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Portfolio // Lesson Plan
Session
Lecture/Topic
pr.01 Concept
pr.02 Photos
01
Course Overview Mood + Mind
Begin
Begin
02
Video / Photography
Review
03
Written Content
04
// wk.01
pr.03 Writing
pr.04 Stationery
Review
Begin
Begin
Revise
∆
∆
Review
Begin
Grid + Design
∆
Assign
∆
Revise
Review
Begin
05
Materials
Photo Schedule
∆
∆
∆
Revise
∆
06
Marketplace
∆
∆
Draft 01
∆
∆
Bindery Schedule
Intro
07
Full Size + Thumbs
∆
∆
Live
∆
∆
Research
∆
08
Tight Layouts Due
Done
Done
∆
∆
∆
Swatches
Detail
09
Integration, book, web, iPad, video,
Crops
Draft 02
∆
∆
Order Materials
Benefits
10
Refinement: book, web, iPad, video
Hi-rez Scans
∆
∆
Done
Covers @ Bindery
∆
11
Refinement
Done
Done
Printouts Done
∆
12
Refinement
Loose Materials
∆
13
Freak Out
Review
Invites
14
Final Push
Finish
∆
15
Sp/Wi/Su Show
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pr.05 Grid
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pr.06 Materials
pr.07 Network
final...
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Portfolio // Bibliography Required Reading
Additional Reading
Thinking with Type Ellen Lupton Princeton Architectural Press ISBN 1-56898-448-0
Geometry of Design Kimberly Elam Princeton Architectural Press, 2001
Grids Ambrose/Harris ava | academia ISBN 2-940-37377-9 Book Design Andrew Haslam Abrams Studio ISBN 978-0-8109-9220-7 The Layout Book Ambrose/Harris ava | academia ISBN 978-2-940373-53-6 Recommended Reading
100 Habits of Successful Graphic Designers Plazm, Sara Dougher, Joshua Berger ISBN 1564969770
Talent Is Not Enough: Business Secrets for Designers Shel Perkins New Riders Press, 2006 Format Typography Layout Ambrose/Harris ava | academia Universal Principles of Design William Lidwell, Kritina Holden, Jill Butler ISBN 1592530079 What is Design For? Alice Twemlow RotoVision ISBN 2-940361-07-x Recommended Periodicals
The Elements of Typographic Style Robert Bringhurst ISBN 0-88179-132-6 The Elements of Style William Strunk Jr and e.b. White Chicago Manual of Style Chicago University Press Staff ISBN 0226104036
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Adbusters, Canada Baseline, England Communication Arts, USA Eye, England Graphics International, England Idea, Japan Novum, Germany Print, USA How, USA
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Portfolio // Course Overview Mission Statement
The purpose of taking this class is to develop an impressive portfolio and integrated communication system that demonstrates to any future employer your current and potential value as a skillful, thoughtful designer. You will produce the portfolio of a dedicated and collaborative problem solver. In other words: to get you a great job. Introduction (finding your voice)
Mood, feeling, emotional appeal, point of view, values, themes, palettes, concepts, ideas. All of these things will ultimately combine to provide you with your voice as a designer. This class is designed to help you solidify/find that voice so that you can share it with the world. Evaluation Criteria
The means by which you will be evaluated in this class are intended to mirror the criteria found in the working world. We will discuss these criteria at length in future classes, below is a handy checklist for quick reference. Of course, you will also be expected to coordinate each of these individual skills so that they work together in concert.
