Week 11 - Designing a portfolio interface

Wow! I can't believe that there is only 3 weeks left until everything is due. So as I'm getting close to the end, and of course so is the end of the last book for this class: Designing Digital Portfolios. In chapter 11 they discussed about the importance of interface. These sentences caught my attention because not only are we almost done, but in this field we can never stop learning: "Interface design is a specialized discipline that is still changing rapidly... To build an exceptional interface,you must study user interaction, have a special talent for organizing data, and be a good visualizer." In order to have a working interface it is recommended to organize yourself and by that it was summed up in four stages: Group, Map, Schematic, and Look-and-feel.

Group, is knowing what category to put your projects in it could be by date, area of design, illustrations or photos, print, interactive, 2D, 3D, Process like sketches, modeling, character animations, by client, the difficulty of the project or by visual interest the viewer will navigate through. Map, is what you come up with afterwards to organize, it's a flowchart that represents every page in your portfolio. Schematic, is is basically a page layout grid. Look and feel, is think about what style or theme will be use and how people will interact with those decisions. Once all of this is thought of and re-thought and you are happy with the outcome it is important to stay focused and avoid distractions, This book suggested to remember KISS: Keep It Simple, Seriously. Although I know that I have seen this acronym of kiss as, Keep it Simple Stupid.
The most time consuming step is preparation although building also requires time it makes it much easier to accomplish this by having everything already well thought out and then have a working interface.

Week 10 - Nontraditional Portfolios and some basics

A nontraditional portfolio is a distinguished feature with often an unusual exterior. The portfolio must match the work and never overpower or upstage the design samples. Out of the nontraditional portfolio’s that I was able to come across in the last chapter of Building Design Portfolio’s I liked the light box created by Chris Dimino it is an eye catching portfolio and interesting way of displaying all the hard work. Having an Interactive portfolio ….. Being able to have an Interactive portfolio or a website is essential because anyone that has internet connection can view it at no matter what time in the day “a well-designed website is a great vehicle for showing both a designer’s style and areas of expertise”. That is why having a portfolio is so important in this field, keep it update, keep it interactive, keep it interesting. You should visit the sites of my favorite design examples that were used in this book: Amber Frid-Jimenez and Louise Fili LTD.

The development basics now that I have collected all of my work and know that I want my portfolio to impress the viewer I need to go back and look at my master listing. According to Chapter 10 in Designing a Digital Portfolio I need to set the foundation and it’s composed of 1) An appropriate technology, 2) a structure and 3) a visual concept for your interface. This chapter kept on explaining the many different types of portfolios you can design and explained the basics of what a static pages are and a simple motion or interaction site. Descriptions on weather to use web versus portable portfolios and while thinking about all that coming up with a metaphor. A couple of the metaphorical concepts given were: Gallery, Spec sheet/brochure, Outreach, Narrative, Diary, and Experience. While thinking about which metaphor to use it can be "Welcome to my gallery" or pick the project that best describes your skills or instead of displaying interactivity then to consider a slideshow of the best work you own like So Takahasi.

Week 9 - Professional/Student Portfolios & creating written content

Looking through all of the photographs of the work many have done in Building Design Portfolio. I was able to see how many different ideas are out there and how unique most of the portfolios and projects are. Not mattering if they were done by a professional or by a student, they were different styles, different sizes, and a combinations of different color. It made me realize that I also need to work on some projects that will increase my ideas and create my own style. I was thinking about a collection of photographs and combining them with one of my hobbies, scrapbooking. My favorite accessories for scrapbooking are the eyelets if I can come up with a variety of postcards like a series and keep the viewer’s attention and waiting to receive my postcard. I was also thinking some sort of puzzle combination and since the postcards will be a series they must have all 6 of them in order to make out the complete picture of the secret puzzle.

Creating written content (Chapter 9 Designing a Digital Portfolio)

This is a difficult task especially for those designers whom do not like writing as much as they like designing. An easy tip given to this issue was to “design a portfolio with no written content- just your contact information.” Although somewhat risky it can be a solution to presenting animations but not so god when presenting designs. This chapter helped me focus and figure out how much text my portfolio really needs. People want to know about your career or education, the viewer needs to be able to sense who you are, the right text in the right place can help them do that

What you will need to write about:
• Identify your work - Descriptive title
• Introduce yourself – include some personal information either by a resume, a short biography or cover letter
• Explain your ideas and process – Design brief, case study, processing comments, and Philosophy
• Speak directly to your audience – “Adapt vocabulary and style to whom you are writing to from suits to a small design studio or to a highly-focused niche audience.”

