Common pitfall: All drawing is from photographs or imagination rather than direct observation. No evidence of on-location sketching.
Range of Drawing Media and Techniques
Experimentation with materials — colour work alongside line and tonal drawing. Media variety signals a curious and exploratory practice.
Common pitfall: Single medium throughout (e.g. only pencil or only digital). No colour work and no evidence of experimentation with different tools.
Storytelling and Narrative
20%Storyboarding and Visual Sequences
Narrative thinking demonstrated through sequential visual work — storyboards, comic sequences, or animatics showing how to communicate story through images over time.
Common pitfall: No storyboard or sequential work at all. Portfolio is entirely single-image illustrations with no evidence of visual storytelling.
Character and World Development
Original character design with personality, development iterations, and visual consistency. Characters should feel like the applicant's own creative work, not derivative of existing franchises.
Common pitfall: Character work consists entirely of fan art or copies from existing animation and games. No iterative development sheets showing how characters evolved.
Animation-Specific Skills
15%Moving Image and Animation Tests
Evidence of engagement with animation as a time-based medium — links to animation tests, frame sequences, motion studies, or stills from animation work visible in the PDF.
Common pitfall: No video links, frame sequences, or motion studies in the portfolio. Programmes expect animation tests to be submitted as linked video alongside the PDF.
Animation Pipeline Awareness
Understanding of how animation is made as a production process. Pipeline stages include: concept art, storyboarding, layout/background design, character design, animation tests, and 3D/technical skills.
Common pitfall: Only standalone illustrations with no work connected to animation production stages. No evidence the applicant understands how animation projects are produced.
Creative Thinking and Originality
20%Originality and Creative Risk
Original creative work — personal ideas explored with ambition and risk-taking. Many UK programmes discourage or prohibit fan art; original work is the sector-wide expectation.
Common pitfall: Portfolio dominated by fan art or work copied from popular animation/games. Technical skill is evident but channelled into derivative work rather than original ideas.
Personal Voice and Subject Interests
A clear creative identity with genuine, informed passion for animation specifically. The portfolio should feel authored and intentional — like it could only belong to this person.
Common pitfall: Portfolio feels generic with no personal thread. Work appears to be assignments completed without personal curation or investment.
Process and Development
15%Sketchbooks, Research and Development
The journey from inspiration to outcome — analysis of project themes, how research informs development, decision-making process, visual references, notated observations, material experimentation.
Common pitfall: No sketchbook, research, or development work. Only polished final pieces with no evidence of how ideas were generated or evolved.
Contextual Awareness and Research
Awareness of animation as a professional discipline — named references to practitioners, studios, films, or movements. Investigation of contemporary and/or traditional practice.
Common pitfall: No references to any animators, studios, or animation movements. The applicant shows no engagement with the broader animation industry or discipline.
Presentation and Curation
5%Portfolio Organisation and Annotation
Contents page, clear labelling (media/size/date), and reflective annotations. Work ordered by theme or project with strong pieces opening and closing.
Common pitfall: No contents page, no labelling, and no structure. The portfolio is difficult to navigate and work lacks context.
Image Quality and Documentation
All work clearly presented — sharp, well-lit images with legible typography throughout. Portfolio PDF must be clear and legible at screen size.
Common pitfall: Blurry, dark, or poorly composed images throughout. Typography is illegible at screen size, making the portfolio hard to assess.
Frequently Asked Questions
What is the most important criterion for BA Animation at University of Portsmouth?
The highest-weighted assessment area for BA Animation at University of Portsmouth is Drawing and Observational Skills (25% of the overall assessment). Evidence of direct observational practice — gesture drawings, understanding of human anatomy, and observational drawing of people and animals from life, not from photographs.
What is the most common mistake in BA Animation portfolios?
The most frequently cited weakness in BA Animation portfolios at University of Portsmouth relates to Drawing and Observational Skills: No life drawing or figure studies. Most UK animation programmes consider this foundational. Even sketching people in cafés or on public transport demonstrates observational practice.
What does University of Portsmouth look for in terms of storytelling and narrative?
For BA Animation, University of Portsmouth assesses Storytelling and Narrative (20% of the portfolio assessment). Narrative thinking demonstrated through sequential visual work — storyboards, comic sequences, or animatics showing how to communicate story through images over time.
How many assessment criteria does University of Portsmouth use for BA Animation?
The BA Animation portfolio at University of Portsmouth is assessed across 13 criteria organised into 6 main areas: Drawing and Observational Skills (25%), Storytelling and Narrative (20%), Animation-Specific Skills (15%), Creative Thinking and Originality (20%), Process and Development (15%), Presentation and Curation (5%). Each area is broken down in full on this page. Portfolio requirements do change — always verify the current requirements directly with University of Portsmouth before applying.
How does University of Portsmouth assess animation-specific skills in BA Animation portfolios?
University of Portsmouth weighs Animation-Specific Skills at 15% of the BA Animation portfolio assessment. Evidence of engagement with animation as a time-based medium — links to animation tests, frame sequences, motion studies, or stills from animation work visible in the PDF.
What is a common mistake with storytelling and narrative in BA Animation portfolios at University of Portsmouth?
When it comes to storytelling and narrative, a common weakness in BA Animation portfolios at University of Portsmouth is: No storyboard or sequential work at all. Portfolio is entirely single-image illustrations with no evidence of visual storytelling.
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