These days everything has gone digital so of course there are going to be major infringement violations with the accessibility of art work/images on the web. Like Baron says, there’s a smorgasbord of methods to stealing work (I’ve always wanted to know how to spell “smorgasbord,” thank you Cynthia Baron). Baron covers all the terms (copyright, trademark, infringement, etc) and how one needs to respect others’ work and how to protect your own work.
Although this chapter wasn’t as enticing as the others, Baron clarified a lot of copyright issues for me, because they most definitely can get very messy.. especially with all the limiting factors that play with terms of ownership.
www.jacksonpollock.org
This is a fun site that I came across a little while ago. (to work it, all you do is move your mouse around and click on your mouse when you want a new color)
It’s also an example of derivative style because you are paying homage to Pollock.
Tuesday, April 24, 2007
Sunday, April 15, 2007
The Master Portfolio
DDP Ch. 11:
In this chapter Baron talks about interface design and how your site should have an organized layout. Baron begins by telling us that a web site is like “walking into an atrium,” meaning that there are multiple ways to go through the different pages and view it. Baron also broke down the design process into 4 categories—which we’ve already gone over and covered in class.
I wish I could have read this chapter earlier in the semester; it would have been very helpful. But Baron does make some good points, especially by saying that you should always leave enough room on your site to insert more projects. Like she says, later on or in the next few months you’ll want to add or move things around and for that you need a layout that is workable and trouble free to develop and change.
I’m not that big of a fan of Britt Funderburk’s web site. I like the layout and all, but DAMN- those colors he uses are extremely bright. I think if he just stuck with one color and used different shades of that color the site would look and feel better.
In this chapter Baron talks about interface design and how your site should have an organized layout. Baron begins by telling us that a web site is like “walking into an atrium,” meaning that there are multiple ways to go through the different pages and view it. Baron also broke down the design process into 4 categories—which we’ve already gone over and covered in class.
I wish I could have read this chapter earlier in the semester; it would have been very helpful. But Baron does make some good points, especially by saying that you should always leave enough room on your site to insert more projects. Like she says, later on or in the next few months you’ll want to add or move things around and for that you need a layout that is workable and trouble free to develop and change.
I’m not that big of a fan of Britt Funderburk’s web site. I like the layout and all, but DAMN- those colors he uses are extremely bright. I think if he just stuck with one color and used different shades of that color the site would look and feel better.
Tuesday, April 10, 2007
Aren't You Special
Ch. 10 DDP:
Baron discusses that a web portfolio needs 3 things, “an appropriate technology, a structure, and a visual concept for your interface”. That sounds easy enough… Well I know that I’m using Flash, I have a layout that I’m adhering to, and I like my design so I guess I have the basics.
Baron makes a good point by saying that when people try to make their digital portfolios they think it has to be some “interactive masterpiece” but when it comes down to it all that matters is that your work is shown in a clear and cohesive manner and that your portfolio design doesn’t take away from your projects. Baron also discusses what type of metaphor your portfolio can have. I think mine is a combination of gallery, narrative and spec/sheet brochure because I want to include my best work and explain a little amount about each of my projects.
Basically in this chapter Baron sums up the importance of having a portfolio with a good concept and style—a combination that will make for a strong portfolio.
Oh, and I really like the Sharpe + Associates web site. It’s an example of a gallery portfolio showcasing a number of different graphic designers and photographers. Every artists work showcased is really great.
BDP (end of the book):
These portfolios are most definitely different. I love Eramos Tantos film reel portfolio. It’s such a great and appropriate way to showcase his work since he likes to design around the subject of film. And I like Chris Dimino’s cube portfolio, even though from the outside it kind of reminds me of a makeup artist’s makeup kit… Anyway, Eisenman states that you shouldn’t “decide to be different just for the sake of being different” and she’s absolutely right.
Baron discusses that a web portfolio needs 3 things, “an appropriate technology, a structure, and a visual concept for your interface”. That sounds easy enough… Well I know that I’m using Flash, I have a layout that I’m adhering to, and I like my design so I guess I have the basics.
Baron makes a good point by saying that when people try to make their digital portfolios they think it has to be some “interactive masterpiece” but when it comes down to it all that matters is that your work is shown in a clear and cohesive manner and that your portfolio design doesn’t take away from your projects. Baron also discusses what type of metaphor your portfolio can have. I think mine is a combination of gallery, narrative and spec/sheet brochure because I want to include my best work and explain a little amount about each of my projects.
Basically in this chapter Baron sums up the importance of having a portfolio with a good concept and style—a combination that will make for a strong portfolio.
Oh, and I really like the Sharpe + Associates web site. It’s an example of a gallery portfolio showcasing a number of different graphic designers and photographers. Every artists work showcased is really great.
BDP (end of the book):
These portfolios are most definitely different. I love Eramos Tantos film reel portfolio. It’s such a great and appropriate way to showcase his work since he likes to design around the subject of film. And I like Chris Dimino’s cube portfolio, even though from the outside it kind of reminds me of a makeup artist’s makeup kit… Anyway, Eisenman states that you shouldn’t “decide to be different just for the sake of being different” and she’s absolutely right.