Week 8 - Interactive Portfolios/websites & optimizing effeciantly

Today while reading Building Design Portfolios I was able to find some good examples od interactive websites. Successful design studios redesign their sites very often to maintain a good reputation and stay current also to show your most recent work. A potential employer evaluates web portfolios by first considering the material they see in the site, did it take long to load is it difficult to navigate that also includes how easy and visible it is to turn off the sound of a website. Many designers just skip this step and much rather not add music to their website.

Reading chapter 8 of Designing a Digital Portfolio about printed portfolios it was said that after scanning, shooting, and agonizing over lost details, it can suddenly dawn on you that the best art is the original version - the file forgotten on the disk. However you can never use it exactly as it is. One of the best ways to repurpose published work is to create a PDF. Some tips for creating good PDFs: (Pages 141 & 142)

• Avoid scrolling
• Shoot original files
• Use TIF files
• Optimize JPEGs
• For a fast attachment, merge your PDF's
• Make your PDF a project
• Create a cover page
• Watch your file sizes
• Name your PDF sensibly
• No headshots

Optimizing all image files i order to fit the requirements of transmission.

Self Promotion

I was reading this Self-Promotion article and it was like reading the struggles I was facing and here I was beginning to think that I was the only one going through this. Self designing is very difficult, I would know I have faced it these past couple months. It is important to be honest in how you present yourself. To ask yourself questions like what you like and dislike and that will answer questions and give ideas in order to create a portfolio that truly represents you and the work that you do.

There are some key points given by Mary Virginia Swanson useful to determine in advance of creating your website:

a) Your graphic identiy or BRANDING must be clear and simple:
b) Your business model - what are you selling? Your prints and/or skills? And/or are you introducing new work about which you will continue to inform the audience? If you teach, do you want to list upcomng workshops? Do you have a book for sale? Do you want to share the comments of others about your work as testimonials?
c) If selling prints, do you want to reveal your technique in making and/or printing the work, and the pricing/editioning structure, or ask that interested parties contact you for this information?
d) If you have gallery representation, will you, or are you, contractually obliged to refer all inquiries to that business?
e) If you have a representative for assignment work, will you, or are you, contractually obliged to reer all inquiries to that firm?
f) Your contact information: do you need to publish your studion and/or mailing address and phone number, or choose not reveal such personal information?


One day I asked my Typography Profesor at Quinnipiac what his feedback was for my business card and he advised that I did not have to submit all of my information at once, that it would be a good idea if I just handed them a card where they had to go to my website portfolio and when they become one of my customers then I will share that information so that they can feel comfortable working with me.

Week 7 - Tips for Job hunting and Promotions

While reading Building Design Portfolios it was said that one should aim for having a strong design then to prepare for the interview and presentations. Job hunting requires first research of the company you have submitted your information. A résumé is important because that is where the viewer will be able to see in writing all the things you have done and have your contact information on there hands without having to look further. The cover letter is where you will very friendly encourage the reader to look at your portfolio. Follow up materials are thank you notes and follow-up phone calls. Promotions that you sent out could be mailers, books and monographs, CDs, and PDFs. This are known to be "limited-edition portfolios" because designers distribute as reminders or enticements. I also learned that your promotional piece does not have to be very expensive just good enough to catch the most attention and this will show the viewer the ability to produce innovative work without a big budget. In the examples that were given my favorite was one by Japanese designer Hirokazu Kurebayashi's promotional piece it's an elegant professionally printed package for a corporate audience. First in a plastic sleeve then opens to expose a black cloth bag silk-screened bag with the designer's name and holds a four sided black cardboard envelope containing twenty-seven printed samples. (Images Displayed in pages 56 an 57)

Cleaning up after your scanning is what was discussed in chapter seven of Designing a Digital Portfolio. The problems with digitized art are put together in a short list:
• Tonal problems
• Combining and editing
• Size and resolution
• Sharpness

All of these issues happen with all types of digital art. If the concepts of tone, color, resolution, and sharpness are well understood then you can apply them equally well in any digital file. Here is another list about working on the right types of files, and in the right order: (Page 120)
1. Change your file type.
2. Adjust brightness, contrast, and color casts.
3. Clean up and retouch your art.
4. Save a copy of the image.
5. Adjust document size and resolution, if needed.
6. Sharpen, if needed.
7. Optimize and save in a compressed format.

