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.”
Monday, February 26, 2007
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.
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