Where Are They Now: Anthony Georgis

About a year ago my co-author, Larry Volk, contacted Anthony Georgis about including his compelling promotional book, “Blood Makes the Grass Grow” (a photo essay about the high school girl’s rugby league in Portland) in our book. The project’s website can be found here: http://www.bloodmakesthegrassgrow.com/.

A few weeks ago Anthony emailed to let me know about a cool new project he recently completed – Levi’s “Go Forth” campaign. He also created a stand alone website for the project which won him a feature in this month’s PDN Photo Annual.

I asked Anthony if he would share a bit about the Levi’s project and what he’s been up to since “Blood Makes the Grass Grow.” This is what he had to say:

The past year has been really amazing. I had been getting quite a bit of interest in my work based on my photo essay “Blood Makes the Grass Grow” about the high school girl’s rugby league in Portland. It was really rewarding to get noticed for something that I’d shot as a personal project and it was nice to have that translate into some assignments. One of the clients I started working with on a regular basis is Nike. I’ve been shooting with them quite a bit and that’s pretty much a direct result of the rugby project.

I’ve been working on a couple personal projects that have to stay under wraps for now, but that I’m really excited about. If I’ve learned anything in the past year, it’s that you just have to keep working on the things you’re truly passionate about, and everything else will fall into place.

Check out the Levi’s Go Forth campaign at: http://www.anthonygeorgis.com/

Photographs from the Campaign
All images copyright Anthony Georgis ©2010

Comments? Click Here.

Larry Volk & Danielle Currier Interviewed for Adbase

My co-author, Larry Volk and I were recently interviewed for Adbase as part of their ongoing “Insight” series. In the interview we discuss a number of issues regarding portfolios and the approach to the portfolio process as described in our book. To check it out visit – http://www.adbase.com/Podcasts/NoPlasticSleeves.

Comments? Share your thoughts.
Click here to comment.

Interview with Organic Grid’s Michael McDonald

I’m excited to share with you a recent interview I conducted with Organic Grid founder and creative director, Michael McDonald. His work includes numerous award-winning portfolio websites and has been featured in numerous international design reference books and magazines including: logo lounge, communication arts, layout workbook, interface, netdiver, www design, in your face too, simple websites, best websites from around the world, adobe flash film festival, graphic design usa, art directors club, media inspiration awards, print magazine, .net magazine, web designing magazine japan, web marketing association, flash essentials, web designer uk, practical web design magazine, sxsw web awards, and the fwa: favourite website awards.

Q&A
Organic Grid has designed and developed a number of really successful portfolio sites for photographers and other creatives. What do you think the key qualities are that distinguish a successful portfolio site?

The key qualities that distinguishes a successful portfolio site are the following: a minimalist interface and page layout, and large full-screen imagery that has good composition and is well compressed so that it downloads relatively quickly. The interface and overall design of the website should play a secondary and supporting role to the actual content and imagery of the website design. The content should be the most important element and design on the site. The website should be easy to update, edit or change with a (CMS) Content Management System so that the website appears to be fresh with new content, “Content is King”…

Are there any current trends in web design that you would recommend someone take a look at or perhaps stay away from?

There’s no real innovative or mind boggling web trends for 2010, but perhaps having an iPhone/Android/Blackberry version of their website available on mobile devices will be a key in reaching new audiences. The trend for large full-screen imagery, cinematic style websites and minimalism will continue to blossom in 2010 as consumers become more educated and get tired of viewing poorly design websites that look like everyone else’s websites. I have observed and becoming increasingly concerned that too many websites are being designed with boilerplate website templates. “They are cheap, dilute your brand and look amateurish”…

For a photographer or designer who’s in a situation where they have to design and develop their own site, what advice would you give them? Are there inexpensive resources you would recommend that could help?

Building a simple and free blog from one of the numerous resources available today i.e. WordPress. Publishing your work/portfolio on the various social media websites i.e. (Facebook, YouTube, Twitter, etc…) are effective ways of getting your ideas, work, name and brand established. Purchasing a template from Livebooks.com is also quick and inexpensive alternative to getting your portfolio published quickly, the only downside to using something like LiveBooks is that there are hundreds if not thousands of photographers that will be sharing the same identical template “look and feel” as you. Simplifying your website and portfolio will always serve you best in establishing and differentiating yourself from other artists. Creative directors, art directors, and media buyers alike do not have time to look through hundreds of photographs and or figure out how to use your website, “Less is More”…

I noticed that most if not all of your portfolio site designs are created in Adobe Flash. What do you think the benefits are to creating a portfolio site in Flash (versus a CSS/HTML type site)? Are there any drawbacks to using Flash?