Tuesday, April 03, 2007
I Want To Be MiMi
DDP Ch. 9:
Baron thoroughly discusses written content in chapter nine. She talks about what to write and why, what not to write and why and basically just what you really do not want to include in your portfolio i.e.: BAD GRAMMAR. Lousy spelling is definitely a BIG no no. So when deciding on what to write in your portfolio just keep in mind to make it short and sweet—there’s no need to linger on about a typography project when you can describe it in a maximum of two lines.
Baron says that “too much of what makes a good designer is in the decisions”. Well, I am the most indecisive person you will ever meet… so wish me luck in the design world!
BDP pgs. 94-194:
This week’s reading showcased a bounty of beautiful print portfolios. Each and every portfolio was different; from concept, design to color palette.
I REALLY liked Cooper Union graduate, Mimi Jung’s portfolio. She designed and laid out her work in a 2-sided poster that she folded up and put in a translucent folder. It’s such an easy and affordable idea—but also so sleek and modern. Jung’s web site also reflects her print portfolio design—very minimalistic and clean. I also liked Roxanne Zargham’s portfolio, which was also poster related. Hers was very cool.
I guess I have a thing for posters.
Baron thoroughly discusses written content in chapter nine. She talks about what to write and why, what not to write and why and basically just what you really do not want to include in your portfolio i.e.: BAD GRAMMAR. Lousy spelling is definitely a BIG no no. So when deciding on what to write in your portfolio just keep in mind to make it short and sweet—there’s no need to linger on about a typography project when you can describe it in a maximum of two lines.
Baron says that “too much of what makes a good designer is in the decisions”. Well, I am the most indecisive person you will ever meet… so wish me luck in the design world!
BDP pgs. 94-194:
This week’s reading showcased a bounty of beautiful print portfolios. Each and every portfolio was different; from concept, design to color palette.
I REALLY liked Cooper Union graduate, Mimi Jung’s portfolio. She designed and laid out her work in a 2-sided poster that she folded up and put in a translucent folder. It’s such an easy and affordable idea—but also so sleek and modern. Jung’s web site also reflects her print portfolio design—very minimalistic and clean. I also liked Roxanne Zargham’s portfolio, which was also poster related. Hers was very cool.
I guess I have a thing for posters.
Monday, March 26, 2007
Repurposing, Ranting & Raving
DDP Ch. 8:
In Ch.8 of Designing a Digital Portfolio Baron discusses Repurposing and Optimizing, two distinct and important tools when gathering your work and getting it ready to showcase in your portfolio.
Baron gives us great tips on repurposing with PDF’s. I know that I’ll show most of my print work in PDF format so it’s important that I follow all of her steps especially since I’m really not good at repurposing and end up breezing through all of the pop-up options, etc. I won’t do that for my portfolio though, I’ve learned my lesson. Baron also talks about optimizing image files and the basic process one needs to go through. I’m good at optimizing my files and will do so for my web designs,etc.
I checked out Gunnar Swanson’s web site after Baron raves about his “tastefully” done animations and other effects in his portfolio. I, on the other hand, think his portfolio looks like crap. He has these absurd animations that look like they’ve been drawn by a 12 year old in photoshop that lead to each of his pieces in his portfolio. His work is good, especially his print/typography, but it’s overshadowed by this ugly site with horrendous animations and a very poor layout. This site definitely needs to be cleaned up and redesigned- there’s too much going on at once and you can barely navigate through the pages.
BDP pgs. 74-94:
The reading in Building Design Portfolios this week was really helpful. Eisenman talks about creating your web site and shows us some great portfolios that got jobs. Eisenman discusses how a web site can be quite a dangerous proposition because you just don’t know what kind of method the person is viewing it at. So it’s important to have many options, including Flash and HTML. A benefit of creating an online portfolio is that it allows you to organize all of your diverse work in a clean and maintainable fashion, rather than just having a print portfolio.
The gallery of portfolios showcased some really nice print portfolios by people who got jobs from them. I LOVED Jim Drobka’s book. Everything about it, from the different textures of the cover and pages was beautifully done. I would like to include transparent pages in my book (if I ever create one) because it would go perfectly along with my serene fluid-like logo. Making a book is expensive but definitely worth it I think, especially if it can get you a job.
I went to Hull’s Art Store over the weekend and checked out their portfolios. In the back of the store there’s a little room that is full of all different types of paper and every kind of portfolio you can think of. I found one I really like by Art Profolio, and PB was right, if you want a good one, you’re going to spend at least $50, and this one was just that amount. I’m going to check out if they have an online store or if I can find something similar to it for cheaper online. Wish me luck.
In Ch.8 of Designing a Digital Portfolio Baron discusses Repurposing and Optimizing, two distinct and important tools when gathering your work and getting it ready to showcase in your portfolio.
Baron gives us great tips on repurposing with PDF’s. I know that I’ll show most of my print work in PDF format so it’s important that I follow all of her steps especially since I’m really not good at repurposing and end up breezing through all of the pop-up options, etc. I won’t do that for my portfolio though, I’ve learned my lesson. Baron also talks about optimizing image files and the basic process one needs to go through. I’m good at optimizing my files and will do so for my web designs,etc.