In this chapter there was also given an Image-editing cheat sheet which will come in handy when I all the digitizing of my work. Keep in mind future plans like the revisions or the start of a new portfolio.

Master List & Flowchart

Organization of content for my portfolio




Flowchart

Week 6 - New book new ideas

The new book that I am reading is Building design Portfolios by Sara Eisenman. This book talks a lot about how one should present there work. Just by the design and cover of the book you can tell thought was put into it the way that it’s shaped because of the title and because it has a magnet as to protect the pages from ruining and giving it some style. The first chapter was about making a working portfolio by working they mean one that catches the audience attention and it also showed different types of portfolios and there are so many to choose from. The layouts are well organized and have many ideas as what to do.

– Digitizing traditional work

While reading Designing A Digital Portfolio chapter six was helpful in teaching how to Digitize all the work that will go into my portfolio. In reading this chapter I picked up a lot of ideas about scanning and what types of scanners are good for a certain project. One of the most important things to remember that it is all about the paper, depending on that it will reflect a good quality output. It is best recommended to go directly from camera to computer if you it is something that will look better rather then scanning and then modifying any color changes. Also encourages to use a good-quality scanner for my digital portfolio.

“In the end, your portfolio is all about your work. Digitizing that work successfully is the first step to a quality portfolio. ” This will let the viewer know that you are knowledgeable in doing this scanning and printing work and are ready for more challenges.

Week 5 - Creative Process includes organization

This week I read about the process a designer should take in order to do a job well done.

An interview by Saul Bass encountered a problem, by young designers and students: “They are not privy to process; he noted. They may have the illusion that these things really spring full-blown out of the head of some designer. This is a very unsettling perception for young people, because they struggle with their work. They have a go at it… They redo… It gets better… It slips…It gets worse…it comes back… It comes together. And maybe it’s something that’s pretty good, even excellent. But they say to themselves, ‘Gee, it comes hard and it’s so difficult. Am I really suited for this?’ This is a questions that we all face at one point or another as a designer or not.”

(Quote on pg. 135 side bar)

Recipe for a healthy jobs well done.
- Talent
- Industriousness
- Dedication
- Love of your craft

What is your ‘style’ like? Or better yet what was said to replace the word ‘style’ with ’voice’. What kind of voice do you have to offer. How could we know what we each are.

- First creative conviction – Have to believe in something!
- Second is personality –
- Thirdly is a question of awareness of fashion

Being original is important to make it out in the real world. This depends on your clientele and how many you will be able to have. This however is not always the case because according to the British designer Julian House said: “I don’t believe in originality as an absolute, – I think it’s more to do with interesting twists on existing forms.” It’s okay to borrow the idea but to illustrate it in a way that it hasn’t been seen before. Once the client is there in the beginning of meeting with them it’s said that it is good to do a brief. This represents good communication with you and your client, their needs and what the results could turn up as. Briefs do not always work in favor of you as a designer, a good example of this is Swiss designer, Bruno Monuzzi his project to only use two elements for a poster and came up with a great masterpiece.

Before you even begin a brief do not forget of the research that you have to do also remember to look at your competition and what they have. Not to copy but to know what needs to be done differently. A brief is important because it sets requirements:
- Purpose
- Commercial considerations
- Budget
- Time
- Media channels
- Etc.


I have always been somewhat organized with my work through out my years as a college student. I am able to find documents, pictures and tons of bookmarks that I did not even remember I had saved in my hard drive.
In Designing a Digital Portfolio while reading chapter 5 I found out a different way of organizing digital files the five disciplines that were given were: Group (Use folders and link them) , Name (Unique naming, and Descriptively, Briefly, Inclusively), Show (Use thumbnails and customize folder icons), Weed (Simplify, and Update), and a Backup (The most important and I include myself on this one that I tend to forget to backup).

