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.
Subscribe to:
Post Comments (Atom)
No comments:
Post a Comment