I checked out Gunnar Swanson’s web site after Baron raves about his “tastefully” done animations and other effects in his portfolio. I, on the other hand, think his portfolio looks like crap. He has these absurd animations that look like they’ve been drawn by a 12 year old in photoshop that lead to each of his pieces in his portfolio. His work is good, especially his print/typography, but it’s overshadowed by this ugly site with horrendous animations and a very poor layout. This site definitely needs to be cleaned up and redesigned- there’s too much going on at once and you can barely navigate through the pages.
BDP pgs. 74-94:
The reading in Building Design Portfolios this week was really helpful. Eisenman talks about creating your web site and shows us some great portfolios that got jobs. Eisenman discusses how a web site can be quite a dangerous proposition because you just don’t know what kind of method the person is viewing it at. So it’s important to have many options, including Flash and HTML. A benefit of creating an online portfolio is that it allows you to organize all of your diverse work in a clean and maintainable fashion, rather than just having a print portfolio.
The gallery of portfolios showcased some really nice print portfolios by people who got jobs from them. I LOVED Jim Drobka’s book. Everything about it, from the different textures of the cover and pages was beautifully done. I would like to include transparent pages in my book (if I ever create one) because it would go perfectly along with my serene fluid-like logo. Making a book is expensive but definitely worth it I think, especially if it can get you a job.
I went to Hull’s Art Store over the weekend and checked out their portfolios. In the back of the store there’s a little room that is full of all different types of paper and every kind of portfolio you can think of. I found one I really like by Art Profolio, and PB was right, if you want a good one, you’re going to spend at least $50, and this one was just that amount. I’m going to check out if they have an online store or if I can find something similar to it for cheaper online. Wish me luck.
Tuesday, March 20, 2007
Clean Up, Clean Up, Everybody Do Your Share
DDP Ch. 7:
This week Baron talked about the subject of cleaning up ones digital files and the different techniques one can use to edit their work. I won’t go into more detail about this because it’s basically information we all already know and have learned since freshman year. But Baron does make it helpful by including examples and tutorials of edited images and how to go about it for those that need to be refreshed.
BDP pg. 40-74:
Having a strong portfolio (and I’m referring to the actual carrying-type) is vital when presenting to employers. Your work can be alright, but if your portfolio is unique it can become a great showpiece to exhibit your work in.
Eisenman discusses how to present each work, the pace you should go, and the order that it should be in—first piece something engaging but not your best, and last piece being the icing on the cake. She says to “think of your portfolio presentation as a piece of music; you’re the conductor, setting the tempo and rhythm.”
A great piece of advice Eisenman gives us is for recent graduates to not be too specific about their class experiences when on an interview. It’s important NOT to say that, “yeah, this is an AD I made for my Advanced Typography, IDD 370 class” and to INSTEAD say what you learned and enjoyed doing work when creating the AD.
The promotions in this reading are really great. I like Odgis + Company’s promotional piece because it’s simple and very effective. I also love de Vicq’s letterpress book, Men of Letters. I’d love to flip through that book. I found de Vicq’s web site and it’s a clean site but I’m not a fan of how his navigation is set up. He has a skinny vertical bar with different colors to distinguish between each of his projects and next to the bar are very small dots that you must exactly line up with your mouse arrow to be able to click on—a little annoying. But nonetheless, he has outstanding innovative work.
I need to seriously start thinking/sketching out ideas for my promotional piece right now.
This week Baron talked about the subject of cleaning up ones digital files and the different techniques one can use to edit their work. I won’t go into more detail about this because it’s basically information we all already know and have learned since freshman year. But Baron does make it helpful by including examples and tutorials of edited images and how to go about it for those that need to be refreshed.
BDP pg. 40-74:
Having a strong portfolio (and I’m referring to the actual carrying-type) is vital when presenting to employers. Your work can be alright, but if your portfolio is unique it can become a great showpiece to exhibit your work in.
Eisenman discusses how to present each work, the pace you should go, and the order that it should be in—first piece something engaging but not your best, and last piece being the icing on the cake. She says to “think of your portfolio presentation as a piece of music; you’re the conductor, setting the tempo and rhythm.”
A great piece of advice Eisenman gives us is for recent graduates to not be too specific about their class experiences when on an interview. It’s important NOT to say that, “yeah, this is an AD I made for my Advanced Typography, IDD 370 class” and to INSTEAD say what you learned and enjoyed doing work when creating the AD.
The promotions in this reading are really great. I like Odgis + Company’s promotional piece because it’s simple and very effective. I also love de Vicq’s letterpress book, Men of Letters. I’d love to flip through that book. I found de Vicq’s web site and it’s a clean site but I’m not a fan of how his navigation is set up. He has a skinny vertical bar with different colors to distinguish between each of his projects and next to the bar are very small dots that you must exactly line up with your mouse arrow to be able to click on—a little annoying. But nonetheless, he has outstanding innovative work.
I need to seriously start thinking/sketching out ideas for my promotional piece right now.
Wednesday, March 07, 2007
Still can't think of a good title
DDP Ch. 6:
I feel like this chapter was a review for me because I’ve been going over the scanning and printing process’ in my advanced typography class for the past two weeks now. But alas, Baron makes good outlines and points out different methods we can use for our work.