My 3 Site Comps

This week I have been working on sketches doing some research and here is what I came up with for the three compositions for my future portfolio. My goal was to have a site that is easy to navigate as well as to show elegance and a visual design.

Week 4 - Without Clients there wouldn't be self promotions

Misha Black whom co-founded Design Research Unit. Stated that his observations are as relevant today as they were in the fifties. He said: “I am not suggesting that the influence of the client is necessarily harmful . The opposite is often true. When the client and the designer are in sympathy, they can together produce better work than that of which either alone would be capable.” As I read this, I thought about how a famous celebrity would not be anything without fans, that same way is how a business is able to run. We need clients in order to have a place to work, without clients you might as well close down your studio. For that reason we must treat them with “sensitivity and respect”. It was said to treat your clients like you would treat your friends, keeping in mind that being able to keep a barrier between play and work (intimacy and professional matters) have much better results.

Every client has their own specific needs, therefore treat them all as unique. Also as you work with the client you need to “’listen’” and if there is something you as the designer do not agree then make sure to tell him/her. Having an open communication, keeping in mind your client’s and at the same time setting up expectations from the beginning will make you very successful and that is only up to you as the designer.

Keeping clients and developing clients all depend on what customer service you offered to that first client. If he is happy not only with your work but your personality as well, then you can be sure that you have just earned dibs on that particular customer and also anyone else they work with. Invite him/her to lunch preferably your studio, they will feel more relaxed and comfortable and will definitely go to you for more work. As with any other business you will encounter those clients that are not worth keeping. Before you “sack them,” ask yourself these three questions: “’Have you delivered everything you are obliged to give them? Do they owe you any money? Are there any other links that can’t be easily severed?

The dreadful presentation is the decision maker whether you get the job or not. I personally get nervous when presenting. Most important is that the work should be good. Next is to remember to be myself when being caught up with butterflies in my stomach I know that there are things I forget to say during a presentation and think about them after, what do I need to do? Practice, practice and more practice.

Advise to follow:
- Do not use PowerPoint
- Organize every aspect of the presentation
- Take your audience on a simple step-by-step journey
from beginning go end.
- Do not assume
- Spell check everything
- Itemize your thinking,
- Show conclusions
- End with a concise summary
- Tell your audience what you are going to show
them and them show it to them.
- After meeting with them make sure to provide a documented
summary of your ideas.
- Strive to be liked by using your personality
- Eye contact

As you promote yourself in your studio and work on keeping old clients you must think of your reputation as the one thing that will help you gain other client’s trust and business. Self-initiated projects are good because you have something to show to potential clients but nothing works best then real life experience from that client and the outcome of the project. You should always write in your calendar the next upcoming convention and conferences. The more you can go to then the more exposure you can get besides networking is always the way to go.

When presenting your portfolio on a hard copy it is best and more reliable to stick with PDFs and email. CD’s are very handy but can be your worst enemy at the same time. It’s very important that when handing in a CD that it is to organized in a way that the viewer will not feel like they have to do more work then they really have to. The easiest way to show your portfolio to potential customers is by having it online.

Week 3 - Perks of owning a studio & Finding work

Besides being the designer, the owner of a studio will have other requirements. There is the need to find work and make sure that it is done in time. Sometimes this may mean putting in all niters. Eventually, all the work can’t be done alone, and you will need to hire a creative staff.

An interview is a scary first time encounter; not only for the person seeking employment but for the employer/owner as well. They need to know that they will hire a person that is not only creative but punctual and willing to give their all. One good piece of advice that was given was “’Always employ people who are better than you.’” As I read this it did not surprise me because it makes perfect sense. Who in there right mind would want to hire an individual that doesn’t know a lot because then what could he/she possibly offer to the studio. You need to employ someone who has skills and abilities that you as the owner lack and this would help both of you out in making the studio grow. Three key things to look for during an interview for designers is talent, suitability and potential.