The benefits of creating a portfolio based website using Adobe Flash simply outweighs building a website in CSS/HTML, in my personal opinion. Adobe Flash allows me the opportunity of creating an immersive, seamless, full-screen, and cinematic experience that creates a visual impact and helps show off the artists’ work and talent. The drawbacks of using Adobe Flash to build a portfolio based website is that currently there is currently no Adobe Flash plug-in support for the iPhone, and that the time & cost to building a custom Flash website is more expensive than building a traditional website in CSS/HTML.

What do you enjoy most about what you do?

I personally enjoy working and collaborating with other talented and like minded creatives who value good design, and are willing to take calculated risks. I really enjoy creating simple, effective, elegant and meaningful interactive experiences that help my clients sell their work, build their brand, and expose their talents to wider audiences on a international scale.

Interview with Professor Kelly Holohan

I recently had the opportunity to interview Professor Kelly Holohan, whose student, Danielle Kroll won “Best in Show” in this past years HOW Magazine Self Promotion Competition. Read the interview below for some great advice and insight into why Tyler students are so successful with their portfolios and promotional materials.

About
Kelly Holohan is an Associate Professor in Graphic & Interactive Design at Tyler School of Art, Temple University in Philadelphia. She is a former President for the Philadelphia chapter of AIGA. Kelly has an MFA in Graphic and Interactive Design from Tyler School of Art, Temple University. She previously worked in NYC as a Senior Designer at Bernhardt Fudyma Design Group and her personal work has appeared in the following publications and exhibitions: AIGA 50 Books/50 Covers, the Art of Boat Names, Art Director’s Club of Philadelphia, the Big Book of Green Design, Creative Quarterly, Communication Arts Design Annual, Creativity Annual, Designing for the Greater Good, Good 50 x 70, Graphic Design Makeovers, logolounge 2, Print Regional Design Annual, and UCDA Design Competition.

Q&A
Your students have had such great success with their portfolios and promotional pieces – so many of them recognized in top industry magazines and competitions. What approach do you take to the portfolio course you teach that leads to such successful solutions?

The design faculty at Tyler School of Art encourage self-promotional solutions that truly reflect the student and their work. We support ideas that are personal in some way. Sometimes it involves tapping in to a student’s sense of humor, a design aesthetic or some other formal aspect of their work. The critique process usually involves whittling any unnecessary content away so that the idea can be understood with perfect clarity. Simplified, smart concepts communicate quickly and effectively to a potential employer.

How/what do you think inspires your students to achieve such innovative design concepts?

The Graphic & Interactive Design program at Tyler is all about producing design thinkers who are also design makers. It’s a balance that allows our students to take their careers in any direction they choose, whether it be print design, type/lettering design, web design, interactive design, broadcast design, environmental design, advertising or illustration. The faculty are all practicing designers who are passionate about what we do, and we love teaching — that kind of inspiration is contagious.

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

Even if a student has an exclusively print based portfolio, an online presence is critical in today’s competitive market. We encourage students who are not designing interactive work to use a portfolio host like Coroflot or Krop to showcase their work. Tyler design students with an interactive portfolio design and build their own custom portfolio sites. In addition to their physical portfolio, seniors in the Portfolio exit course create resumés, cover letters, pdf portfolios, mini books, and a senior thesis project.

In general, what do you think characterizes an outstanding portfolio?

• Great Typography.
• Strong writing skills.
• Projects that show design thinking with breadth and depth, in addition to aesthetics.
• Appropriate Solutions.
• A variety of different approaches to solutions (demonstrates that a student is not a one-trick pony)
• Impeccable Craftsmanship.
• Innovative form and use of materials.

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

• Design a great résume — it’s only purpose is to get your work looked at.
• Have an online portfolio ready to show if a potential employer asks to see more work.
• Remember that social media is searchable. Don’t post anything on Facebook or Twitter that you wouldn’t be okay with anyone seeing.
• Don’t include any work in your portfolio that does not represents your strengths.
• Practice presenting your work in a concise and meaningful manner. You will be more relaxed in an interview if you’ve thought about what you will say.
• Go on all interviews — even the ones you don’t think you are interested in — it’s good practice.

