LEAP BLOG

Puritan Portfolios

2008-04-10T05:21:00.000-07:00

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

2008-04-02T20:09:00.000-07:00

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

2008-04-02T18:19:00.000-07:00

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.

Fifteen Minutes on High

2008-03-19T22:12:00.000-07:00

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

2008-03-19T20:54:00.000-07:00

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.

If you are what you say you are

2008-02-27T11:57:00.000-08:00

Often I wonder where creativity comes from. Are you born creative? Do you acquire it through experience? Is it a result of too much Nickelodeon? Adrian Shaughnessy writes "...the creative process beings with the decision to become a designer" (Page 135). I tend to disagree with Shaughnessy but I do see his point. Since my decision to declare myself an Interactive Digital Design major the world has appeared different. Wherever I am I see inspiration. Trash on the ground inspires me. The arrangement of miscellaneous items on my desk inspires me. Sears catalogs inspire me.

One of the most exciting aspects of graphic design is that there is room for everyone. There is not one specific thing about a person that will make them an effective graphic designer. Though talent is necessary, it comes in many shapes and forms. Graphic design is fair game for anyone. I kind of look at it as a potluck dinner. Everyone is bringing something different. But it is the combination of all of the dishes that makes the meal go off without a hitch. If everyone was bringing the same meal to the graphic design potluck it would be like boiled lettuce, bland and boring.

Despite the face there is room for everyone in graphic design; Shaughnessy believes designers need "industriousness, dedication and a love of your craft..." (Page 135). He goes on to say that if you don't have all three then you should pursue another career (which is what I'm doing). In my case I lack the love for the craft. I have an appreciation for design but I don't love designing. Another quality you need as a graphic designer is to be questioning. Everything that gets put in front of you should be questioned.

If you are compliant and submissive then you will not produce great work. It is the questioning that leads to excellent design. As a designer you need to find your voice. A crucial element of this knows what you think is good and what you think is of real worth. You need to believe in something. With this will come an inner confidence that allows you to trust your creative instincts (Page 136). The final element that helps a designer develop a voice is knowledge of fashion, cultural trends and history (Page 136). Designers need to be the know because the world is constantly changing and subsequently so is design.

Once you've joined the graphic design potluck and begin to work you'll (hopefully) receive briefs. "And the first duty of a graphic designer is to understand the brief" (Page 137). Designers need to put those questioning skills to use and start questioning, researching and challenging the brief. This is done in order to figure out what exactly the client is looking for. Briefs might not always been written and complete but that is okay. As designers you can rewrite the brief or ask more questions of the client.

The brief contains a crucial element to understanding the client and creating sucessful work. This element is the "McGuffin" (Page 138). In order to clear the term McGuffin up it is a reference to a dramatic device used by Alfred Hitchcock to capture the attention of the audience (Page 138). Shaughnessy defines the "McGuffin" as what "unlocks the essential nature of the task" (Page 138). Without the McGuffin it is going to be extremely difficult to create meaningful work. It is the designer’s job to locate the McGuffin. It isn't always going to be laid out directly in the brief, sometimes it takes some digging which is where your questioning skills once again come in handy.

Disobeying a brief is allowed. Sometimes as a designer you need to follow your gut. If you feel that something should be included then include it. Of course, be willing and ready to explain to the client why you opted for that direction versus what was outlined in the brief. There needs to be a reason and it needs to be objective (Page 142). You never know your client could fall in love with what he thought he didn't want! Remember this "...when a work of design is right, no matter how challenging and off-brief it may appear, it will win acceptance" (Page 141) If the client could design themselves than they would. Trust your instincts.

Researching design has become a much easier process today. The major reason for this is the Internet. "The Internet puts a Niagara Falls of data at our fingertips" (Page 142). The more we know the better we'll perform as designers. As was stated before designers are constantly being influenced. When I come across a blog like this I'm inspired. When I go a Google Image search of king crabs I'm inspired. The Internet is allowing for knowledge to be transmitted which more quickly. It is making the lives of designers easier but at the same time more hectic. The transmission of information can be so quick that as designer we are not expected to have 30 mock logos in seven hours. This isn't a bad thing, it just goes to show you that Internet has influence the research of design as well as the process.

One of the primary guiding principles in design is "fallibilism." Fallibilism is "continually correcting itself" and "admitting its own mistakes" (Page 145). It is not about living in the past but being influenced by it. As a designer we should start fresh every time. When we begin a project is should be based off a template of preexisting document. It should be something new that was not considered before. This practice is what keeps design interesting and relevant. If we only did what has been done then there would be nothing exciting about design.