Commitment to your staff is a big requirement. That they are happy and that they know that they are doing a great job when a client leaves content is important. Allow them to take credit for their work and reward their outstanding work in their paycheck. “’People who want to have their own businesses make the best employees. Never be frightened to employ people who ultimately want to start their own studios. Think about it; he said, ‘it’s what you did.’” Not much more needs to be said about this because there is nothing wrong with hiring people with ambitious people. “Future-proof” should be in your mind at all times. This is where you as owner of a studio will arrange interviews and will have a chance to see other people’s portfolios. This is what will allow you to stay ahead in your business. Hiring non-designers should only be done when you are set up with your studio and have established good studio management techniques.

In order to do meaningful work, then you have to “’sell yourself with integrity and precision.” Your clients will come to you by reference from a past client you may have had, networking is the best way to get more work. It’s also very important to keep a database of contacts. Keep in mind to promote yourself often for it may catch someone’s attention. Again it is essential to have a portfolio that expresses who you are and that people can view at all times. It’s a way that your portfolio is the one doing the work and speaks to potential clients and line up some new work for you. I still need to decide who my targeted audience for my portfolio will be, a big company or individuals?

When these clients come to see you at your studio or you need to go to them, remember to first do research. The Internet is our best friend when it comes to finding answers to our many questions. The truth is you will not be handed the answers in a silver platter, you will have to do many searches with some keywords and even in different search engines like Google, and yahoo. You should also visit this site that caught my attention while reading Designing a Digital Portfolio called design-engine.

Logo Research

In doing some research on logos I came across Logopond and Best Brands of the World these two websites contain many logos. As you visit these two sites you will realize that many are familiar and others you may just be seeing for the first time.

The importance of a logo is so that the consumer can see the logo and know exactly to what business or person it belongs to. Who does the logo represent? My 3 year old niece Kaitlyn surprised me around 6 months ago while watching a commercial with just red and white colors on the screen and then a couple hints of the logo she blurted out "Target". Another time we were doing some errands and driving around she recognized not only target's logo again, but also Wendy's, McDonalds (well this one is a given), Wal Mart, Kohl's and since she could not say The Home Depot she said "That's where daddy buys". For a 3 year old or 90 year old just being able to recognize what company that logo belongs to then that company has done an outstanding job at branding.

I have been working on coming up with a logo for my portfolio and it has not been an easy task. I have to work on Simplicity, clarity, and elegance so that the viewers will find the logo visually active and easy to remember.

Week 2 -To work, or not to work alone?

I was recently reading about the pros and cons of freelancing versus owning your own studio. It was suggested that the designer who is just getting ready to step foot into the real world would be better off with a couple of years working in a studio then setting out as a self-employed designer. I couldn’t help the smile on my face when I first read this because I had thought of these things already. For example, freelancing is NOT for everyone, I know that I could easily fall into the pattern that was mentioned if I work from home, watch tv, eat, maybe even nap and then eat and watch some more TV. The pros for freelancing would be that you would never be late for work, unless there was some sort of traffic jam in the living room or had to search for a parking spot for 30 minutes which of course made you late and could not be helped. ☺ Ohhh wait… if you freelance you are your own boss, you will not yell at yourself but you might kick yourself in the butt if you slacked for 4 hours and haven’t gotten anything done yet and your client will be meeting with you in about 2 hours.

This is definitely not something I would do, I have a sense of responsibility that I can not bring myself to do anything else then what I need to be done in time. A solution to always keep in mind given by Dorothy Goslett called Goslett’s equation which was first written 1960, part of it said “’good design + good administration = good fees well-earned’”. It was well stated in page 49 of How to be a graphic designer without losing your soul, that freelancing requires: “Abundance of stamina, Personal confidence and to be Business Savvy.” You need to have that courage when freelancing because you may not have the assistance you need to do the other tasks that need to get done.
Customer Service plays a major role in how many clients you will obtain, and if you were not good to one of your clients you have just broken a healthy networking environment because your client could have referred someone to you, you killed your client base. Your client must not only like your work, they need to like you like a person and must trust you, as well as you need to trust them financially.

I know that I can handle the pressure of wearing many hats necessary to freelance or help run a studio. I have experienced many tasks in all the jobs I have worked that required for me to step up to the plate. Another pro for freelancing would be that you are responsible for your financial benefits. That means you can do as little or as much as you are capable of taking on.