Examples of Student Work

Aaron Richardson

Teresa Rodriguez

Wade Keller

Matt Szobocsan

Kelly Thorn

Brittany Coyle

Zach VanBenthem

Interview with Art Buyer, Heather Morton

Heather Morton is a Toronto-based freelance art buyer and photography consultant. She was a photo producer for 10 years and worked with some of Canada’s largest ad agencies. Her blog at http://www.heathermorton.ca/blog/, has lots of great content on it, including her popular “Ask an Art Buyer” series.

Q&A:
I recently had a chance to ask Heather a few questions about art buying and her thoughts on portfolios.

For students and those who may be new to the field, what is an art buyer?

Art Buying refers to the act of securing still imagery for Commercial use. In a nutshell, I help advertising agencies and design firms find the right photographer or illustrator for their concept and manage the process of producing that image.

The Art Buyer fulfills two important but different functions. On one hand, it is a creative role- collaborating with the Creative Team to source the right creative supplier takes a keen interpretive eye combined with a comprehensive knowledge of current photography and illustration trends and styles. In a completely different way, an Art Buyer is also a Project Manager. It is my responsibility to negotiate a fair price for the photograph or illustration and ensure that the budget is adhered to throughout the process. As well, proper rights and clearances needed to be secured and managed. The Art Buyer also manages all areas of photography production from the agency side. This means establishing a workback, trafficking approvals of all production elements (location, talent etc.) between photographer and Art Director, running a pre-pro meeting, and troubleshooting any concerns that may arise at the shoot or during production.

I know there is some healthy debate out there on this issue of “going sleeveless”. What do you think is at the core of this debate and what are your thoughts on it?

I think photographers are keen on the ease of use that plastic sleeves offer- if the book needs to be updated or tailored to a client’s specific requests, its as easy as pulling one image out and inserting another. Although I’m not completely up to speed on portfolio page suppliers, I think that there are other options that give the photographers the same flexibility. I’ve seen books that use matte paper, with adhesive hinges that can go in and out of a book shell- in my mind, this is just as easy for the photographer and much better for the viewer.

Another big topic out there revolves around the issue of online portfolios verses portfolio books. What are your thoughts on this and the importance of both or one verses the other? What kind of portfolio do you think is crucial for someone who’s a student or new to the field?

I think it’s important for shooters to have both a physical book and an on-line presence. Although books aren’t as crucial as they used to be to show your work, it’s still important to be able to show your own edit of your book- ideally beautifully designed, printed and presented. The two outlets can complement each other- the book should be very selective whereas the website can showcase a lot more of your work, can spin off to microsites or to blogs, can include archive and personal project sections.

In terms of someone starting out, I think there are options that are inexpensive and easy- it’s not about blowing the bank or making a huge investment in a multi-faceted brand identity right out of the gate. But it is important to have both streams going at once.

As an art buyer, you see so many portfolios on a regular basis, both in print and digital form. What do you think distinguishes the very best?

For the site: simplicity of design and use. I can’t overemphasize the importance of this. Ideally your design would be unique but very simple. Occasionally I go to sites that are too clever- it takes me a minute to find the thumbnails, things are always scrolling- this can be immensely frustrating and time-consuming, especially when I’m casting around through dozens of sites looking for something to match my layout.

Print wise, I think the most important thing is that your images look good- nice paper, no obscuring glare bouncing off the plastic sleeves. Also, I am a firm believer that you should show what you WANT to shoot not what you CAN shoot. I love to be hooked by inspirational, passionate, unique images. Also, I like a page or two of thumbnails in the back of the book to show how others have used your style. The main part of the book should be saved for your best, aspirational work- 15 to 20 images is a nice number.

And finally, I think one of the biggest questions right now is – for photographers struggling to make ends meet, what advice do you have for finding work out there?

I think it’s a really tough time to be a photographer- there is a ton of competition and the camera technology and media outlets for your work is changing so fast. The most successful photographers will be able to develop a unique and well-applicable style that they are also able to mold and bend as demand change. But, this must be coupled with a collaborative, hard-working attitude. I think that the personal connection will also be increasingly important in the future which is where blogs, twitter, FB etc. can be fantastic tools over the long term.

In the short term, I don’t think most agencies are sure what to make of much of the new technology. Photographers who can offer solutions and new products to their clients, who help them understand how the technology can help them deliver a convergent message, will be able to establish important partnerships. I think this notion of creative collaboration will make up the most exciting opportunities for photographers.

Questions or Comments? What do you think?
Click here to comment.

Interview with Neil Binkley, Judge for PDN’s 2009 Self Promotion Awards

No Plastic Sleeves recently has an opportunity to ask Neil Binkley a few questions. Here are his responses.