How do you know if your work is good or not? There are three questions that you must ask when judging if your work is good or not:

1.) Is the client happy? If a client is not happy then you have failed as a graphic designer.
2.) Is the job profitable? This is not just financial. Keep in mind money and exposure based off of the work.
3.) Is the project newsworthy? Make sure that this work will attract other work.

What I found to be most relevant to me about the final chapter of "How to be a graphic designer without losing your soul" was the position Shaughnessy took on "fear." "Our ability to overcome fear is perhaps the greatest skill we can acquire" (Page 147). There is fear in all elements of graphic design. Fear in regards to clients, failure and ideas are what inhibit great design work. Overcoming this fear is what will make you a great designer. "Most of us deal with fear by falling back on the family and safe" (Page 147). Designers need to challenge this. Don't play it safe.

In anything it needs to be remembered that if we're going to avoid losing our souls (who we are) then we need to overcome fear (Page 147). Losing sight of who you are based on fear shouldn't happen. It is the job of the individual to defeat the fear and maintain their integrity. This is applicable to everything we do as people.

Me, Myself and Clients

2008-02-19T20:09:00.000-08:00

There would be no need for graphic designers if clients did not exist. No client you deal with will be the same. Some clients are easy to work with while others are difficult. Positives and negatives exist to having both extremes of clients. “It feels like cheating to have a client who approves all your ideas and never questions what you are doing” (Page 104). When clients don’t challenge a designer they aren’t forced to work beyond their original work. The push or dissatisfaction of a client can inspire award winning designer. Additionally, a fine line exists where clients can become overbearing. Adrian Shaughnessy shares “…I’ve encountered my share of arrogant know-it-alls who don’t want to listen to any advice whatsoever, and who want to control the designer process from start to finish” (Page 104). Though a difficult client can help you push through a spectacular design, an overly difficult client can cripple the design process. As a designer you were hired to do your job, which is to design. If the difficult client was able to do this themselves then they would have. It is important to remember that the client needs you as much as you need the client.

Treating your clients like you treat your friends is crucial to success. This is not to say that you need to make your clients your friends but they needed to be treated as you would someone you respect. It is acceptable to have clients that are friends. At the same time you need to make sure there is a detachment. Your work as a designer for a friend should not effect your friendship with that person. Once you know your clients you will be better able to predict what they need and want. Each client is going to be different. “Designers have to be hyper-attentive to the individual needs of clients” (Page 105). Make sure that you know the needs of your client. Figure out what they want from you and from the design. Never assume anything when working with a client.

It is important to challenge clients. “Clients need to be challenged when they are wrong, and by not challenging them we are doing them a professional disservice” (Page 105). If you are an established designer this is absolutely necessary. Your career should never be compromised because you didn’t speak up when a client was wrong. You need to know how to tell a client they are wrong. Don’t immediately dismiss them. Make sure you explain your perspective and how they’re idea might not be a viable option. Also, you could agree to give their idea a shot but explain to them how the idea might not be the best execution. The client designer relationship should be one of equality. Both the designer and client should feel comfortable offering suggestions and alternative strategies.

Relevant to challenging clients is to not tell clients what to think about your work. “We know what we’d like our clients to think about our work. But we must resist the temptation to tell them what to think, or how they should be responding to our work” (Page 107). Never tell a client that they should think about your work! They are a free-thinking individual and let them exercise that. How would you like a client to tell you how to design? Allow clients to decide how they feel. Give them time if they need time. In all cases of design it isn’t merely being judged from your perspective. It is the audience and clients perspective that matters.

Personality is very important when discussing clients and the relationships designers have with clients. “Designers tend to be either heroes or doormats. If you are a doormat, then I’m afraid you will, on occasion, be stepped on” (Page 107). However, if you are a hero you will not be walked over. The reason for this is that you will have the interests of your clients at mind. If you are a designer not of hero status it can be acquired. It will take some work but it is doable.

Working for clients multiple times is great for business. But don’t let this client be the only one you work for. Make sure that you’re allowing your studio or self to explore other options for work. Once you begin to work with a client multiple times you will begin to get a sense of what they are looking for and the work should become easier. To get to this point you most develop a relationship with the client. Allow them to see that you value their work contribution. Some suggestions include inviting a client to a dinner in-house to show them around the studio. Giving a tour of the studio and introducing them to employees will give the client a better of sense of all that work that goes into your design work.

In “How to be a graphic designer, without losing your soul” Adrian Shaughnessy writes of one great law in all design presentations. The law is “…tell your audience what you are going to show them and then show it to them” (Page 111). Obviously, no designer wants to disappoint clients. Tell them what you’re showing them and follow through! By explaining what you are about to show, showing it and then being quiet you are allowing the clients to absorb everything you’ve showed them. This should aide you as a designer looking to get work.

