portfolio advice

You may have just graduated in design and are gearing up to presenting your book for the first time or you may be an experienced creative searching for that illusive job. In both cases, the effective presentation of your portfolio is part way to enticing a Creative Director to making you that all important offer.

We do not confess to being a creative guru and we have always admired anyone who can produce sublime design which is both thought provoking and innovative.

What we can offer you is a bit of inside information gained from working in an advertising agency, years of reviewing portfolios and liaising with senior figures in the creative industry.

We must stress at this point that there is no simple formula to making a successful application for a creative role but by investing time and thought into how your book looks combined with conveying a passionate and enthusiastic demeanor. It will hopefully increase your chances of finding the right job.

We cannot stress how important it is to put some thought into how your work is presented. Remember your portfolio is an extension of you and reflects how you think, work and most of your entire attitude towards design.

Time has moved on and it is no longer acceptable to present your work in an oversized black book. Not only are they out of date, cumbersome, difficult to carry, they always look a bit odd when placed on a small, modern desk space.

Consider different ways of presenting your work – it doesn’t always have to be an A2, A3 or A4 sized black portfolio. We’ve seen work presented on a light box – unusual, but it didn’t take long for this person to be hired. We’ve seen pieces of work laminated and carried in all sorts of different devices which can have a dramatic effect on capturing someone’s attention. It is also more common to see work presented on a laptop which looks clean and sophisticated if displayed as a slide show. All we can say is that you don’t have to possess the most ground breaking designs in the world but if you can take a moment to think about how you present your work, it is the first step in the right direction. You’ve probably heard this countless times but first impressions do count.

Do not get caught in the trap of thinking, the more work you put in your book the better it will look. Your book requires balance and consistency and should contain something between 10-20 pieces. Each page should contain a different subject matter which will demonstrate your versatility and ability to work on different briefs. It is best to include an interesting selection of work which best illustrates your creative talent.

If you are not happy with the work in your book, re-design something of interest to you that best illustrates your skills and abilities. It can be as simple as changing the packaging of a high street product or the identity of a small business.

We have previously mentioned the term ‘balance’. To take this further we think it is necessary to include a variety of work such as adverts, corporate identities, packaging, POS material etc. Be mindful, that employers nowadays are looking for creatives who can handle a range of work rather than a fixed aptitude for working on one element of the communications mix. It goes without saying that the ability to work on new media related material is becoming more relevant and it is beneficial, if you have them, to include examples of front end web design.

The exception to the rule here is that you may sometimes have to tailor your book to the type of business you are visiting. For example, the CD of a design consultancy is unlikely to want to see numerous examples of advertisements.

There is not much point in producing a fabulous piece of design but lack the ability to talk through it clearly and concisely. It’s not a bad idea to rehearse talking through your book with a view to explaining the reasoning behind your concepts. A company will always be interested in someone who can produce sound design that combines logic and creativity. It is also worth considering including sample briefs to explain your work as your book may be examined in your absence. If necessary, include some clearly marked concept sketches or preliminary roughs to show your thought process.

We totally appreciate that it is very easy for me to say, ‘don’t be nervous’ but try to remember that the person interviewing you has more than likely been through the same process as you and as long as you show willingness and enthusiasm, it is unlikely that you will be given a rough time.

This is open to debate and we're sure that you have been offered lots of advice. Our advice is simple, start with something you are proud of and if possible has strong relevance to the type of business you are visiting.

In our opinion, you should be trying to capture the imagination of the person looking at your book from the first piece and attempt to keep the momentum going throughout the whole of your book. Finish with a piece that will hopefully leave a lasting impression and entice him/her to invite you back for a 2nd interview. We must admit this is not easy but if you could aim for opening with a piece of work which has added value to a business or pleased your client no end, you will most likely fly over hurdle number one.

Not easy to take if it is negative and we totally appreciate that to have something very personal to you criticized is a bitter pill to take. However, don’t ignore feedback, particularly from senior creative personnel, be prepared to accept some criticism and discuss alternative approaches to the solutions you have presented. Do remember, that you are there to have your work critiqued and a willingness to learn from positive and constructive criticism will help you in your future search for a new role.

Try to remember that design is an extremely subjective business and your book will not win everybody’s hearts and minds. Any feedback, negative or positive is useful, particularly for less experienced designers who are trying to break into the industry. There is also a very strong chance the person interviewing you understands the pressures of presenting a portfolio and will try to offer constructive advice. If you are invited back for a second interview, aim to overcome any objections or doubts that have been raised at the first interview.

You can find more information on this area under interview tips and advice, however, the one thing that does need mentioning is make sure you listen – it is amazing how many people don’t. A Creative Director is a very busy person and will have client deadlines and commitments to adhere to and his/her time is precious. At all costs, try not to interrupt the interviewer, be too familiar, arrogant, and defensive but most of all don’t interview the interviewer.

To follow are comments form some key industry creative figures on what they expect in a book:

"Whenever I see graduates'/designers' portfolios, I am looking to see a book that tells me something unique about the individual, one that is sensibly and professionally presented, and one that is talked through with clarity and enthusiasm.

I would recommend including about 10-15 pieces, and certainly no more than 20, in whatever medium that shows the work off to its best, whether it be on a laptop, as a physical hard copy, or on a light box (but take one with you if this is the case so you're not caught short!) If you feel passionate about a piece of work, no matter how old it is, then put it in – it shows what gets you excited, even if ultimately it didn't win a pitch or become live, or is a self-initiated piece that you did off your own back. Don't include pieces because you feel you should – only present work you're really proud of.

I would recommend that you start and finish your book with your strongest pieces, as this is most likely what you'll be remembered by – it's important to always make a good first and last impression. If possible, have some sort of leave-behind to act as a reminder of you and your work. I would also really stress the importance of bringing some sketches/workings of how you arrived at a couple of the final solutions, not just the finished pieces, as this will provide an insight into your thinking process when tackling a brief. There's nothing worse than being told 'unfortunately this is what the client went with' and not seeing the alternative creative that you prefer!"

“I think a great book is one that tells a story of where you started and where you are now.

This way it shows progression.

No black port folio cases! Show me an original way to present your work!!

Show scope and depth of thinking; use your scamp books to show how your mind works and the top 5 of your very best pieces highly finished.

Don’t try and show everything. Show what you’re proud of and what best sells what you can do.

Be proud of your book – if it’s in the house when it’s on fire it’s the only thing you should go back in for!!! It’s important look after it!"