Puritan Portfolios

Throughout my blogging I’ve discussed all of the work that goes into a complete portfolio and my naivety toward the subject. Because I thought portfolios were simply websites I never explored nontraditional portfolios. Nontraditional portfolios have unique ways of displaying the designer’s work. “The most distinguishing feature is often an unusual exterior- a record box, film can, or vintage suitcase” (Page 140). However, some nontraditional portfolios have no container. Nontraditional portfolios run the gamut in terms of make, style and presentation. When it comes to designing a nontraditional portfolio it is important to make sure it fits with the designer. Being different just to be different isn’t the best approach. “The portfolio should match the work, and never overpower or upstage the design samples inside” (Page 140). The work presented in a nontraditional portfolio shouldn’t be radically different than the actual nontraditional portfolio. A theme could provide consistency between the portfolio and work.

One of the nontraditional portfolios that I found compelling was Nathan Zarse’s. He is a recent graduate of the Herron School of Arts and Designs. His nontraditional portfolio is a vintage suitcase. The suitcase is consistent with his interest in bringing back the design styles of the 1940s and 1950s (Page 150). Within the suitcase are ordinary manila envelopes. These manila envelopes are labeled with a distinctive sticker label he designed. In addition, he has an antique leatherette notebook that remains consistent with the vintage feel of his nontraditional portfolio (Page 150). I found this portfolio interesting because Zarse directly addressed the style of design he is interested in by choosing this nontraditional portfolio. I also found it appealing because of my own interest in vintage trunks and suitcases.

Pieces within a nontraditional can speak to art directors. “Any portfolio piece that takes a stand on an issue, or poses and then answers a question, helps an art director understand the person behind the work and their interests” (Page 151). People tend to work harder on things they are passionate about. If an art director knows you have an interest in sailing then he or she might want you to work on an upcoming project for a marina. As a designer I believe it is important to have opinions and be able to take a stand. If an art director sees that a person is dedicated to something than he or she might be more likely to hire them.

Websites are probably the best means of meeting a broad audience. They also give the opportunity for interested parties to survey a designer before deciding to meet with them. “A website is inclusive and anonymous; anyone with an Internet connection can visit a site without the designer or firm knowing who he or she is” (Page 162). Other portfolios are not as wide reaching. The designer is typically in control of who sees other means of portfolios. However, with websites someone could potentially be looking at it in another country and decide to offer you work. Additionally, websites are always available (Page 162). Their availability is not dependent on the designer sending out a copy or an art director asking for designers.

Portfolios are the best way for designers to display their work to potential employers. In particular nontraditional portfolios and websites can speak volumes about who a designer is. It is important infuse your personality into both all while remaining consistent with the work displayed in your portfolio.

Print Portfolios Squared

As it appears today Web-based portfolios are the preferred means of displaying work. “Because Web-based portfolios are so convenient, print versions are becoming less common among design professionals and design studios” (Page 94). However, print portfolios play a vital role in the processing of displaying design work to clients during interviews and presentations.

Often times print portfolios are required of designers. “Sometimes, a professional designer needs to present a portfolio when applying for a grant or award, such as a prestigious Cooper-Hewitt’s National Design Award” (Page 94). In these situations your website portfolio will not cut it. It is important to make sure that your print portfolio is as great as your website portfolio.

Several examples of excellence in print portfolios were highlighted in “Building Design Portfolios.” The following were designs that I found intriguing and inspirational:

Modern Dog- This group is irreverent and successful because of it. The firm’s portfolio arrives at a destination unassembled in a FedEx box. Within the box is a CD containing poster work, stills of old TV shows, CD designs for Loud Reed and the Pretenders, as well as gum packages, lip gloss, playing cards, a T-shirt, sheets of play stamps, and various books of logos and designs spilled out of the FedEx box. This way of displaying the work is outrageous yet compelling. People will want to know more about the company after receiving this print portfolio (Page 112).

Robin Lynch- This print portfolio intrigued me. Lynch uses a tin box for her portfolio presentation. She makes this box out of cut-up coffee cans and lined in comics. Within this container there are sub-containers to organize relevant work. The approach Lynch takes provides her with flexibility in customizing presentations, which has helped in providing her with a wide array of clients (Page 113).

