Introducing a new No Plastic Sleeves content provider

Welcome to Christine Pillsbury, Creative Director at BEAM Interactive, Boston, MA. Christine’s personal website can be found at http://noplasticsleeves.com.

The Design Forum

This is a place where you can post work and receive feedback from educators and professionals in your field. It’s meant to function as a design and photography exchange. Check back soon. You can submit a jpg of a design or photograph through the comment field below. Tell us a little bit about the assignment and what kind of feedback you are looking for.

Why a portfolio review can benefit you

Feedback, feedback, feedback. Sometimes valuable, sometimes not. Constructive criticism, praise, encouragement – all part of the creative process. We hear if from our co-workers, clients, boss. Students hear it all the time in class since “critique” is such an integral part of everyday design and photographic education. So, when if comes to your portfolio, have you had enough? Well, hopefully the answer is no.

As part of the portfolio making process, you need pure, unadulterated feedback. And anyone you know and who knows you simply can’t be that objective. Which is one reason why participating in a portfolio review can be invaluable. Not only because you’ll receive feedback about your portfolio package and its content, but because you’ll get a chance to talk with a number of professionals in your industry – all with different backgrounds and experiences. What you do with all that information is up to you.

Don’t be shy and garner a think skin. You want to really know what works and what doesn’t so you end up with the very best portfolio you can. So, ask what your strongest piece is, your weakest. Ask about the sequence of work in your book, your craftsmanship, your overall brand identity. What should you keep working on? Keep in mind that the people reviewing your portfolio are probably volunteering their time. For one reason or another, they care about taking the time to sit down with you.

Treat the experience like a dialogue and an opportunity to network. You’ll have a chance to sit down with professionals in the field. Depending on the type of review, they may represent a local, regional or national area. Some may be seeking someone who’s got the right work and is the right fit. If not now, maybe later. Bottom line – they know what it’s really like out there. Ask them not only about your portfolio and work, but also about the industry. What’s hot, what’s not? What skills are in demand? Where should you be looking? Given what they are seeing, where do they see you best fitting in? Given where your interests lie, what do they think you need to do to break in?

Also, for the professional artist, certain portfolio reviews represent an opportunity to present your work for exhibition or publication. These typically cost more to attend and are not recommended for students.

Need more convincing? How about this – “Practice makes perfect”. The fact is, the more you present yourself and your work, the more comfortable you’ll be and the better you’ll sound.  If you’re new to the field, a student or recent grad, a portfolio review can be a great opportunity to practice your interviewing skills. It’s a valuable way to spend an afternoon.

What do you think? Add your comments.

Where to look for portfolio reviews in your area:
Check out local organizations and industry sponsored events.

Photographic Resource Center, Boston, MA
http://www.bu.edu/prc/portfolio.htm

Photoshop World Conference
http://www.photoshopworld.com/portfolio_reviews.html

Art Directors Club
http://www.photoshopworld.com/portfolio_reviews.html

The Art Institute
http://www.artinstitutes.edu/portfolio-review-schedule.aspx

Photo Lucida
http://www.photolucida.org/critique.php

Center’s Review, Santa Fe
http://www.visitcenter.org/programs.cfm?p=Review

Center’s Review, L.A.
http://www.visitcenter.org/programs.cfm?p=ReviewLA

Fotofest
http://www.fotofest.org/biennial2010/meetingplace/

Photo Alliance
http://www.photoalliance.org/

APA
http://www.apanational.com/

PhotoNOLA
http://photonola.org/photo-nola-2009/portfolio-review/

The Center for Photography at Woodstock
http://www.cpw.org/

Griffin Museum, MA
http://www.griffinmuseum.org/portfolio_review.htm

S.P.E.M.A.
http://www.spema.org/conferences/conference_2009_portfolio.php

Fotoweek, DC
http://www.fotoweekdc.org/events/portfolio.aspx

AIGA – Check out your local chapter
http://boston.aiga.org/events/2009/04/29074117
http://aigasf.org/events/2009/05/30/portfolio_day_09
http://baltimore.aiga.org/events/2009/03/27190142
http://toledo.aiga.org/events/2009/04/24381449
http://aigaaustin.org/events/2009/11/detail/436/
http://www.aigajacksonville.org/
http://designconference2009.aiga.org/content.cfm/dc_09-portfolios
http://www.aiganeworleans.org/2009/events/01/01/student-portfolio-review
http://aigalosangeles.org/events/2008/04/studentport08.php
http://www-new.onu.edu/academics/college_of_arts_and_sciences/art/17632
http://www.wisspr.com/

Been to a portfolio review lately? Share your experiences. Add to the list.