Skills
Basic
✓ Synthesis of form & content ✓ Typographic excellence ✓ Command of materials ✓ Technical proficiency ✓ Unique solutions ✓ Compelling & engaging ✓ Art direction ✓ Overall aesthetics
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Advanced
✓ Narrative structure ✓ Problem solving ✓ Attention to detail ✓ Historical awareness ✓ Collaboration ✓ Resourcefulness ✓ Presentation skills ✓ Design systems & grids
✓ Conceptualization ✓ Content creation ✓ Creative focus ✓ Critical thinking ✓ Project management ✓ Design theory ✓ Design’s larger role ✓ Professional concerns
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Project Breakdown
In this class, several of the items that comprise your “voice” will be broken down into individual project assignments. Many of these assignments will be introduced early in the course, monitored for progress throughout the course, and then ultimately integrated into a concise end product: your portfolio. Each of these individual projects assignments will need to be developed concurrently. It will not be practical to finish one project before beginning development on the other. It is also inadvisable to get “stuck” on any one of them. Time is of the essence and successful completion of the course requires that each of these projects be carried through to completion. These projects are explained in detail in subsequent handouts, they are listed here for easy reference: Project One Project Two Project Three Project Four Project Five Project Six Project Seven
Make a video Photography/Mood Written Content Stationery/Résumé/web Grid/Roadmap Materials + Manufacture Networking
Explain your thesis in a compelling way, “the elevator pitch” How are your projects going to be represented? How will you talk about your work? What communications materials will you be using? What’s it all gonna look like? What’s it gonna be made out of ? (and by whom?) Who’s gonna care?
Class Procedure
_ Keep all class handouts in a notebook. Bring this notebook to class each week. You will be expected to bring examples of work in progress to every class. Once any individual project is introduced, progress on that project is fair game for review at any time. _ Tonight, send an email to me that contains the following info: your full name, student ID#, cellphone, home phone, mailing address and email address. This is a must. _ If you have questions at any time, email or call me at the number listed below. The protocol in this class is to inform me by email or phone if you have to miss class for a photo shoot, bindery pick-up, etc. If you miss a class session, you will need to attend another section of the class (or find out exactly what you missed from a fellow student). Each class builds upon the other in sequence, and staying on track is critical to success. Contact Info
Mary Scott mscott@academyart.edu 415 618 6486
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Website and Issuu Putting it online
So, after you have created your stationery system and portfolio. you will have all the assets you’ll need to create a simple online presence. There are several programs that will allow you to do that without knowing how to code, such as Word Press, Cargo, Indexhibit. If you know how to code, all the better. For those of you who really want to work in the ux/ui world this needs to be impressive. Using the assets you have created
Assets refers to the typography, writing and photographs that have gone into the making of your book. Seeing the examples
Many students have done this, you’ll see the one pictured below. Also note that virtual portfolio on each site contains an imbedded Issuu. Please note that a functioning website is a requirement for passing this class, so please get your url purchased right away. Also, please use your name and not something like www.hellokitty75.com or www.designrambo.com Here are a couple of sites to look at adamdeleuuw.com; www perinrhambia.com; www.davidjohnscott. com; www.licelyngrifal.com; elliottran.com.
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Portfolio // Project List
// wk.01
Project One // Finding Your Voice (aka Portfolio Concept)
For the sake of simplicity, we will refer to the general impression made on a reviewer of your portfolio as the “takeaway”. We are going to be concentrating our efforts on producing a singular takeaway as a result of reviewing your portfolio. Upon viewing your work, people are going to forge their own impression of what they have seen and what kind of designer you are, what kind of work you do, and so forth. First impressions are everything. So do you want that first general impression to be “Smart”? “Funny”? “Hip”? “Innovative”? “Precise”? When someone picks up the phone and tells a fellow designer about the interview they just had with you — what do you want them to say? “I just saw the most _________ designer.” This is what we mean by “takeaway”. Efforts to identify yourselves can take on any number of forms. Some will be very overt, very literal, very easy. Others will be more obtuse, intriguing, open to interpretation. Sometimes we will hint at facets of our personality that provide insight into who we are. Sometimes we define ourselves by something that is important to us. Regardless of whatever that device is going be — the objective is to practice what you preach. You should be able to do for yourself what you can do for any given employer, studio or client: You are going to differentiate yourself; you are going to make yourself memorable. You are unique and your portfolio should distinguish you from others. The end product will become your own bridge that allows you to connect with the professional world of graphic design. Getting Started