The print portfolios of design students differ from professional print portfolios. “Most graduating design students create print portfolios; they typically spend the last part of the senior year assembling all their best projects into a presentation box of some kind” (Page 114). Many student portfolios are presented in the form of printed books that are organized around ideas that best express the ideas of the student (Page 114). Websites spread the word about a designer quickly but print portfolios displayed in a new, fresh manner may set a design student above the rest.

The student portfolio that I connected with most was that of Kathryn Cho’s. Her portfolio is a bound book that spans five years of work. The book is simple and allows the design work to be displayed without anything extraneous. One element of her graphic designs is dots. These dots are used as they serve as a reference to both print and computer screens. To enhance the dot theme, Cho puts her book in a bag with a dot patterns. The dots on the bag reflect Cho’s belief in graphic design permeating all mediums. All around Cho’s portfolio is a solid representation of who she is as a person and designer (Page 136).

Portfolios, both professional and student, are critical in getting a designer work.

Websites and Sounds

Before reading “Building Design Portfolios” and “How to be a graphic designer without losing your soul” I wasn’t aware of how much went into a portfolio. It is more than a sample of your work and a link to your contact information. A portfolio sets up who you are and what you’re about as a designer to potential employers.

An important part of your identity as a designer is your website. Websites are extremely useful in terms of portfolios. “They are also a great way to display any piece that would need to be photographed for inclusion in a traditional print portfolio- everything from food packaging and outdoor signage to large three-dimensional objects” (Page 74). All around a website is a great way to get your name out there and display your work. Also, because the Internet is widely used it makes it easier for designers to display their work and generate interest in their work.

Websites says a lot about a designer. Not only does it speak to the designer’s personality but also it shows the dedication a designer has to his or her craft. “It’s a sign that a designer is established and serious about his or her work” (Page 74). Even the website of a young designer can make the designer seem more experienced than he or she actually is. When reviewing a website clients “…consider the material the site is showing them, and then, the site itself” (Page 76). Though the design of a site is secondary to the work that is displayed, a well executed website can sell a designer to a client.

It is crucial to your success as a designer to change your website. “Many successful design studios redesign their sites as often as once a year to maintain a good reputation and stay current” (Page 74) Redesigns are done to keep the designer or design firm seem modern, hip and exciting. However, sometimes it is difficult to redesign a site as often as you’d like. If you were an established designer that hasn’t redesigned your site I wouldn’t lose sleep over it. As an established designer word of mouth and demand will keep you employed. Websites might get you in the door but it is your reputation that will keep you working.

Website portfolios aren’t full proof. There are some practical issues with websites. For example, modem speed, plug-ins and software. Chris Pullman of WGBH states that “A website can be a dangerous proposition. A Web designer doesn’t know by which method people are viewing it” (Page 76) If a viewer doesn’t have the most up to date technology they may not be able see some of your best work. “It’s essential that the client have compatible and up-to-date software and equipment so that the work can be presented smoothly- without interruption or painful pauses” (Page 82). Keep in mind that not everyone is as modern technologically as many designers are.

Another issue that designers run into with websites is how they make the viewers feel. It is said, “…websites have a tendency to be cool and impersonal” (Page 77). Most clients will want to work with a designer that will be fun. Designers that don’t infuse some type of personality into their portfolios are at a disadvantage.

It is not just the display of your work that is important. It is suggested that designers give some background information on the work they’ve produced. “It also helps to give context to individual samples. What was the problem? And how was it solved? (Page 76). A small block text can answer all of these questions and give insight into your thought process as a designer.

Navigation needs to be looked at when designing your portfolio. You need to designer “…a site in which it is impossible to get lost by setting up a menu incorporating icons for easy navigation” (Page 77). Make it as easier for the user to get to where they need to get to from anywhere on the site. A user should never be frustrated using your portfolio website.

One tip that I didn’t think about was removing designed that have been involved with failure. Not to say the design was the reason for failure but if you design a logo for a restaurant that has closed takes it off your site (Page 79). No one wants to his or her work associated with failure. Though you might not be the cause it still could affect clients psychologically.

Finally, something that impressed me was the approach Will Staehle took when job searching. Staehle invested in the production of six books at the cost of $100 per book. He gave each of these books to his design heroes at an Adobe awards ceremony (Page 92). As a result he landed a job with one of his heroes, Rober de Vicq de Cumptich at HarperCollins. Will Staehle produced a book at $100 per copy and gave them to design heroes at an Adobe awards ceremony. This approach impressed me because he put a lot of faith into his work. Though I wouldn’t go about job searching this way, I think it is an interesting and inspiring story.