When your reputation of a designer grows the same happens to your fame. “There is even a theory, currently gaining widespread credence in design circles, that predicts that if you have too much fame it boils over and scalds your feet” (Page 121). The more fame you have as a designer the more it can hurt you. This might seem slightly ridiculous but in some senses it is true. Many people strive to work with people up and comers, hoping that both the designer and company can advance. However, if the designer is already famous can you truly increase your notoriety through design. As a designer you need to stay focused and humble.

Adrian Shaughnessy writes about this topic, “The lesson is simple: we must not confuse admiration and respect with fame or celebrity. A number of groups have sought to acquire fame and celebrity by hyping themselves and behaving more like boy bands than design groups” (Page 121). As stated before staying humble is extremely important. If a design firm’s head gets too big there might not be any room for it eventually. This will cause it to implode and all the fame and success will be for nothing. The reason for this is because your reputation will speak for itself. Don’t lose sight of who you are as a designer. Once that happens it is all over.

Self-promotion can get designers work. One way to go about self-promotion is to do work not simply for your bank balance. Work should constantly be happening as a designer. In between jobs or in your free time you should do work for your portfolio that didn’t earn you a check. This shows a commitment to your craft. This work for self will not always impress clients. Clients are typically looking for work done based off of a brief but work for yourself can be rewarding and inspiring.

Competition is a big part of a design. As a designer you’re competing with other designers for work. There are also opportunities for designers to take part in self-promotion by entering design competition. Opinions on design competitions are 50/50. Some don’t see the value of design competitions because winning a design award doesn’t mean that you are “the best” (Page 125). Other designers see the value in design competitions and enter as many as they can. The reason for entering is that they win it is a great promotional item. This success can be and should be exploited. Winning a design competition can put you on the map.

In any career professional organization can be excellent networking tools. When you join a professional organization you enter into a pool of contacts. Professional organizations offer support, advice and education for designers (Page 125). These tools offered by professional organizations are extremely important as designers grow. Also, membership in an organization allows you the opportunity to see socialize with other designers and stay up to date on the latest happenings in the design world. What goes hand and hand with this is attending conferences. Attending conferences allows designers to network with others and present the work you’ve completed to colleagues.

Design is a dual world. It is about you and about the client. Neither should ever be compromised. You need to use self-promotion to advance. At the same time you need to hold true to clients while not losing sight of who you are as a designer.

The Ultimate Individual

2008-02-18T20:36:00.000-08:00

One of the most exciting aspects of design is that it is comes completely from the minds of individuals. Though much of design is computerized, what is conceptualized and constructed is the product of creativity, care and thought. “In design, unlike so many other areas of contemporary life, the individual is still at the center of everything” (Page 74). Everything about a design comes back to the person who has cultivated it. As a designer we are powerful. We hold all of the cards (at least initially). We might be told to design something in a certain fashion, however it is our interpretation that will be presented.

Even if you work at a studio, you are still the center of the design. Studios come in many different shapes and sizes. Some are big and some are small. Some employee studios may employ many designers. Others might only employee a few. In opening a studio or any business for that matter it is important to remember growth. “As al the business books point out, companies only have two gears, forward and reverse, and standing still is the same as going backwards” (Page 74). Essentially, a company should always be moving forward. This doesn’t necessarily mean hiring more people. It means that the studio has the aim “to frequently enrich” the creative gene pool that is a studio (Page 74). Hiring designers who are better than you are can keep your studio in forward motion. By doing this you are able to concentrate on other things that you are better at.

Another aspect of studio growth is the departure of employees. Good employees will leave; it is a fact of the field. Because talented employees will move on, it is crucial to continue to search for fresh talent even when you’re fully staffed. “If you lose a key member of the team there is always someone else to replace them” (Page 76). There are approximately 500,000 graphic designers in the United States alone. Of course, there is going to be others out there as talented if not more talented than the designer you’re losing.

In any profession it is unbelievably important to be good to your employees. Pay them as much as you can but also be willing to stand up for them. “If a client is being unreasonable, and if the designer has done everything within his or her powers to ensure a satisfactory outcome, then you must back the designers and sack the client” (Page 76). This shows the designers that you are committed to them and believe in there work. There is nothing more important than feeling valued in any work environment. This type of approach will keep designers with you longer as well as make your studio an appealing place to work for. Also, as a result of standing up for designers they will come into work with “renewed energy and commitment” (Page 76). They’re going to be ready to return the favor with excellent work.