Since the audience for your portfolio will be primarily graphic designers, a strong conceptual foundation is extremely important. You will begin this process by “mind mapping” yourself. This process will yield insights, and will inform your identity system as well as the development of your portfolio. You will also be creating “mood board” which will set the tone for your visual look and feel. As you begin this process, it will be helpful if you ask yourself the following: — What do you want to get out of this class? What are your goals? — What are your strengths? How do you intend to play to your strengths? Remember: you are being asked to present yourself in a visually coherent framework. You are expected to organize divergent materials and appeal to an audience who expects aesthetic excellence. You will need to demonstrate respect and acknowledgement of this fact throughout your efforts. This class is a rite of passage. It will serve as your transition into the profession of graphic design. 090512
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Assignment: Make a 90 second video
This 90 second video should reflect the way you feel about design and its process. It can be dramatic, funny, ironic, documentary style or any approach that reflects your qualities as a person and a designer. Assignment: Two Separate Mood Boards
This is the means by which you will begin to find your aesthetic. Begin by gathering scrap, and cutting it into 4 x 5 pieces. This “scrap” can be gathered from various sources. The images can be fine art, photography, objects, textures and color. The idea is to pull together a visual universe in which you feel at home. A visual grab bag from which you will pull ideas and inspiration. The first board will be made up of photographs of objects, textures, color that you have chosen that define your sensibilities. (See diagram provided, Visual style). The second board will be strictly typographic (ok to have type that is over an image). The typographic elements you put on this board are meant to inform your design and inspire you as you begin to create your layouts and typographic voice. (See diagram provided. See page 26. Each board will have 9 – 4 x 5 images, flush mounted, butted with no borders, in landscape orientation. Mount to a board with no borders around the images. Consider this: if you were asked to pull together a mood boards for Banana Republic, they would most certainly look different from a mood board done for Nike, Diesel, or Old Navy. Assignment: Mind Map
This could also be called a “brain dump.” Some people refer to this device as a “bubble diagram”. Begin by writing your name (in a bubble) in the center of a large sheet of paper. Now draw lines that connect yourself to whatever comes to your mind. It can be anything: school, family, friends, life ambitions, philosophy, interests, your passions. Things you like or dislike. Things that are important to you. Things to want to accomplish, or want to become. Hopes, fears, personality traits. Your favorite food. Whatever. Regardless of what you write, and in what manner they appear, when someone looks at your bubble map, they should have a sense of who you are, what’s important to you. Your values should be apparent. Once again, everyone’s mind map should be different. If done correctly, the mind map can be used as the starting point for the written content for your portfolio. Timeframe
Project One will evolve throughout the course, and we will conduct other exercises to help you zero in on your concept, but by class session seven (when tight layouts are due) you should have your overall portfolio concept nailed down. Please read additional information on the next page regarding the video.
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The 90 second video, mood boards, and mind map are due in class session two. 7
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Thoughts on the video. Due the second week.
As was said earlier, this 90 second video should express the core values and premises of your thesis. This should be approached in a manner that is commensurate with the nature of your thesis content. Serious? Humorous? Threatening i.e. global warming. How to approach this
As was said earlier, this 90 second video should express why you care about your “story” and why your audience should care. You may access some from the Spring semester videos on Vimeo, put gr 460 and gr 650 in the search. As with any story, there is always a beginning, middle and end. Something all good commercials do. You might try looking at some of the New York Art Director’s Club winning commercials or the Clios. So now what? You all have cameras or phones that make videos. We are not looking for high production value, but we are looking for creativity. You’ve all seen hundreds of You Tube clips and can easily explore the full range of possibilities. Remember that 90 seconds can be an eternity or the blink of an eye depending on how compelling you can be. It can be serious, funny, ironic or all three. Leave your audience wanting more. You can load it onto Vimeo or bring it on a thumbdrive to class the second week. Please time it to under 90 seconds. Good luck.