It’s important to use a scanner for 2D work, photography, etc. so that you are able to effectively showcase your work in a sharp and clean matter on the computer. I suggest using scanners at Kinkos or Staples because you know they are of good quality and you’ll get dynamic results. Another way you can capture your work is by using a camera. I sued my digi-cam to take pictures of paintings I did on oversized canvases because they are 3-Dimensional, (thank you for reminding me of that Baron—“Digital art is flat; 3D art isn’t’”). But yes, if you have a camera it is very handy in presenting your work. And once you have it on the computer you can bring it into photoshop and create a suitable background or dropshadows around the work. Another method is digitizing (I didn’t even know this was a word). I don’t think I need to worry about digitizing because I don’t have any work on slides or VHS tapes.
BDP pg0-40:
I just tried to open the book on my desk, completely forgetting about the magnetic side... haha, I’m probably the only person that has done that… ANYway, this book is beautiful and refreshing. The beginning of Part I talks about making your portfolio and how it can be created in book format. Sara Eisenman explains that, “book presentations tend to make designers seem more like artists and less like standard problem solvers looking to join a design staff”. I like this quote because I’m an art minor and would like to call myself an artist and a graphic designer in the years to come.
All the different book designs she shows us are great examples of creative and flexible ways to present your portfolio. I would love to create a book for my portfolio but it seems so daunting and difficult. I also liked all the different portfolio cases she showed; it’s definitely a tailored way to present your work.
I feel like this chapter was a review for me because I’ve been going over the scanning and printing process’ in my advanced typography class for the past two weeks now. But alas, Baron makes good outlines and points out different methods we can use for our work.
It’s important to use a scanner for 2D work, photography, etc. so that you are able to effectively showcase your work in a sharp and clean matter on the computer. I suggest using scanners at Kinkos or Staples because you know they are of good quality and you’ll get dynamic results. Another way you can capture your work is by using a camera. I sued my digi-cam to take pictures of paintings I did on oversized canvases because they are 3-Dimensional, (thank you for reminding me of that Baron—“Digital art is flat; 3D art isn’t’”). But yes, if you have a camera it is very handy in presenting your work. And once you have it on the computer you can bring it into photoshop and create a suitable background or dropshadows around the work. Another method is digitizing (I didn’t even know this was a word). I don’t think I need to worry about digitizing because I don’t have any work on slides or VHS tapes.
BDP pg0-40:
I just tried to open the book on my desk, completely forgetting about the magnetic side... haha, I’m probably the only person that has done that… ANYway, this book is beautiful and refreshing. The beginning of Part I talks about making your portfolio and how it can be created in book format. Sara Eisenman explains that, “book presentations tend to make designers seem more like artists and less like standard problem solvers looking to join a design staff”. I like this quote because I’m an art minor and would like to call myself an artist and a graphic designer in the years to come.
All the different book designs she shows us are great examples of creative and flexible ways to present your portfolio. I would love to create a book for my portfolio but it seems so daunting and difficult. I also liked all the different portfolio cases she showed; it’s definitely a tailored way to present your work.
Monday, February 26, 2007
DDP Ch. 5:
Collecting your work is a big step in creating your digital portfolio and in this week’s reading Baron makes it quite clear that you must keep everything organized. It’s absolutely necessary to collect everything you’ve done in IDD (and yes, even the stuff you think is bad because eventually you’ll weed things out). It also helps you find projects that you completely forgot about (for me it was two flash animations that P.B. said I should include).
But getting back to the subject of organizing, that’s where I bump into problems. I’m a very organized and clean person—at home my room is tidy; everything is in its right place, etc. But once I walk into that IDD room and log into the computer all hell breaks loose. I have too many projects that aren’t in folders, images saved from way back, files all over the place and some files on the desktop (which Baron says is a big no no). I’m just horrible at saving and organizing projects correctly. I felt a little better about this though when reading the second paragraph in the beginning of the chapter… Baron says, “Let’s face it: organizing isn’t sexy. Creatives aren’t supposed to be organized… it’s part of our mystique”. Call it mystique… but I just think its poor organizational skills on my part. But now that P.B. has gone through my work and we have chosen what I should include in my portfolio I am sure that I will start backing all of it up and organizing it in the right fashion that Baron goes in depth about.
HBG Ch. 9:
In this last chapter of the book, Shaughnessy explains the creative process and discusses the importance of briefs. Briefs are a major criteria when being a graphic designer. It’s important to not let all the power be in the hands of the client when dealing with briefs. It’s also good to independently set up a brief with a client so that you both can have a successful relationship. Basically Shaughnessy summed it up when saying, “Designers need briefs like cars need fuel: they don’t work otherwise”.
I’m sad that we’re at the end of this book. I really enjoyed each chapter and Shaughnessy’s style of writing. In the final chapter he gives us more insight and honesty to the craft of being a designer. He talks about fear and indecisiveness and how a graphic designer needs to overcome his or her weak traits to be successful and most importantly, to not lose your soul. I’ll leave off with this uplifting quote from Shaughnessy:
“There’s something uniquely privileged and stimulating about having a job where you know you will have an effect (however slight) on the lives of others; there’s something magical about doing something that might be seen by millions; and there’s something exhilarating about having a job where you get to make a mark.”
Collecting your work is a big step in creating your digital portfolio and in this week’s reading Baron makes it quite clear that you must keep everything organized. It’s absolutely necessary to collect everything you’ve done in IDD (and yes, even the stuff you think is bad because eventually you’ll weed things out). It also helps you find projects that you completely forgot about (for me it was two flash animations that P.B. said I should include).