Bio
Neil Binkley is co-creator and publicity director of Wonderful Machine, the boutique web portal for art buyers which offers marketing and production support to its member photographers. In less than two years, the agency has signed on photographers in 50 American cities and nearly 50 countries around the world. Neil’s background in advertising, corporate design, filmmaking and photography informs his take on connecting photographers with art buyers. When he isn’t busy tweeting about Wonderful Machine photographers’ latest accomplishments, he enjoys being a first-time father to his year- old son, Nate. Neil recently judged PDN’s 2009 Self Promotion Awards, and also participated as a reviewer in ASMP/NY’s annual portfolio review.

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

Certainly, the “wow” factor of an unorthodox or expensive portfolio/promotion is always something that catches my attention. However, if that “wow” isn’t met by “wow #2,” ie. excellent photography presented in a cohesive form, then I feel sorry that the photographer spent so much money putting lipstick on a pig.

So I would say that “the very best” always includes strong imagery as a starting point. Beyond that, unless you’re Nadav Kander, I recommend showing work that makes it clear what you’re good at. Too many photographers try the kitchen sink method of portfolio editing, showing too many styles and specialties, and a client who wants to find a good still life photographer will typically search among people who specialize solely in that field (which is competitive enough as it is).

I also think that our Houston photographer, Terry Vine, did a fantastic job creating a strong brand across his portfolio, print mailer, website, and elsewhere. I was disappointed that he didn’t make the contest’s final cut, but the competition was strong. Here’s a photo of his print promotion.

What do you think is the most challenging and rewarding part of being a judge for an awards competition, such as the PDN Self-Promo Awards?

The most challenging part of juding the PDN Self-Promo Awards was having to choose only my top 3 photographers for each of the four categories. I made several rounds through the many entries, whittling down to the promotions that I considered most memorable and quality-minded. This, of course, took many hours (days, actually).

It was also difficult because I didn’t want to vote solely for people I was already aware of, be they famous, a Wonderful Machine photographer, etc. I wanted to be as objective as possible, and pretend that I had received this promo at my office among a stack of mail or email. In that scenario: what would my eye linger on?

Another challenge was that, in one or two cases, I chose promos whose photography was not quite as good as the other submissions, but whose overall impression was unrivaled. In an ideal world, as I mentioned before, a good promo will have a combination of excellent images and eye-catching presentation. But if you have two photographers side-by-side whose work is comparable, the one with the better presentation will always win.

Also the contest was judged digitally, which is a different experience from judging in-person. I recently had a conversation about this on Andrew Hetherington’s blog, Whatsthejackanory.com .

The rewarding part was viewing so much wonderful work, and having a cross-section of photographers’ approaches to marketing themselves. It really was a pleasure, and I look forward to future contests.

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

I think that creating and sharing a printed portfolio is still a necessary and valuable exercise, and for a few reasons:

1) For advertising work especially, agencies still call in books. Partially, I think, because photographers’ websites can look so wonderful on the web, but most campaigns end up in print at some point, and an art buyer wants to be sure that the photographer can deliver in the printed realm. Especially when it comes to retouching.

2) It’s still helpful to meet art buyers/photo editors in person, and what will you show them when they do agree to a meeting? Of course, you can bring your fancy laser gun leave-behinds, but a quality-minded creative wants to be confident that you have consistently created a body of work that shows many images in the style they’re looking for. And meeting someone in-person is generally much more memorable than an email or phone call.

3) The creation of the book itself is valuable, because it forces you to define the type of work that you’re good at and that you’d like more of. In some cases you’ll need to shoot more work after realizing that you haven’t shot enough to be reliable. You don’t want someone to think that your amazing photograph was done by chance. You want them to be confident that you are in control of creating good images.

And as for digital portfolios, I’m not sure if you’re referring to a website, which really can be an online portfolio, or a digital version of your print book. Either way, the same rules of providing a tight edit and good work apply. And sure, sending a digital portfolio instead of a printed one is better than not sharing your work.

But I would always recommend having a printed book.

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

Shoot a lot, and seek outside opinions even more! I find that better photographers, regardless of how long they’ve been in business, are often open to critique of their work. And the experienced ones are sometimes open-minded because they’ve been in the awkward situation of sitting in a creative director’s tight office and having that creative point out all of their portfolio’s flaws. Better to get a tough critique from someone before the meeting, so you’re not blowing an opportunity with a busy client who may not take a meeting when you update your portfolio a year later.