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Portfolio // Project List
// wk.01
Project Two // Photography
One of the biggest challenges you will face in pulling together a concise and well-crafted portfolio is reconciling the wide variety of class projects that will fill it. Nowhere is this process of reconciliation more important than how you choose to handle the photography in your portfolio. A good place to start is by looking at design publications and awards annuals. These books are usually comprised of a wide variety of subject matter, and great care is taken in making certain they are staged well and in a manner that neither detracts nor embellishes the original. As you thumb through these publications, ask yourself: “what makes Graphis look like Graphis?” Why does it look like Graphis despite the fact that — for the most part — it is filled with the work of other designers? What makes Graphis look and feel different from Communication Arts (or any other publication for that matter)? Which publication do you aspire to look like? Why? Is the work shown flat? Three dimensional? Is it cropped, or does it float free on the page? Does it have drop shadows? Are there a variety of techniques? If so, is that a good or a bad thing? As you perform this evaluation, one of the most important considerations will be who shoots the work? Are you up to this? Should you have it done by someone else so that you can concentrate on other things? Assignment: Shoot It and Design Your Spreads
Shoot your most successful project. Edit the shots and drop the best one(s) into a two page spread. Now do two more versions of this layout (three versions total). Make certain to account for information such as the project title, class name, the instructor, page numbers and a written description of the project (such as the overall objective of project). We will get more specific about this text in future classes, the important thing to know right now is that you should accommodate these sorts of things with your layouts. After a few rounds of trial and error (and subsequent review), you will need to determine whether you are going to shoot your portfolio or hire a photographer. Consider also the advantages and requirements of shooting digitally. You will also need to determine a format and/or resolution for your images. Photographic issues will be monitored and discussed for the next several class sessions. Initial (trial) photography (in layout form) is due in class session three. By class session four, you should make a decision regarding who is shooting your work. A schedule for photography completion should be in place by class session five. All final photography is due by class session eight. High resolution scans are to be completed by class session ten. 090512
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Portfolio // Project Chapter/Opener Possibilities*
// wk.01
Please note these layouts are oversimplified and there will often be more details. They are only meant to start the process of addressing a system of project presentation. Your course handout gives you precise instructions for required information. *There are many other variationsl
class instructor category etc
class, instructor, category, project title
01 | Soldiers of Fortune
01 | Soldiers of Fortune Project description: this is where you would explain how you solved the given problem, etc.
Project description: this is where you would explain how you solved the given problem, etc.
page folios, your name and name of book.
page folios, your name and name of book.
01 // All type, strong layout, good hierarchy. Refer to your handout for required content. No photo.
class
instructor
category etc
project soldiers of fortune
01
02 // Title and description on one page, large image of project. Bleed or non bleed. All required info.
class
instructor
category
project soldiers of fortune
01 | What makes a soldier? Project description: this is where you would explain how you solved the given problem, etc. page folios, your name and name of book.
03 // Large photo of project as full spread with minimal type. Plus all required details, minus description.
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04 // Large photo that is not the project but may be an influence or somehow related to the project. Text would describe the process and project.
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Portfolio Resources // Photographers The following is a list of the photographers who have been approved to shoot for portfolio class. If you wish to use a photographer not on this list, you will need to show their portfolios before hiring them. When making appointments with photographers, be sure to confirm the day before and please be prompt and prepared. It is also important that you discuss the financial agreements so there is not misunderstanding. Remember, if you choose to use a photographer that is not on this list, you must obtain approval by me prior to beginning a photo shoot. I will need to see samples or this persons work. Michael Erdman
564 Market Street Unit 309 San Francisco 94104 415 441 8888 info@erdmanphoto.com www.erdmanphoto.com Tom Sewell // Doug Palmer
2565 Third Street, Studio 303 San Francisco 94107 415 550 1807
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Portfolio // Project List
// wk.02
Project Three // Written Content
Oftentimes, you will accompany your portfolio on interviews and will have the opportunity to explain your work directly to someone as they review it. However, you cannot assume that this will always be the case, and you must prepare your portfolio for the eventuality that it will be out there all by itself. Many situations will require your portfolio to be dropped off or forwarded. Much portfolio content will be seen exclusively online. When this is the case, you will not be present to explain your projects or intentions. Accordingly, your portfolio needs to be self-explanatory. To that end, there needs to be at least enough written content to allow your portfolio to function as a stand-alone piece. Projects should be explained so that a casual reader can understand the nature of the assignment, as well as the solution you provided. These project explanations will also be utilized in your Library Sheets (see your Portfolio Inventory for detail). There could also be information regarding class name, project name, instructor, etc. Let’s call this written content the “functional” copy, it provides the information necessary for a reader to understand what you are trying to achieve. Design publications and awards annuals provide excellent examples of this kind of copy at work. Functional copy is mandatory, and should include: _ project title _ objective of project _ solutions and direction you chose to take _ market profile (target market, lifestyles, color palettes, competitive products or services) _ class name _ instructor _ photographer (list yourself if you are taking the photos, possibly in the colophon) _ category or type of work (print, packaging, identity, etc) _ captions, sidebars, color palettes, fonts (optional) In addition to whatever functional copy content you provide, there is also an opportunity to provide insight into your personality, your motives, your values, etc. Written copy can be used to express a point of view, clarify, prioritize, and get people excited about what you do. At its best, the copy found in your portfolio can be interesting, engaging and enlightening. To differentiate this from the functional copy, let’s call this written content the “inspirational” copy, it should get people fired up about your work. Since some people are not comfortable writing, the inclusion of inspirational copy in your portfolio is optional. You can adopt a key adjectives style if you are more comfortable with that.