But getting back to the subject of organizing, that’s where I bump into problems. I’m a very organized and clean person—at home my room is tidy; everything is in its right place, etc. But once I walk into that IDD room and log into the computer all hell breaks loose. I have too many projects that aren’t in folders, images saved from way back, files all over the place and some files on the desktop (which Baron says is a big no no). I’m just horrible at saving and organizing projects correctly. I felt a little better about this though when reading the second paragraph in the beginning of the chapter… Baron says, “Let’s face it: organizing isn’t sexy. Creatives aren’t supposed to be organized… it’s part of our mystique”. Call it mystique… but I just think its poor organizational skills on my part. But now that P.B. has gone through my work and we have chosen what I should include in my portfolio I am sure that I will start backing all of it up and organizing it in the right fashion that Baron goes in depth about.
HBG Ch. 9:
In this last chapter of the book, Shaughnessy explains the creative process and discusses the importance of briefs. Briefs are a major criteria when being a graphic designer. It’s important to not let all the power be in the hands of the client when dealing with briefs. It’s also good to independently set up a brief with a client so that you both can have a successful relationship. Basically Shaughnessy summed it up when saying, “Designers need briefs like cars need fuel: they don’t work otherwise”.
I’m sad that we’re at the end of this book. I really enjoyed each chapter and Shaughnessy’s style of writing. In the final chapter he gives us more insight and honesty to the craft of being a designer. He talks about fear and indecisiveness and how a graphic designer needs to overcome his or her weak traits to be successful and most importantly, to not lose your soul. I’ll leave off with this uplifting quote from Shaughnessy:
“There’s something uniquely privileged and stimulating about having a job where you know you will have an effect (however slight) on the lives of others; there’s something magical about doing something that might be seen by millions; and there’s something exhilarating about having a job where you get to make a mark.”
Tuesday, February 20, 2007
Flexibility and Doormats
DDP Ch 4:
This week’s chapter is about the oh so special topic of Formats. Baron says that there is no right format to your portfolio and lists the different types of media you can use. For example, Zip Disks, Mini CDs, DVD (I’m going to have to scratch those ideas), using your Laptop (can’t do that considering mine has an 18 inch monitor connected to it because my laptop screen is completely unusable when it mysteriously turned black one day… thank you Dell for being so reliable), online portfolio (of course!) and finally CDs. I think it’s safe to say that I’ll be sticking to your traditional CD-R. The most important thing to remember when using a CD is presenting your work o-r-g-a-n-i-z-e-d. You want your material to be presented in a readable format and if not, your employer might end up becoming frustrated with the CD and throwing it aside. Also, Baron gives us the example of Robert Shearing’s CD package and how you can personalize your CD case. I have to admit, being able to decorate my own CD cover got me a little excited.
HBG Ch’s 7&8:
Chapter 7, “This chapter speaks up for the client.” And Shaughnessy made sure of that. The relationship between client and designer can be that of two friends, but it can also turn into a battle. Shaughnessy explains that you can’t win every battle, but that designers can’t always succumb to a client’s every desire. A designer must have a clear method when dealing with clients. If not, you are likely to be trampled on and thus become a doormat. To rise above doormat status a designer needs to be modest and be critical with their personal matter and skills, and then over time that designer can obtain the hero status Shaughnessy talks about.
Chapter 8 discusses self-promotion in a way I wasn’t hoping for, and that was the getting famous kind. I guess I was expecting more of a finding a job, resume builder, logo, leave behind sort of self-promotion and wasn’t expecting the celebrity, fame kind. I think it’s going to take us a decent amount of time to get to that level, if any of us do get to that level, but a good point Shaughnessy makes is that “Today’s students are, in some cases, tomorrow’s clients”.
This week’s chapter is about the oh so special topic of Formats. Baron says that there is no right format to your portfolio and lists the different types of media you can use. For example, Zip Disks, Mini CDs, DVD (I’m going to have to scratch those ideas), using your Laptop (can’t do that considering mine has an 18 inch monitor connected to it because my laptop screen is completely unusable when it mysteriously turned black one day… thank you Dell for being so reliable), online portfolio (of course!) and finally CDs. I think it’s safe to say that I’ll be sticking to your traditional CD-R. The most important thing to remember when using a CD is presenting your work o-r-g-a-n-i-z-e-d. You want your material to be presented in a readable format and if not, your employer might end up becoming frustrated with the CD and throwing it aside. Also, Baron gives us the example of Robert Shearing’s CD package and how you can personalize your CD case. I have to admit, being able to decorate my own CD cover got me a little excited.
HBG Ch’s 7&8:
Chapter 7, “This chapter speaks up for the client.” And Shaughnessy made sure of that. The relationship between client and designer can be that of two friends, but it can also turn into a battle. Shaughnessy explains that you can’t win every battle, but that designers can’t always succumb to a client’s every desire. A designer must have a clear method when dealing with clients. If not, you are likely to be trampled on and thus become a doormat. To rise above doormat status a designer needs to be modest and be critical with their personal matter and skills, and then over time that designer can obtain the hero status Shaughnessy talks about.
