Fifteen Minutes on High

In baking there is a specific order as to how the ingredients need to be mixed. If you stray from this, your cookie, cake or pie might not come out as you had hoped. In “Building Design Porfolios” the order of things in terms of portfolios is discussed. Unlike baking there is no set recipe or formula to volume, however there are things you need to keep in mind while arranging the work in your portfolio.

Sara Eisenman writes “The first thing in your portfolio or presentation box should be a strong design sample- a drum roll to get the viewer excited or, at the very least, engaged” (Page 40). The initial work in your portfolio needs to grab the attention of the viewer. The person needs to want to see more in order of the portfolio to be successful. However, this piece should not be your best work. The work you’re most proud of should certainly catch the viewer’s attention but you need to build the anticipation of the viewer. Showing your best work first could be detrimental as the viewer may forget how great the first piece was while looking at your less impressive pieces. The pieces within the portfolio should build anticipation and excitement. When the anticipation has reached its boiling point you should show the highlight of your work (Page 40).

In terms of live presentations you are in control. You are the “master of ceremonies.” During the presentation you’re running the show. With this in mind you can change the order of things, linger on certain works or move quickly over portions you’re not particularly proud of but found portfolio worthy (Page 40). You’re decisions and comments should be based on how you think the clients are responding. If you see they’re bored by apiece you thought would be a showstopper move on!

As a recent graduate most of the work your portfolio will contain will be from class projects. It is important to rework and polish these older pieces (Page 42). This is necessary in order to unify them and make them seem as if they are part of an overall theme.

One of the most important parts of your portfolio is infusing you into it. Eisenman writes, “…a good portfolio should express in some subtle way who you are and what relationship you have to the world” (Page 42). By demonstrating who you are and what you’re interests are you could potentially stand out from other designers who opt to simply show their work and not a part of them.

Graphic designers are expected to be neat and organized. That is why it is crucial to make sure that when you’re presenting your work they are easily put in and removed from your storage system. Whichever way you choose to display or transport your work should also speak to who you are. Though an expensive leather portfolio might look nice, a personalized photo box will tell the client something more about who you are. This can be a good thing depending on the client. The leather portfolio might be good for more a more corporate setting.

As I mentioned in my last blog “Building Design Portfolios” makes what was written about in “How to be a graphic designer without losing your soul” seem more like a reality. Sara Eisenman does a great job including tips about interviews, resumes and cover letters. These are tips many might already know but the reminder is definitely helpful. Some of the tips I’ll walk away with include:

Do not follow a standardized resume format at the expense of good typography- your resume should look as though a designer created it (Page 47)

Choose colors wisely. Resumes with yellow or pale gray can appear to lack confidence (Page 48)

Cover letters should be designed in the same spirit, colors, and typeface as your resume (Page 51)

Don’t include any strong opinions or mandates in your cover letter (Page 51)

Give careful though to all follow-up materials (Page 51)

Those are just some of the many tips included in the second chapter. There is a whole movement that goes into the job hunt, presentation and post presentation. Getting a job as a graphic designer isn’t like applying to work as an accountant. Applying to be a graphic designer is its own fulltime job.

Maybe you can list job-hunting as work experience on your resume? Just a thought.

The Real Deal Portfolio

Through reading the first chapter of “Building Design Portfolios” by Sara Eisenman I was able to see in a more practical sense a lot of what was discussed in “How to be a graphic designer without losing your soul.” Portfolios are designed to showcase your work and part of your personality. Your audience should get a good idea of your talent and who you are by looking through your portfolio. With this in mind it is important to remember that we change as people, which means we change as designers. Your portfolio can change as well. The portfolio that I can am in the process of designing is one portfolio meaning that I can redesign it whenever I want too (Page 13). Because portfolios are so fluid there is no best way to design a portfolio.

Another important point brought up my Sara Eisenman is that the “container” of the portfolio is secondary to the content. “It shouldn’t be so fussy or pretentious that it overpowers your work” (Page 13). Your work should be more important than the container. The container shouldn’t be overly complicated. Your work should be what stands out rather than the elaborate flash animation (or not) enabled by clicking on a thumbnail. Less is more when it comes to design a portfolio.

The vast majority of the work that will be in my portfolio has been designed for class projects. This work will reflect some of the professor’s influence. To set yourself apart it is a good idea to design extra pieces that will make your portfolio stand out from other recent graduates. These extra pieces could reflect an interest you have or some aspect of your personality. Along these lines it is a good idea to create samples of things in your area of interest. Eisenman discusses designing book jackets if that is what you’re interested in. If you choose to do this design something that others will be able to recognize. Maybe design the cover of “Catcher in the Rye” as it is a book that is well known by many. This will also show how you’re able to translate the messages of the book into the design.

Every portfolio has a tone. “The tone of the portfolio should reflect the kind of work that most interests you” (Page 14). If you want to work in the corporate world make sure your portfolio reflects that clean, simple, formal look. If you want to design for a younger crowd make sure your portfolio is fun, young and fresh. Portfolios can be eclectic and informal (Page 14). By using materials that are untraditional you are setting yourself apart from the crowd.

One of the coolest suggestions I found was having a notebook filled with found objects as part of the portfolio. What amazed me most about this is that I was looking at a portfolio as a static object. My portfolio was going to be a website. However, I now realize that a portfolio can be anything I want it to be. If I want to cut out news clippings I find interesting and make a collage out of it, that can be incorporated into my portfolio. My portfolio is exactly that mine. I can make it however I see fit.

In terms of range, your portfolio should show different design work you’ve done. “A good range of materials might include identity work with a letterhead and logo, a poster, product design, publication design, postage stamps, a website, and even a screen saver or CD case” (Page 15). About 12 pieces of work should be included. All twelve of these pieces should be your best work. Nothing should be unfinished or redundant.

Another topic in the chapter was portfolios that were constructed in book format. “Portfolios in book format make the designer seem like a master of his or her own creations” (Page 16). Louise Sandhaus, a design professor requires her graduate students to make a book that documents and reflects their studies (Page 16). This is an excellent way to tie everything together and truly show off your design and writing skills. Book portfolios make young designers seem more experienced and professional.

Finally, Eisenman discusses sketchbooks and their importance in design education and portfolios. Robin Lynch, another design educator, “…encourages her students to carry a sketch or process book with them at all times so they can enlighten and engage prospective employers by showing the thought process that led to good design solutions” (Page 23). Many designers hold the believe that a design without some knowledge as to how decisions were made is meaningless (Page 23). Showing the process of your work can be as important as the final outcome.

The first chapter of “Building Design Portfolios” made what was discussed in “How to be a graphic designer without losing your soul” real to me. I’m walking away from this with a better understand of what employers are looking for and what makes a portfolio your own.