HIRE ME?!

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50 HOW DO YOU TELL A STORY? It’s easy. Think of your portfolio as a conversation. The way you lay out your content helps direct that conversation. We all have different ways we like to tell stories. Similarly, we all have different stories about our products. The traditional method for storytelling is the chronological process. Conveniently, this is the same as the way we work on our studio projects. There’s also the product manual method. This method is good for when you want to leave out everything except the final solution. One other way to have your portfolio talk about you is to focus or highlight on a particular set of skills. In the end, it’s up to you to choose a method that best fits your work. After all, this is your story to tell, not ours. HIgHLIgHT YOUR SkILL “I kick ass at sketch renders.“ Sometimes, that’s all you want and all you need to say. John Miller has a portfolio that doesn’t fuss with the confusing intricacies of a complex process. His story focuses on his skills, his attention to detail, and his interest in electronics.
13 STORYTELLING pRODUCT MANUAL Another story you can tell will focus solely on the end solution. Sexy photo-real renderings, beautiful incontext models, or informative stepby-steps , will be sure to convince someone that your product is real. Oliver Muller’s portfolio takes a page to highlight attention to feature considerations, plus it shows he can make a bad ass model. 51
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 and 10: DUDE, I DON’T EVEN kNOW WHAT pEOp
Page 11 and 12: 00 KNOW YOUR AUDIENCE kNOW YOUR AUD
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: 13 STORYTELLING STORYTELLINg You ha
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
Page 61 and 62: 15 bRAINSTORMING BRAINSTORMINg Brai
Page 63: 15 bRAINSTORMING LINkS While plotti
Page 66 and 67: 66 LINk YOUR RESEARCH... ...TO YOUR
Page 69 and 70: 17 SKETCHES SkETCHES Well here it i
Page 71 and 72: 17 SKETCHES THE NOT-SO-SExY SkETCH
Page 73 and 74: 17 STEp 1 SKETCHES SCANNINg SkETCHE
Page 75: 17 SKETCHES AFTER ADJUSTMENTS 75
Page 78 and 79: ER” n and e ABILITY (52) EASY TO
Page 81 and 82: 19 FINALIZATION FINALIZATION Finall
Page 83 and 84: 19 FINALIZATION LINkINg YOUR INSpIR
Page 85 and 86: 19 FINALIZATION THAT’S A WRAp Dev
Page 87: I DON’T WANT TO ASk THIS gUY FOR
Page 91 and 92: 20 PROFESSIONALS wisdom from above
Page 93 and 94: 21 MING HSIEH i’m not a graphic d
Page 95 and 96: 22 KRISTEN bECK things i wish i kne
Page 97 and 98: 23 DAN CLIFTON finding inspiration
Page 99 and 100: 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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