Chapter 8 discusses self-promotion in a way I wasn’t hoping for, and that was the getting famous kind. I guess I was expecting more of a finding a job, resume builder, logo, leave behind sort of self-promotion and wasn’t expecting the celebrity, fame kind. I think it’s going to take us a decent amount of time to get to that level, if any of us do get to that level, but a good point Shaughnessy makes is that “Today’s students are, in some cases, tomorrow’s clients”.
Tuesday, February 13, 2007
Focus, Focus, Focus
DDP Ch 3:
This weeks chapter in Designing a Digital Portfolio focused on Audience and how to make your portfolio represent you, but also work with the type of job you are applying for. For example, I know that I want to include print and web design in my portfolio and that’s the direction I’ll go when looking for a job. I think by focusing on putting the things that you are best at in your portfolio, that in the end it will work out and be most effective and also, most importantly, something that interests you. Of course you want to include items in your portfolio that you enjoy creating (ahem.. sorry Maya work, you and I just never really got along…)
Once you know what type of design you’re focusing on, it’s time to research a job. Oh researching, I hate it.. and probably because I’m just not good at it. Baron sums up the way I feel about research stating, “Half of the battle in making your way through research is knowing where to look for answers”. So I guess I’m just not that good at looking for answers, but I’m hoping there’s time for improvement on that. Baron also talks about design associations that you can take advantage of and join. She gives an example of IDSA (Industrial Designers Society of America) in Boston. I searched for an IDSA NYC and low and behold there is one! (as well as one for AIGA too). I should check up on the events they are having once the summer comes around since I’ll be close to the city permanently :) :(
HBG Ch's 5&6:
Last week was about setting up a studio and tah dah, this week’s chapter talks about running your own studio. Running your own studio is a lot of hard work and requires a lot of long days/nights. You most certainly will need to hire a creative staff; aka people who have better design skills than you. It makes sense to hire people with a lot of talent because in the end your company will grow and become more successful. I’ll end this chapter review with an uplifting quote from Shaughnessy—“Always remember that you are in one of the richest talent pools in the modern world”.
“Winning New YORK?!! YESSS!!”
I was so excited when I read the title of chapter 6.. but then about 5 minutes later my excitement turned into disappointment when I realized that it said “Winning New WORK” and thus I got a little upset about my misunderstanding. But finding new work is important… and a great deal of business opportunities for designers is word of mouth or random encounters. Shaughnessy explains that you get the majority of work from people through networking with friends and business associates. It’s all about the networking and making connections wherever possible.
This weeks chapter in Designing a Digital Portfolio focused on Audience and how to make your portfolio represent you, but also work with the type of job you are applying for. For example, I know that I want to include print and web design in my portfolio and that’s the direction I’ll go when looking for a job. I think by focusing on putting the things that you are best at in your portfolio, that in the end it will work out and be most effective and also, most importantly, something that interests you. Of course you want to include items in your portfolio that you enjoy creating (ahem.. sorry Maya work, you and I just never really got along…)
Once you know what type of design you’re focusing on, it’s time to research a job. Oh researching, I hate it.. and probably because I’m just not good at it. Baron sums up the way I feel about research stating, “Half of the battle in making your way through research is knowing where to look for answers”. So I guess I’m just not that good at looking for answers, but I’m hoping there’s time for improvement on that. Baron also talks about design associations that you can take advantage of and join. She gives an example of IDSA (Industrial Designers Society of America) in Boston. I searched for an IDSA NYC and low and behold there is one! (as well as one for AIGA too). I should check up on the events they are having once the summer comes around since I’ll be close to the city permanently :) :(
HBG Ch's 5&6:
Last week was about setting up a studio and tah dah, this week’s chapter talks about running your own studio. Running your own studio is a lot of hard work and requires a lot of long days/nights. You most certainly will need to hire a creative staff; aka people who have better design skills than you. It makes sense to hire people with a lot of talent because in the end your company will grow and become more successful. I’ll end this chapter review with an uplifting quote from Shaughnessy—“Always remember that you are in one of the richest talent pools in the modern world”.
“Winning New YORK?!! YESSS!!”
I was so excited when I read the title of chapter 6.. but then about 5 minutes later my excitement turned into disappointment when I realized that it said “Winning New WORK” and thus I got a little upset about my misunderstanding. But finding new work is important… and a great deal of business opportunities for designers is word of mouth or random encounters. Shaughnessy explains that you get the majority of work from people through networking with friends and business associates. It’s all about the networking and making connections wherever possible.
Monday, February 05, 2007
Adaptation & Authorship
DDP Ch. 2:
In chapter 2 Baron discusses the certain evaluation you must make of yourself and your portfolio before you end up going on an interview; before you include all the wrong projects with the wrong attitude and basically screw it all up. I’m just being really harsh; hopefully that won’t happen… Especially if you’ve done Baron’s self assessment check-list. I found this check-list to be very helpful in realizing my strengths and goals. It’s extremely important to have a goal when working with your portfolio. I think it allows you to build up your confidence and work on your weaknesses to get to that point where you’re truly happy with your portfolio. I hope I can be truly happy with my portfolio once May comes around. Happiness is also the result of your values and the jobs you are willing to take even if it’s not your perfect one. I already know I won’t find my dream job until I’ve gone through at least ten different positions. I like the section where Baron lists what a portfolio is not. It’s funny that she has included “check-list,” considering we need to go through a check-list to make decisions about a portfolio and ourselves. But I’m glad she cleared that up, because I was especially worried that you needed to have a certain portfolio with a little of everything. And of course Baron sums it all up by stating, “No one reviewing a portfolio is keeping score to see if you have four textbook covers, three package designs, two annual reports, and a poster in a pear tree”. Another quote I’ll end with that I thoroughly enjoyed was that of Stan Richards. He states, “There is nothing that we do with out typography. It is the single element that is omnipresent. It must be understood before a person can operate at a professional level.” I’ve always liked typography and thought that it is a vital element in graphic design. The magazine Step Inside Design is a great source of typography and other design examples. Some day I am going to subscribe to this magazine.