Owning a studio adds up to many responsibilities. It is recommended that when setting up a studio it’s best to go in with a partner(s) and not to do it alone. “’Don’t work alone” by Peter Stemmler said this a couple times in this book (pg 60). Also, it is very important to first establish the idea of working with someone get along with that future partner. After realizing that a partner would be helpful, you need to prepare a business plan, set up with a bank, an accountant and even a lawyer. It sounds like a lot of work but it really is essential to follow this to have a positive outcome. You will have a partner to help you make decisions and share the stress, hard work and long hours and not be alone. Life in a studio becomes easier when partners share responsibilities. They will include and are not limited to creating, designing, accounting, overall management from IT to even cleaning up the mess one creates in the studio.

You would also need to come up with a logo. A branding or something that when people see they will know it’s your studio will you use your own name or a studio name I agree with what was said that “We are generally bad at designing for ourselves.” (p.68) I know I had a difficult time coming up with a logo to best suit me as a freelancer or in the future maybe even my studio.

In Designing A Digital Portfolio, chapter two they talk about strengths and weaknesses. Having goals and values and to learn more about yourself like the personality you have. The quality of your past work or most recent. The quantity of work that you have to show in your portfolio. There are some ideas to add more work to your portfolio if you don’t have a lot of work that you did on your own a section that you can call “Classic projects” like a book cover and layout, newsletter, catalog, music CD or a DVD, an Event poster. You should even select a client first and fill the gap that is missing in your portfolio, do research and meet deadlines.

Week 1 - Why a Portfolio is Important.

This week has been stressful for me from putting in 70 hours these past two weeks at my job and homework here and there I need some time to sleep. Ok, well enough of my vent let's see where to begin...

In reading the first couple chapters in How To Be a Graphic Designer Without Losing Your Soul by Adrian Shaughnessy, and Stephen Sagmeister, many interesting thoughts came to mind. First of all I was thinking about the design of this book. It is designed like a dictionary and brakes everything up with a bracket to explain more about everything.

The definition that was given for a Graphic Designer by the American designer and writer Jessica Helfand, “Graphic design is a 'visual language of cues and puns and symbols and allusions, of cultural references and perceptual inferences that challenge both the intellect and the eye”, as a graphic designer we must see details, from the smallest to the most obvious. It is important to be aware of everything that is going on around me, even if I am not interested in politics some sort of awareness that allows me to expand other then just sticking through with my favorite things to read, or do. It will allow me to be more open and understanding when talking to potential customers as well as juxtaposing everyday things to make my work more interesting.

This book began by braking down everything important for Graphic Designers and it even gives advice about what not to do when meeting with a client. It emphasizes being open minded, knowledgeable, and definitely a “skilled communicator”. The authors suggest doing research not just before meeting with a client but any chance you get. They hit a point that struck me “ “designers are often not very good at talking about their own work”, which is true because I don’t like to sound like I would be bragging or not even that but some sort of humbleness or shyness? Knowing how to communicate with a client, this was familiar for me and not because of my personal clients but customers for the store where I work. I have to solve many issues and without good communication and listening skills then the customer and myself would not come through in finding the solution.

To keep the word integrity when working with fellow designers, or customers is essential for good business practice. In this Graphic designing field I need to keep myself updated not only on different programs but learn new things everyday. Also, as a Graphic designer, there are many places one can find a job from freelancing to working for an independent design studio to working in an in house design studio.

The second book for this class, Designing a Digital Portfolio by Cynthia Baron, explains how essential it is to have a portfolio and more importantly to keep it updated. The first chapter was helpful in trying to find out what my personal portfolio should be about. Better yet in what area I should put my focus? Am I interested more on graphic design, motion graphics, 2D, 3D, or animation? In what do I specialize? I enjoy working on Web site designs, print production and a bit in motion graphics. I have to begin thinking about what programs I will use to do my portfolio and it’s a good idea that I not only use what I am comfortable with but also expand an idea to possibly 3D. I know that my portfolio has to capture the attention of the viewer or better yet a future client I must show the capability that I have in this portfolio.

Probando... 1,2,3

Testing... 1,2,3.

Let the fun begin! :)