Interview with Prof. Heather Shaw, V.P. AIGA Boston

No Plastic Sleeves recently had the opportunity to ask Heather Shaw a few questions about portfolios, AIGA and the AIGA Annual Student Portfolio Review. Check out her responses.

Bio
Heather Shaw is Assistant Professor of Graphic Design at Curry College. Prior to this appointment, she was a full-time lecturer at the University of Massachusetts, Dartmouth, for both the Graphic Design and Digital Media departments. She has lectured nationally and internationally on the integration of dynamic media with traditional graphic design pedagogy. Heather earned her MFA from the Dynamic Media Institute at the Massachusetts College of Art and Design, and BFA in Visual Design from the University of Massachusetts Dartmouth. She has 15 years of professional experience working as a designer for print, motion and interactive media; and currently serves as the Vice President for AIGA Boston, the Professional Association for Design.

Q&A
What do you think makes for an outstanding portfolio?

Perhaps the question could be, “What makes for an outstanding presentation,” as a portfolio cannot stand alone. When I review student work, I seek two things—”measurable” attributes, and “emotive” content. I weigh both equally when assessing a portfolio.

“Measureable” attributes are hallmarks typically graded in a GD curriculum, such as content, form, typography, complexity, and an ability to apply such attributes across various media (print and dynamic).

“Emotive” content is not so easily measured, and is not always evident in a student’s finished work. Such characteristics include students processes, concepts, ideas, and essentially, their vocabulary and enthusiasm in how they speak to their work.

Anyone could argue the definition of “measurable” and “emotive;” however these terms are not fixed, and must adjust to an industry whereby the change is constant. Regardless, it is a student’s comprehension of their ideas, their capacity to represent it visually, and articulation for expression, that I believe makes for a strong presentation overall.

Regarding the contents of the portfolio itself, I recommend quality over quantity.

How important do you feel a print and/or online portfolio is in securing a job in the industry?

Both are important, but for different reasons. A print portfolio enables specific qualities of the work shine whereas screen-based media cannot—tactile aspects such as binding, craft, and printing, etc…

An online portfolio allows a potential employer to review work quickly before scheduling an interview. A student’s website can be a portfolio piece in itself, showcasing their ability in designing for interactive media.

However, the online portfolio begs the question—how important is it for students to design and develop a “portfolio website”? The emergence of web-based applications and online content management systems necessitates a shift from creating stand-alone web “artifacts” to addressing deeper levels of user involvement. It questions the value of instructing students to design and build their own self-contained online portfolios, when they can easily upload and manage their work on sites like behance.net.

So which is more important? Having work posted online, versus having an online portfolio website? Does it matter to a potential employer how, where, and through which medium the work is displayed? To secure a job in the industry, it all hinges upon the content of the portfolio, its presentation, and the medium of delivery appropriate to the content.

What do you think the benefits are to a student joining AIGA?

Joining AIGA is a student’s first step as a commitment to design as a discipline. However, each student’s goals for joining AIGA are different. The tangible benefits (such as an Adobe discount) is not a typical reason for why students join–it’s the intangible benefits such as mentorship, networking, inspiration, learning, volunteering, and the opportunity to participate in the design community at-large that keeps students engaged.

A student’s involvement in AIGA reveals just how accessible the design community is–albeit on a local or national level. Students don’t realize that affecting the organization is well within their grasp. Many students ask “What are the benefits of membership?” I often answer with: what do you hope to gain from it? It’s a simple shift in thinking from “What will AIGA do for me” and more towards, “What can I contribute as a member, and more importantly, how can I make a difference?” This facilitates students to pursue initiatives based on their interests, and discover their role as a designer within a larger context.

What do you think makes AIGA Boston’s Annual Student Portfolio Review such a success? What do you think students gain from such an experience?

The AIGA Student Portfolio Review entitles students to have their work reviewed by several New England design professionals in a non-competitive environment. For a two-hour session, each student has the opportunity to meet with at least five seasoned designers one-on-one. The format is modeled after “seven minute dating”: the students set up their work at a table, and a reviewer sits at their table. The event runs on a 1:1 ratio so each student is given individualized feedback. After 15 minutes of review time, music is played, cueing the reviewers wrap things up, and move to another student for the next 15 minutes.