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Assignment: Write It Up
Begin writing up all of your project descriptions (functional copy). Make certain to double check the spelling of your instructor’s names. Most likely, you will want to develop conventions around how this information appears. You should do several layout options before committing to a final format. Once you have committed to a final format, you will want to make certain that it works for all of the pages in your book, and relates easily with whatever grid you are going to establish. But for now, let’s focus on typeface choice and size, color, position, arrangement on the page, relationship to imagery, etc. Note: Your portfolio will be a lengthy multi-page document with a consistent grid and exacting typographic conventions. Your lives will be considerably easier if you build out some master pages and style sheets to assist production of this document. If you are attempting to put this document together in Illustrator, then you are using the wrong software program. This document should be built with InDesign. Production skills are traditionally one of the weakest components in an entry-level designer’s skill set — and employers are well aware of this fact. Having to confess to a potential employer that you built a lengthy document in an inefficient manner will be the low point of any job interview. Consider what aspects of your mood boards and/or mind maps might be emphasized in your portfolio (inspirational copy). How might that be used to tell someone who you are? Copy content will continue to evolve in layout form over the course of the next several class sessions. Each iteration should be more refined than the last. The refined layouts due in class session eight should contain live copy. All copy should exist in draft form by class session nine. All written content should be completed (and professionally proofread) by class session eleven. Many designers place colophons right after the title page or at the last page of their book. A colophon is information relevant to the production of the book. See page 23 for the correct information to include.
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Portfolio // Project List
// wk.02
Project Four // Stationery System
The process of looking for a job entails much written correspondence and you will want to hand business cards to virtually everyone you meet. Additionally, a hard copy of your résumé will most certainly hit the table at the beginning of almost any job interview. In fact, your résumé actually makes the “first impression.” No one would ever want to hire a designer who couldn’t put together a well-crafted résumé. In addition to your résumé and written correspondence, your stationery system will also provide the foundation for your library sheets, your postcards, your PDF, and a host of other promotional material. Your stationery system should also relate to your portfolio — it should have the same typographic voice, and similar (or at least complementary) materials and colors. Flexibility and functional considerations are very important. Make certain that you understand the limitations imposed by envelope manufacturing and availability as well as postal regulations (when figuring out a letterhead, it is often advisable to start with the envelope and work in from there). Conduct test mailings to make certain everything works as you have planned. Assignment: Present Yourself
Create preliminary layouts of stationery systems and personal identity. Layouts should be full size, tight, clean and crisp. Use mind maps and mood board. Review information and samples, and be prepared to demonstrate how your stationery system relates to your portfolio grid and typography. The stationery system will continue to evolve over the course of the next several class sessions. Each iteration should be more refined (and account for more materials) than the last. You do not need to a logo for yourself, unless you wish to. Initial layouts (letterhead/env/bc) are due at class session three. All stationery materials are to be completed by class session eleven.
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Portfolio Resources // Bindery, Dies, Stamping & Digital Output Taurus Bookbindery
Bauer Engraving (die maker)
1555 Yosemite Street #16 San Francisco 94124 415 671 2233
Joel Martinelli 100 North Hill Drive #5 Brisbane 94005 415 468 0440
Bill Bratt 11290 Sunrise Gold Circle Suite G Rancho Cordova 95742 916 631 9800 Email: artwork@bauerengraving.com Send eps w/ fonts outlined; or Tiffs and jpegs at 600 dpi (ask for magnesium leather stamping die or foil stamping die). Approx cost: $38 (2.5” x .5” die).