On that note, I think that photographers should consider hiring a consultant to look through their work, someone who comes well-recommended from a photographer whose work you like. Wonderful Machine offers consulting, and there are many others out there doing a good job. Aphotoeditor posted a good list a year or two ago. Ask to see a few before-and-afters too, to see what raw talent they had to work with.

Also, I don’t think there’s a “magic bullet” in terms of reaching art buyers and photo editors. Everyone is different: some art buyers only want email promos, and others only want print promos. Because of that, I recommend promoting your work in as many reasonable ways as possible, and frequently enough that you’ll start to stick in their heads. Just don’t harass people, because you don’t want to be remembered as the nag. I think an email promo to the same person several times a year, and the same with print promos, plus trying to get a portfolio visit every year or two is plenty. And make sure that you have new work to show, when you do contact them. Equally important is to approach only clients who need your type of work.

On a related note, one of our photographers, Bill Cramer (also our president), recently did a a talk for APA/NY about how photographers can brand and market themselves. We blogged about it, and here’s a link to the post . We’re also working on a podcast of the presentation, which will give an overview of the many options photographers have in promoting themselves. That should be out (for free) in January, and we’ll blog about it.

Interview with Robin Milgrim, Art Director and PDN Self-Promo Judge

No Plastic Sleeves recently has an opportunity to ask a few question of Robin Milgrim, art director with R&R Partners on the Las Vegas Tourism, “What Happens here Stays Here” account. She was also a recent judge for the 2009 PDN Self-Promo Awards Competition. Below are her responses.

Bio
Robin Milgrim was born with creativity in her DNA. Her great-grandfather was founder of Milgrim’s, a historical New York City retail cornerstone that dressed celebrities and high-society from the 1900’s to 1950’s. Her great-aunt was fashion designer Sally Milgrim, creator of Eleanor Roosevelt’s inaugural gown. With that to live up to, Robin went to the Savannah College of Art and Design and started her career working in-house with artist Romero Britto, best known for his work with ABSOLUT vodka. She went on to graduate from the Miami Ad School, becoming an art director. After doing freelance stints in many of New York’s big shops, she moved to Las Vegas, where she has been working on the Las Vegas tourism “What Happens Here Stays Here” campaign for the past 5 years. Her work has garnered industry accolades, including Luerzer’s Archive and Graphis. She has collaborated with many of the industries finest photographers, and is frequent judge of photo annual competitions.

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

A creative person must demonstrate far more than technical skill if they want to be a real player in the game. In my opinion, the single quality that distinguishes the leaders from the followers is some type of uniqueness. Whether it is your use of color, space, type, or concept. Maybe it’s your process that results in a fresh look. Or perhaps you come to the table with a tight team of artists to create the final product. Whatever it is, do something to distinguish your self.

What do you think is the most challenging and rewarding part of being a judge for an awards competition, such as the PDN Self-Promo Awards?

There are so many talented people out there. When reviewing work for the photo-annuals I am most struck by how many people do not understand their audience, or how to distinguish themselves. At this level everyone is good, but only few are great. It’s easy to choose the winner’s. I am saddened by how many very capable talented people do not understand whom they are talking to. When submitting work for these competitions, keep in mind that the judges, as well as those that will hire you, see an enormous amount of work everyday. They devour creative. They have seen it all, and are hungry for something that breaks with convention.

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

Have both. Unless you plan on screwing your way to the top (which doesn’t work BTW) there is no way around it. It’s the cost of doing business. Make it as good as you can. No excuses. If you don’t love it, don’t put it in your book. If you don’t have enough solid work, make more. Learn to edit yourself. Remember who your audience is. Consider what would appeal to them. Take them for a ride. Entertain. It’s a word often forgotten at the convergence of art and commerce. The best of the best are in the entertainment business. If you hold yourself up to that standard, whether you are advertising creative, a photographer, or a designer, you will be starting from a great place.

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

Every job is different, of which different skills are needed. Given that understanding, be yourself first and foremost. Find what it is you love about the work, your passion, and do that. The greatest talents live and breathe the business because they love what they do. It’s the commonality in most successful people, regardless of industry.
Also, make nice with EVERYONE, especially at school. I was told this early on, and I am convinced it helped me survive while many of my peers dropped out of the industry. The people you go to school with, other artists, illustrators, directors, designers, etc. They are the people that will refer you the most work. As creative’s our egos can often get in the way, don’t let it happen. I have seen the ego destroy brilliantly talented people. So learn to collaborate early on. Perhaps you are good at lighting, but not as strong at concept. Team up. Find partners. Work together. The greatest of the greats stand on the shoulders of us all.

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.

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.