This is an efficient and effective way for the students to meet with several different professionals, providing a variety of perspectives and feedback. Additionally, students hone their presentation skills by repeatedly speaking about their work for two hours. Set-up time is also built into schedule, initiating students to socialize, network, and survey the portfolios from other schools.

What do you think is so appealing about AIGA and the Boston chapter that keeps you so involved?

The people and the amazing events I have been able to participate in. My involvement with the Boston chapter has granted me collaboration with the most creative and philanthropic people I have ever met. AIGA Boston is completely managed on a volunteer basis. Many people don’t realize the board of directors is completely composed of volunteers. It is remarkable how much is accomplished by the sheer will and dedication of creative folk willing to donate their time to develop inspiring programming for our members.

What keeps me involved? First and foremost—the people I interact and work with on a daily basis. Secondly, the fact that I believe I can influence our programming by continually redefining the boundaries of design. AIGA is not an exclusive group of people who determine the future of the organization. It is everyone and anyone who wish to participate, contribute, and make change.

Jeremy Levine, Architect

Portfolio Website
http://www.jeremylevine.com/

Mark Burrier, Postcards

Check this series of postcards by illustrator and designer Mark Burrier.
www.markburrier.com

Murillo Design – Promotional Materials

Murillo Design, San Antonio, TX
http://www.murillodesign.com

Murillo Design is a multidisciplinary design firm specializing in Corporate Identity
and Integrated Brand Communications. Agile, passionate and focused, they are a proven
alternative to larger design firms and agencies.

Rudiger Nehmzow, Photographer

Rudiger Nehmzow, Photographer
Dusseldorf, Germany
http://www.nehmzow.de/

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Video Tutorial – Grids in Illustrator

Go to the Video Tutorials page to view this tutorial.

Q&A: Interview with Bryn Mooth, Editor, How Magazine

No Plastic Sleeves recently has an opportunity to ask Bryn Mooth, the Editor of HOW magazine a few questions. In October, HOW published the winners of its annual Promotion Design Awards.

Bio:
Bryn Mooth isn’t a graphic designer, and only occasionally pretends to be one. Nonetheless, she’s keen on classical typography, and she’s a sucker for letterpress printing. Bryn’s involvement with HOW magazine spans nearly 20 years, both as a staff editor and contributing writer. During that time, she has written about design and the business of design, organized and judged countless design competitions and spoken at various professional events, including HOW’s Design Conference, In-HOWse and Mind Your Own Business Conference, and AIGA chapter events.

Bryn has written about interior design and fine art for various consumer and trade publications. In addition to her experience with HOW’s parent company, F+W Media, Bryn worked at American Express Incentive Services in St. Louis, where she developed, launched and edited a quarterly lifestyle magazine for 225,000 of the company’s cardholders.

When she’s not running the asylum at HOW, Bryn is an avid gardener, enthusiastic wine buff and mediocre golfer.

Q&A:
As someone who has reviewed so many outstanding portfolios and self-promotional pieces, what distinguishes the very best?

Originality and personality are so important for self-promo pieces and portfolios. As a potential client or employer, I’d want to get a sense not only of the designer’s talents, but also of what it would be like to work with her. And it’s key to be able to show your thinking. For portfolios, that means including sketches that led to a finished project. For self-promo pieces, that means including case studies of how your work met a client’s objective. And of course, the overall design of the piece or portfolio should reflect the designer’s personality, originality and thinking.

How important do you feel a portfolio book and/or online portfolio is in securing a job in the creative industries?

Both are crucial. Prospective employers or clients need to see samples of your work online before they even consider bringing you in for a meeting. And then a portfolio that showcases your work during that meeting is essential.

In the last few years, have you noticed any trends or differences in the types of pieces submitted to HOW’s Promotion Design competition?

We’re seeing more and more work that has a handmade element: perhaps a promo piece that’s hand-bound, or customized for the recipient. Digital printing is, for the most part, so good that designers can print small-run pieces in their own studios. Handmade touches convey personality and uniqueness.

Do you have any advice for a student or young professional currently working on their portfolio and/or promotional materials?

What you say about your portfolio is just as important as what you put in it. Be prepared to walk a client or employer through one or two projects from start to finish, detailing your thinking, your problem-solving, your creative process and your collaborative skills. A portfolio is only a jumping-off point for conversation.

Brook Pifer, Photographer

Brook Pifer, Photographer, New York & Orlando
http://brookpifer.com/

PDN Photographers’ Self-Promo Awards – 2nd Place, Digital Self Promotion.

Video Tutorial – Color Guide Palette

Go to the Video Tutorials page to view this tutorial.