The Key Binding & Printing
Spiral Binding
Danya Winterman 5849 Ocean View (near Rockridge Bart) Oakland, CA 94618 510 595 3311
Douglas MacNeil – owner 2730 16th Street San Francisco 94103 415 864 6330
Arnold’s Bookbinding
Monarch Gold Printing
Arnold Martinez 915 Linden Ave, Suite C South San Francisco 94080 650 872 3998 Email: bookararn@aol.com
Stamping, blind debossing, color stamping on portfolios (after you have your dies in hand). Bob Prosek, Chuck Prosek 1072 Bryant Street (between 8 & 9) San Francisco 94103 415 626 5789
Heering & Robinson Bookbinders
Cardoza-James Binding
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Gabi Hanoun –owner, Lisa Henry – mgr 2347 Third Street San Francisco, 94107 415 252 8356 Email: bind@cardoza-james.com
Plotnet Digital Printing
Herzog Engraving (die maker)
Le Beau Bindery Digital Printing
San Mateo 650 340 1622
John 4712 Le Beau Court, Fremont, CA 94555-2505 510 792 2665
Vadim Zaychik 98 Battery Street, Suite 402 San Franicisco 94111 415 762 0200 877 392 plot
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Portfolio Resources // Letterpress, Materials and Resources One Heart Press (letterpress)
Post Office / Rincon Hill Annex
Valerie 1616 16th Street San Francisco 94103 415 861 1616
(philatelic window will hand-cancel postage) Mission and Spear 415 896 1879 1 800 stamp 24
Center for the Book
The Packaging Store
(bookmaking workshops, exhibitions, letterpress classes) 300 De Haro Street San Francisco www.sfcb.org 415 565 0545
(boxes, bags, mailers, etc). 1255 Howard Street San Francisco 94103 415 558 8100
Kelly Paper
(commercial papers and envelopes). 1375 Howard Street San Francisco 94103 415 522 0420
www.lost-luggage.com or call 1.888.lost.456 Also Flax, Arch, Utrecht, Pearl, University Art, the Art Store, etc. Epson Papers
www.digitalartsupply.com
The Paper Source
Calumet Photographic
(colored papers, envelopes, workshops, etc). 1925 Fillmore San Francisco 94115 415 409 7710 also in Berkeley on 4th & Hearst.
2001 Bryant Street (at 18th) has a parking lot! 415 643 9275 www.calumetphoto.com
United States Stamp Company
(vintage stamps, glassine envelopes, etc — this is not the post office) 368 Bush Street (Between Montgomery & Kearny) San Francisco 94105 415 421 7398
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Portfolio Cases
Adolph Gasser
(camera & photo supplies) 181 2nd Street 415 495 3852
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Portfolio // Project List
// wk.03
Project Five // Grid System (aka Book Layouts)
As suggested in the overview of the stationery system, organizing a tremendous amount of material into book form will require the discipline of a grid system to guide layouts and make production manageable. In examining design publications for photographic styles, you may have also noticed that part of what keeps those publications “together” is an architectural approach to organizing the information. You have most likely utilized grids in previous classes, but the scope of the portfolio you are putting together — along with the correlation to the companion stationery system — makes this the most complicated grid you will have employed thus far. As you review your mind maps and mood boards, and begin to make some determinations as to how they might influence your layouts, you might also want to think about what other levels of visual interest you can employ. How are you going to bring drama to your work?. Contrast is often an effective tool. The most commonly used contrasts are “light vs dark” and “large vs small,” but others can yield equally dramatic results. Try one or more of the following contrasts while you are developing your spreads. light vs small shiny vs dull sharp vs soft straight vs curved heavy vs light
smooth vs rough geometric vs organic stable vs uncertain horizontal vs vertical simple vs complex
refined vs crude comforting vs unsettling synthetic vs natural formal vs casual new vs old
Your portfolio should reflect the objectives and solutions of all your projects with intelligibility, clarity and credibility. In order to present your work in an organized, well paced, accessible form that also creates visual interest for the viewer you will need to develop a grid on which to “hang” all of this information and place your images. Since you will have eight to ten projects, you need to think about pacing and similarities found in various projects. Consider image scale, contrast, hierarchy etc. Please keep in mind the typographic vocabulary and concept of your identity system and all its components. Your portfolio tells a story about you — how you think and how you solve problems visually. It should remove any barriers between yourself and a reviewer (and thus a job). The portfolio is an exercise in information design; your organizational abilities, narrative skills and presentation prowess will be on display for all to see.