When in the process of searching for fresh talent there are three things that you need to keep in mind. The first is talent. If you’re going to hire someone they should process the skills necessary to complete the job and then some. They should have a creative mind and be ready to exercise it when applicable and possible. The second thing to look for is suitability. The potential employee needs to be able to work at your studio. Are they going to fit in? Does their current work fit with what your studio is producing or wants to produce? Consider that before you hire a person. Just because they make killer motion graphics does not mean they’ll work well in print. Skills don’t always translate. Thirdly, you need to look for the potential in a designer. Your studio is growing but it should also offer the opportunity for your employees to grow as well. Do you see a potentially influential designer in front of you? Ask yourself before you decide yes or no on a candidate. Let’s say you check yes to talent, suitability and potential, do you make an offer right then and there? NO! Your intuition is going to guide you in making the right decision. Remember just because its yeses across the board does not mean it is going to be right for the studio. You’ll get better at this as your studio grows.

Put all newly hired designers on a probationary period. This period should last around three months (Page 79). These three months will be used to monitor the performance of the designer. It is not a punishment, merely insurance. If you were wrong about the fit then you can opt out. If the designer isn’t enjoying studio life, he or she can also opt out. This probationary period presents the designer with the opportunity to prove themselves. It will help them grow and your studio grow as well.

Whenever possible give designers individual credit. This makes your employees feel valued and also gives them the chance to be contacted by other studios. That might seem ridiculous but remember losing great designers is part of the game. If they have done excellent work this your opportunity to award them. This can increase the reputation of your studio. What studio wouldn’t want the next great designer to have spent time working there? The lose of a designer can put your studio on the map and lead to an influx of portfolios and resumes of more up and comers at your doorstep.

The demand for graphic design continues to grow. Everyone is need of a graphic designer for one reason or another. This isn’t very surprising because almost everywhere we look there is some kind of graphic designer. Whether this is a billboard along the highway or a menu in a restaurant, it is all graphic design at work.

There are two ways that work in design can be found. The first is word of mouth. Word of mouth entails others talking about your work and those people listening becoming interested. This is a powerful tool. The next way to get work is through random encounters in the business and social nexus. Talking at a party about your work or handing out a business card at a conference can all help in getting you work. “Clients are everywhere, often where you least expect them to be” (Page 92). You never know who you’re talking to or where an opportunity is going to come from.

Pitches are a critical part of getting work. It is your chance to present your work to clients. These pitches can break you into a new field and get you a job. It is vital that you spent hours putting this presentation together. Everything must be perfect or you’re not getting the job.

As far as soliciting work it is important to be personal. When you write a letter, make sure you write the address on the envelope by hand (Page 93). Potential employers are more likely to pull your envelope out of a pile because they rarely receive letters with hand written address. Of course, if you have bad hand writing make sure you find someone who can write legibly. You want the prospective employer to be opening the letter for the right reason, not to figure out who hasn’t worked on their fine motor skills.

Portfolios are important but have been discussed before. As a designer or studio you need to do something to stand out. There needs to be some kind of promotional item that will get you noticed and jog the memory of potential employers who have sat through one too many pitches. “Make your promotional activities distinctive and daring; force your personality into whatever you do” (Page 97). This is going to get you noticed and set you above the rest of the pack. Promotional items can pull you ahead and in a world saturated with designers exactly what you need to stand out from the rest.

Designers are individuals by nature. Never let that be compromised in the world of graphic design. Stand up for your work and do your own thing because ultimately you design for yourself.

Free Free Freelancing

2008-02-06T11:50:00.000-08:00

The world of graphic design is competitive. According to the US Department of Labor stated that more than one-third of the 500,000 graphic designers are “self employed” (Page 48). One of the reasons why graphic designers tend to work freelance is because of the employment opportunities that are available. There are many creative people in the world of graphic design who are applying for the same jobs you are. This means that there are only a limited number of jobs that are available in studios. Because of the limited spaces in studios many designers have no choice but to work freelance.

There are two ways to approach design. “Design is either a solitary or a communal activity depending on your aesthetic view and psychological make-up” (Page 48). Within the Interactive Digital Design program I feel as though students are encouraged to work in solitary. During the course of my four years in the program I have worked twice in a group. It was a complete culture shock. This is not because I’ve never worked in a group before but because as a designer I’ve relied on myself. However, it is important to be able to work with others. By working with others you are able to get other perspectives on work. Also by working in a group there could be “…creative chain reaction set in motion by the collaborative process” (Page 48). When you’re in a group just brainstorming things have the potential to explode. When you’re working alone you can easily hit a wall. But in a group you can always rely on your fellow designers to pick up your idea and run with it.

