Old School Paint

As I was reading "How to be a graphic designer, without losing your soul" I was reminded of what originally attracted me to graphic design. Adrian Shaughnessy writes of graphic design that “You can study it at school, and any kid with a computer discover fonts, layout and image manipulation at about the same time as they learn to stop using a diaper” (Page 18). His writing about children reminds me of my first exposure to the world of graphic design. Of course, graphic design surrounds you from a young age in terms of illustrated books and toy logos but I can still recall my first creative endeavors in the field. My first computer contained a very basic paint program that I would spend hours using. I would draw pictures at school and try to recreate them at home using the computer. Throughout my childhood and adolescent I still maintained an interest in creating art on the computer. During the second semester of my freshmen year I made the decision to declare my major as Interactive Digital Design. Despite the fact I’m not longer going into the field I still feel as though I’ve learned a lot of valuable skills that will help me achieve my career goals.

Shaughnessy discusses in Chapter 1 the attributes needed by the modern designer. Many of the attributes needed by the modern designer will also be relevant to me as I pursue a career in higher education and student affairs. One of the attributes needed by a modern designer is “cultural awareness.” If as a designer you’re not knowledgeable about traditions and people then your design is at a severe disadvantage. Ultimately, as a designer you hope that your design will resonant with a particular audience and provide them with the information they need. A classic example of a company not being culturally aware was when Colgate toothpaste was sold in Mexico. In Spanish, “Colgate” means “hang yourself.” Needless to say Colgate did not sell well in Mexico. If the company had been culturally aware they would have known to change their name.

If a designer pulls a “Colgate” it will likely negatively affect their career and the company or design house they are working for. Shaughnessy mentions that while in Hong Kong he was asked if he would be interested in doing work in Hong Kong. He immediately says “yes” but as he has time to think about it he realizes that he is not culturally aware because he has not lived or studied the culture in Hong Kong. Therefore, his designs would not be successful. As a graphic designer you need to be able to incorporate aspects of a culture in order to add interest and variety to a design.

Modern graphic designers need to be skilled communicators. Norman Potter stated “This aspect of design work is frequently underestimated: an ability to use words clearly, pointedly, and persuasively is at all times relevant to the design work” (Page 21). In order to convince clients that your ideas are solid and that you are who they should be investing their money involves being able to communicate your vision effectively. You need to stand by your design all the while recognizing the client has the right to want changes despite the fact you think the design is perfect. If you’re unable to talk about your work it is very difficult to become a successful designer. Communication skills are undeniably important because if you don’t believe in what you’re doing then no one else will. Additionally, if you don’t know what you did or how you did it then that is about as valuable to client as blank canvas. Shaughnessy mentions how he has designers describe what they’ve done before they present their physical work. The purpose behind this technique is best described in this sentence “The way designers present ideas is as important as the ideas themselves” (Page 22). It isn’t often ideas that get rejected rather the presentation of them. That is why it is important to be able to communicate your ideas effectively. Designers need to paint a clear picture to clients as to what they can offer.

In the second chapter of How to be a graphic designer without losing your soul Shaughnessy discusses in depth the world of employment and the process of applying for jobs. He writes about how you’re not expected to be perfect right out of school. He estimates that it takes between six and eighteen months for recent graduates to become effective in their jobs. This was refreshing to read. Many people feel as employers are not interested in helping young designers come into their own. Rather people believe that they lack the skills needed to work as a designer. In terms of searching for a job Shaughnessy says to avoid getting discouraged. Sometimes you will need to go on dozens if not more interviews before you get a bite. The process of job searching is all about perseverance and not becoming discouraged.

Shaughnessy gives advice about what not to do at an interview. One of the major things to avoid is showing the portfolio to yourself. You want to make sure that the interviewer can see your work clearly. You want the interviewer to be able to ask you questions about your work. They might not be interested in a dissertation on something they can’t even see because it is facing you. A practice that Shaughnessy encourages is the follow-up. This could be living behind a postcard or a small item to remind the interviewer of you. A postcard with contact information will keep you fresh in the mind of the interviewer.

Another important part of presenting your work or getting a job is your personal portfolio. "Designing a Digital Portfolio" by Cynthia Barron as well as Shaughnessy discuss the importance of a personal portfolio. In Barron’s book she breaks portfolios into types. For example portfolios that would be used for multimedia artists, animators and industrial designers. Certain aspects of each type of portfolio overlap, however this is not true of all. A portfolio is a representation of who you are as a designer. Barron writes portfolios should “send the message that you know who you are and what you want to do” (Page 6). It is not simply the work that is inside the portfolio that tells someone what kind of designer you are. It is the work in conjunction with the actual portfolio that helps the viewer get an idea of who you are and what type of design you’re interested in. Barron states that variety can work against you. “If your pieces are too diverse, in medium, look, subject, or clientele, they can imply that you haven’t yet figured out what you do best- and that you haven’t found your creative voice” (Page 7). That is the last thin you want a potential employer to think. As a designer you want to have a clear point of view and a loud creative voice!

Portfolios also need to show your process. As a designer you need to be able to show how a designer has evolved. “In many professional situations, how you think and problem-solve can be as important as your aesthetic decisions” (Page 7). Creativity can bring you a long way in graphic design if you use it to your advantage by tracking how your ideas transform. This shows employers that you didn’t just sit in front of the computer and go. It is important to demonstrate that you’ve brainstormed, sketched, made comps and then pursued ideas all the while recording and editing.

As I was going through Chapter 1 of "Designing a Digital Portfolio' Jamey Stilling’s website stood out to me. There were several portfolios featured in the chapter but it was his site that stands out most to me. It is the aesthetic I prefer. It is clean, simple and straightforward. The portfolio doesn’t overwhelm the individual pieces of work. It is this type of portfolio that I would like to create. Though the presentation is simple it still gives the viewer an idea of Jamey’s point of view and the work he is capable of.

Overall, the readings gave me a better understanding of why a portfolio is important. Prior to completing the reading I was worried that the work I have done was not satisfactory for my portfolio. Now I realize that it isn’t necessarily the work in my portfolio that can get me a job, it could be my actual portfolio. A portfolio can be a powerful in making or breaking you as a designer. However, it isn’t simply the portfolio. Being culturally aware and a strong communicator can help you achieve success as a designer.