HBG Ch. 3&4:
This weeks reading I found to be a little boring just because I really have no interest in the business aspect of graphic design or with freelance work. I guess I should inform you that I feel a little sour about freelance work because I tried it over the summer and it basically fell through. But ehh… I’ll get over it. Shaughnessy explains the types of people that are suitable for freelance and the accommodations you have to make to work and live as a designer, most likely from your home. I do find working at home unappealing because I know I wouldn’t be getting any work done, especially since I’m also not a disciplined person. I can just picture myself in my bedroom, still in bed, with either HGTV or the Food Network on tv in the background. Yeah, I don’t think it’ll work for me. Setting up a studio would be a nice thing to do when I’m more experienced in this field though. Shaughnessy explains that “designers are often good at business..” (with the exclusion of me) and that “many design businesses are paradigms of efficiency and progressive practice.” I just don’t think I’d be able to take responsibility for those things and would definitely need help. Design and Business: can’t work with out one another.
In chapter 2 Baron discusses the certain evaluation you must make of yourself and your portfolio before you end up going on an interview; before you include all the wrong projects with the wrong attitude and basically screw it all up. I’m just being really harsh; hopefully that won’t happen… Especially if you’ve done Baron’s self assessment check-list. I found this check-list to be very helpful in realizing my strengths and goals. It’s extremely important to have a goal when working with your portfolio. I think it allows you to build up your confidence and work on your weaknesses to get to that point where you’re truly happy with your portfolio. I hope I can be truly happy with my portfolio once May comes around. Happiness is also the result of your values and the jobs you are willing to take even if it’s not your perfect one. I already know I won’t find my dream job until I’ve gone through at least ten different positions. I like the section where Baron lists what a portfolio is not. It’s funny that she has included “check-list,” considering we need to go through a check-list to make decisions about a portfolio and ourselves. But I’m glad she cleared that up, because I was especially worried that you needed to have a certain portfolio with a little of everything. And of course Baron sums it all up by stating, “No one reviewing a portfolio is keeping score to see if you have four textbook covers, three package designs, two annual reports, and a poster in a pear tree”. Another quote I’ll end with that I thoroughly enjoyed was that of Stan Richards. He states, “There is nothing that we do with out typography. It is the single element that is omnipresent. It must be understood before a person can operate at a professional level.” I’ve always liked typography and thought that it is a vital element in graphic design. The magazine Step Inside Design is a great source of typography and other design examples. Some day I am going to subscribe to this magazine.
HBG Ch. 3&4:
This weeks reading I found to be a little boring just because I really have no interest in the business aspect of graphic design or with freelance work. I guess I should inform you that I feel a little sour about freelance work because I tried it over the summer and it basically fell through. But ehh… I’ll get over it. Shaughnessy explains the types of people that are suitable for freelance and the accommodations you have to make to work and live as a designer, most likely from your home. I do find working at home unappealing because I know I wouldn’t be getting any work done, especially since I’m also not a disciplined person. I can just picture myself in my bedroom, still in bed, with either HGTV or the Food Network on tv in the background. Yeah, I don’t think it’ll work for me. Setting up a studio would be a nice thing to do when I’m more experienced in this field though. Shaughnessy explains that “designers are often good at business..” (with the exclusion of me) and that “many design businesses are paradigms of efficiency and progressive practice.” I just don’t think I’d be able to take responsibility for those things and would definitely need help. Design and Business: can’t work with out one another.
Monday, January 29, 2007
And So it Has Begun...
It’s here, IDD 480: Senior Seminar and Portfolio. I’m not going to lie, I’m a little frightened. Creating a digital portfolio with all the work I’ve done throughout my Quinnipiac career is a scary thought. But I am most definitely excited.
DDP Ch. 1:
Cynthia L. Baron begins chapter 1 of “Designing a Digital Portfolio” with a question that many people have asked me numerous times when I tell them my major; “What is graphic design?” When people ask me what my major is I avoid the Interactive Digital Design (too complex for many to understand) and stick with the less fancy-er version- Graphic Design. I then get a puzzled look and a remark like “Oh so you want to design games and stuff like that…” “No, God NO. That’s not want I want to do..” is my usual reply. I then tell them I’m mainly interested in print and layout design and things are understood from there. But Baron is right that not that many know what graphic design is. She also makes a good point of describing all the different positions there are in graphic design. She lists all of the different design professions and includes all the specifics of each one. Baron is pretty straightforward and blunt with the skills one must have with each career. But what is consistent throughout each profession is that one’s portfolio, “digital or traditional,” needs to include your best work. A portfolio is a mixture of elements that, when organized and unified, should bring out the very best of one’s work. It doesn’t matter if you’re an animator or an architect; a portfolio needs to “emphasize your strengths”. I couldn’t really pinpoint where I was at with Baron’s list of professions. Art, 2D graphics, graphic designer? I’m not sure when I’ll figure that out, but in the mean time I have inspirations that include 2D graphics. Some great poster designs and illustrations that I like to browse through every now and then are by a company called The Heads of State. Their prints are unique, versatile and informative. Their website is basically a digital portfolio as well.