Though I will not be working full time as a graphic designer, I became inspired while reading. Because my decision to enroll in Higher Education graduate program I felt as though my degree would not mean much. But this is not the case. I realize now that I can work freelance and still use my creativity and design experience. This excites me because I will be able to work in two fields that I have a passion for. On the other hand, I feel as though I’ll be missing out on studio experience. Studios can be looked at as communities. It is suggested that as a young graphic designer you give studio work a shot. “It allows you to sample studio life, gives you an insight into how different studios function and provides you with a pool of contacts that you can call on again and again” (Page 49). By working in a studio you are able to hone you’re craft. You’re able to ask other more experienced designers for help and advice. More than likely you won’t need to use the help feature because someone in the studio should have some knowledge on software use. When you’re studio time is over you can set out to work freelance. This is when your studio experience will come in handy as you are able to use your contacts and network in order to get started.

What appeals to me most about working freelance is the flexibility. “Perhaps the single most important aspect of being self-employed is that you retain flexibility…” (Page 49). I want to be able to this work when I want too. That is why working freelance appeals to me. There isn’t as much urgency to the work because I’m deciding what work to do, I am not being told what to do. One of the problems with freelance is will power to do the work. This will not be a problem because I am motivated by pressure. “On your own, you have to be more disciplined, not less” (Page 51). The one aspect of freelance that I’ve always wondered about is how to price projects. It is important to know you’re getting paid for the work you do. I won’t be able to make money as a freelance designer unless I have something that makes me stand apart. I need to have an factor X. There needs to be something that sets me apart from the crowd. Without a factor X you won’t get hired.

Because of my plans after Quinnipiac don’t involve fulltime work in graphic design, work in a studio does not appeal to me but I can understand why it is important. Studio work gives you freedom but a different kind of freedom than freelance work. At a studio certain people are allocated certain responsibilities. One person is involved with working directly with clients while another deals with staff relations. This can allow the people within the studio to work on what they’re interested in. It could even be divided up in terms of print, web and animation. Through this people will be able to work in their strongest suite instead of something they might not be comfortable with. Also, there could be osmosis at work in a studio environment. Someone who was working in animation might work next to a print designer. By observing the designer they might be able to develop an interest in working with print. Also, they might be inspired by the print designers work and somehow incorporate it into their own work.

Some of the aspects of setting up a studio are also helpful for me to know as I pursue freelance work after graduation. The five steps that are detailed in the process of starting up are also relevant to working freelance. The step that I find particularly important is registering a company name and securing a URL. If you’re not on the web you don’t exist as a designer. The Internet has become the go to place for everything and this includes researching graphic designers. When you’re work is not on the web it is much harder for you to get your name out there. Word of mouth will be what you rely on and it isn’t always the most reliable means as finding work.

Another important step is choosing a name. A name can be fluid in graphic design. “In years to come you might change the nature of your business so you don’t want to be saddled with a name that is inappropriate” (Page 67). If you’re name is getting you attention for the wrong reason it might be important to change it. You want a name that will appeal to a wide variety of people and not pigeon hole you. The evolution of a name is best illustrated through this comparison “Like a new pair of shoes, a new name feels stiff and conspicuous to start with, but just as you soon ‘grow into’ new shoes and they become part of your skin, so too with names” (Page 67). As your studio or company goes it might become necessary for the name to change in order to accommodate your growth as well as to create a new appeal.

In working in freelance or within a studio a portfolio’s importance is undeniable. This is something I’ve really learned through reading both How to be a graphic designer without losing your soul and Designing a Digital Portfolio. That is why it is important to make sure your portfolio makes a kind of “personal statement” (Page 30). You want it show you what you can do and what type of work you are looking for. Also, it is not solely the work in the portfolio that perspective employers are paying attention to, it is also the portfolio itself. In terms of how much work a portfolio should contain there is no ideal number. Yang Kim wrote “I recommend under 20. If you get too many pieces, it’s hard to remember anything significant” (Page 31). You want to stand out as a designer but by having too many works it is almost impossible for one piece to really pop out in the mind of a potential client if they’ve been looking at work all day.

Finally, it is important to know what companies are looking for when they’re commissioning work. As much as clients will be interviewing them you are interviewing them too. Walking into a meeting having an idea of what the company is all about and what they’re looking for will put you at an automatic advantage when it comes to the interview. Also, research will allow you to adjust your portfolio to the needs of the clients. Being knowledgeable about a company will never hurt you as you pursue them as an employer.

Old School Paint

2008-01-30T23:32:00.001-08:00

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.

What am I doing here?

2008-01-29T08:09:00.000-08:00

I feel exactly like this frog....

SICK Ahhhhhhh