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10 9.4 QUALITY OF IDEAS 8.5 CONCEPTUAL SKETCHES 8.3 8.1 7.8 AESTHETIC SENSITIVITY STORYTELLING *These are the results of an anonymous survey. 2D RENDERING 7.3 PRESENTATION LEVEL SKETCHES 6.9 3D MODELING/RENDERING SKILLS 6.8 6.7 DESIGN RESEARCH TECHNICAL KNOWLEDGE 6.2 6.1 GRAPHIC DESIGN PROTOTYPING
00 KNOW YOUR AUDIENCE kNOW YOUR AUDIENCE Remember: your portfolio is not about you; it’s about what you can do for an employer. As you’re creating your portfolio, ask yourself, “who is my audience?” Are you applying to a corporation? A consultancy? A toy company? Your portfolio should align to your employment goals. We asked co-op employers to rate the skills they look for in students on a scale of 1 to 10, 1 being of little importance and 10 being absolutely imperative. According to the data, employers most value the quality of ideas presented, followed by competency in conceptual sketching and ideation. They cared least about graphic design sensitivity and skills in the shop. Take these findings with a grain of salt: the designers we were able to contact mostly worked at consultancies, and the data could easily shift if the focus was placed in another area of the design world. Prospective employers will not spend much time looking through your portfolio. You’ll get just a few seconds of their time (seriously); you’ll only as long as it takes to flip through the PDF you send them. Organize your work so that your best project is the first project they see. You should also end your portfolio on a high note. It’s important to learn to self-edit; don’t include work that you aren’t confident in and aren’t comfortable talking about. 11
Page 1: HIRE ME?! THE PORTFOLIO HANDBOOK A
Page 5 and 6: TABLE OF CONTENTS WHAT ARE “THEY
Page 7 and 8: THIS IS SOO-SHIN. HE’S THE TOp DO
Page 9: DUDE, I DON’T EVEN kNOW WHAT pEOp
Page 13 and 14: Ok...NOW WHAT? HERE ARE SOME THINgS
Page 15 and 16: 01 HEALTHY HAbITS HEALTHY HABITS TI
Page 17: 02 SHOWING OFF YOUR DESIGN SHOWINg
Page 20 and 21: 20 ARE YOU A CONSULTANT OR CORpORAT
Page 22 and 23: 22 From top-left: Tracy Subisak’s
Page 24 and 25: 24 Matt uses dotted lines & color f
Page 26 and 27: CREATINg THE DOCUMENT 07 - USE INDE
Page 29 and 30: 07 USING INDESIGN USINg INDESIgN TH
Page 31 and 32: 08 GRIDS USE A gRID gRIDS ARE A gRE
Page 33: 08 GRIDS This is an example of a cl
Page 36 and 37: 36 Serif Sans-Serif I BE TITLE I’
Page 38 and 39: 38 LEgIBILITY The most important pa
Page 40 and 41: 40 A BAD RESUME Arbitrary graphic t
Page 43: 11 PLACING CONTENT pLACINg CONTENT
Page 46 and 47: TELLINg A STORY 13 - STORYTELLINg 1
Page 49 and 50: 13 STORYTELLING STORYTELLINg You ha
Page 51 and 52: 13 STORYTELLING pRODUCT MANUAL Anot
Page 53 and 54: 13 STORYTELLING THE CHRONOLOgICAL S
Page 55: 13 STORYTELLING Out with the OLD, i
Page 58 and 59: 58 NEGATIVE SPACE CREATE THE ILLUSI
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15 bRAINSTORMING BRAINSTORMINg Brai
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15 bRAINSTORMING LINkS While plotti
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66 LINk YOUR RESEARCH... ...TO YOUR
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17 SKETCHES SkETCHES Well here it i
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17 SKETCHES THE NOT-SO-SExY SkETCH
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17 STEp 1 SKETCHES SCANNINg SkETCHE
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17 SKETCHES AFTER ADJUSTMENTS 75
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ER” n and e ABILITY (52) EASY TO
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19 FINALIZATION FINALIZATION Finall
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19 FINALIZATION LINkINg YOUR INSpIR
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19 FINALIZATION THAT’S A WRAp Dev
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I DON’T WANT TO ASk THIS gUY FOR
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20 PROFESSIONALS wisdom from above
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21 MING HSIEH i’m not a graphic d
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22 KRISTEN bECK things i wish i kne
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23 DAN CLIFTON finding inspiration
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24 JINCE KURUVILLA storytelling fro
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Don’t get discouraged. We’ve be
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WHERE’S THAT BUTTON THAT LETS ME
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25 INDESIGN PDF INDESIgN pDF ExpORT
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26 SIZE REDUCTION SIZE REDUCTION FU
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02 27 PRINTING TIPS pRINTINg TIpS H
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gOOD LUCk Portfolios are a bitch to
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THANk YOU, WE LOVE YOU We’d like
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