HBG Ch. 1&2:
First, I must say that I love the cover design of this book. I looked up the company that designed it, Bibliotheque, and found their site a little overwhelming. But nonetheless they have created some great things. Anyway, the first chapter of “How to Be a Graphic Designer Without Losing Your Soul” is like how Baron opened hers; Adrian Shaughnessy includes the many different definitions there are to graphic design. He then goes into greater detail about the attributes a graphic designer must have in order to survive in this field. He makes a great point by stating that graphic designers can sometimes think that the world around them is only subjected to design, but the best designers are those that have a life beyond the subject of design. Those who are able to communicate and listen as well as being able to design is extremely important. Communication and openness is key when meeting potential employers, clients and fellow graphic designers. I love how this book is geared for the younger crowd and those that are still learning. Shaughnessy does a good job of explaining the options one has when looking for a job in the design field. I found the first sentence of the second chapter very interesting and helpful—“the reason you go to school is to learn how to learn”. It’s such a simple idea but extremely truthful with design classes. It makes me kind of worried that I never thought of a statement like that since starting design classes freshman year… but oh well, better late than never. Shaughnessy goes through every step in the hunt for a job; finding it, approaching the design studio, etc. He also includes some tedious statement that were a little self-explanatory, for example the one about when showing your portfolio to an interviewer to never show it to yourself…That was common sense for me, but I know he just wants us to do the absolute best we can during an interview. I enjoy the short stories and the advice he gives the reader. It is all continual, supportive and is more than helpful. I think the most important advice he says is to “trust your personality and trust your work”. My portfolio and my personality are the only tools that are going to help me find a job, and they are both valuable possessions that I will have with me forever in my design profession.
DDP Ch. 1:
Cynthia L. Baron begins chapter 1 of “Designing a Digital Portfolio” with a question that many people have asked me numerous times when I tell them my major; “What is graphic design?” When people ask me what my major is I avoid the Interactive Digital Design (too complex for many to understand) and stick with the less fancy-er version- Graphic Design. I then get a puzzled look and a remark like “Oh so you want to design games and stuff like that…” “No, God NO. That’s not want I want to do..” is my usual reply. I then tell them I’m mainly interested in print and layout design and things are understood from there. But Baron is right that not that many know what graphic design is. She also makes a good point of describing all the different positions there are in graphic design. She lists all of the different design professions and includes all the specifics of each one. Baron is pretty straightforward and blunt with the skills one must have with each career. But what is consistent throughout each profession is that one’s portfolio, “digital or traditional,” needs to include your best work. A portfolio is a mixture of elements that, when organized and unified, should bring out the very best of one’s work. It doesn’t matter if you’re an animator or an architect; a portfolio needs to “emphasize your strengths”. I couldn’t really pinpoint where I was at with Baron’s list of professions. Art, 2D graphics, graphic designer? I’m not sure when I’ll figure that out, but in the mean time I have inspirations that include 2D graphics. Some great poster designs and illustrations that I like to browse through every now and then are by a company called The Heads of State. Their prints are unique, versatile and informative. Their website is basically a digital portfolio as well.
HBG Ch. 1&2:
First, I must say that I love the cover design of this book. I looked up the company that designed it, Bibliotheque, and found their site a little overwhelming. But nonetheless they have created some great things. Anyway, the first chapter of “How to Be a Graphic Designer Without Losing Your Soul” is like how Baron opened hers; Adrian Shaughnessy includes the many different definitions there are to graphic design. He then goes into greater detail about the attributes a graphic designer must have in order to survive in this field. He makes a great point by stating that graphic designers can sometimes think that the world around them is only subjected to design, but the best designers are those that have a life beyond the subject of design. Those who are able to communicate and listen as well as being able to design is extremely important. Communication and openness is key when meeting potential employers, clients and fellow graphic designers. I love how this book is geared for the younger crowd and those that are still learning. Shaughnessy does a good job of explaining the options one has when looking for a job in the design field. I found the first sentence of the second chapter very interesting and helpful—“the reason you go to school is to learn how to learn”. It’s such a simple idea but extremely truthful with design classes. It makes me kind of worried that I never thought of a statement like that since starting design classes freshman year… but oh well, better late than never. Shaughnessy goes through every step in the hunt for a job; finding it, approaching the design studio, etc. He also includes some tedious statement that were a little self-explanatory, for example the one about when showing your portfolio to an interviewer to never show it to yourself…That was common sense for me, but I know he just wants us to do the absolute best we can during an interview. I enjoy the short stories and the advice he gives the reader. It is all continual, supportive and is more than helpful. I think the most important advice he says is to “trust your personality and trust your work”. My portfolio and my personality are the only tools that are going to help me find a job, and they are both valuable possessions that I will have with me forever in my design profession.
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