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Assignment: Lay it Out
Create preliminary layouts of the portfolio book itself. Full size layouts: tight, clean and crisp. Consider the typographic choices you have made with your stationery system, the photographic styles you are inclined to, the amount (and nature) of your written content, the number of projects you wish to include (and the amount of space you feel you should devote to each one). 1. After you have created a mind map and a mood board, taken some photographs and worked with them in layout form — you will determine the shape that you would like your book to be. You may choose to base this on classic proportions of the golden section and the subsequent divisions of root two rectangles, etc (see samples in class). Once you have determined the proportion, then figure out the final size that your book will be. Maximum book finished size is 11 x 14. Minimum is 8 x 10, Blurb format. 2. Create a grid that will allow you to include all the functional written information from Project Two (Initially, you may use placeholder text, but keep in mind that you will eventually need to write all of this information). In addition, your grid should account for: _ primary and secondary images, photography from photoshoots, file outputs and sketches _ page numbers (aka folios) and other navigational aids _ optional interstitial spreads (ie dividers or spreads that showcase another aspect of your work or skills) 3. Present tight thumbnails of your spreads with variations for vertical and horizontal and multiple images, in computer form, on A3 sheets (note horizontal format for class presentation). Thumbnails should be large enough to show adequate detail. See example. 4. Demonstrate how stationery system relates to portfolio grid and typography. Remember, the final typographic styling and detailing will draw from your “system.”
The grid you develop will continue to evolve over the course of the next several class sessions. You will most certainly want to print the book in thumbnail form so that you can see at a glance how it flows. Each iteration should be more refined than the last. The three refined layouts (spreads) due at class session eight should contain the following: _ live copy _ actual photography _ stationery system (to check for correlation) In addition, you should also have the remainder of your book printed in thumbnail form at this point. By class session ten, the entire portfolio book should be complete.
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Portfolio // Project List
// wk.04
Project Six // Materials and Manufacture
By now you have had the opportunity to examine several portfolios, and you should have a pretty good idea regarding the production options that are available to you. At this point in the course, it is time you began to settle in on exactly what you are going to produce, and develop a schedule that will insure that it happens. The things with the longest lead times will obviously need to be accounted for first. Such items include any stamping, cutting, drilling and/or binding. In addition to the materials that comprise the portfolio itself, you should also consider what paper stock you are going to use and secure enough of it. When making decisions about paper, make certain to think through all of the places where it will be used. For instance: if your portfolio is going to be printed on Epson paper, but your stationery system is on writing grade paper, what does that mean for your library sheets? Postcards? Etc. Envelopes can be especially limited, troublesome and expensive. Make certain to sufficiently test all of your materials (ie some exotic papers have to be hand-fed one sheet at the time). Stock up on those ink cartridges. Secure those urls. Make dummies, double check your envelopes, mail things to yourself. Put your materials through their paces now, before you commit to spending money to manufacture them in quantity. Assignment: Pull it Together
Mood boards and paint swatches need to begin to give way to actual work and production materials. Settle on a binding method, pick fabrics and papers and begin the process of construction. Nail down the size. Make certain to determine who is going to be helping you, and get the commitments necessary to complete your project on time. Below is a rough outline of how things should track. Putting things together earlier never hurts. You will most certainly want to make a more detailed production schedule of your own to insure that nothing is overlooked. Class Session 06 — bindery schedule, including commitments from vendors to hit your target dates. Class Session 08 — swatches, making certain that any materials you have chosen can be procured in time. Class Session 09 — materials on order: dies, cloth and foils for your cover; paper for your printouts, etc. Class Session 10 — covers in production: sizes nailed down, dies turned, boards cut, etc. Class Session 11 — printouts finished: anything to be bound into the book should be printed by now. Class Session 12 — all loose materials printed: any other materials such as stationery, postcards, etc.
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Senior Portfolio // Project List
// wk.09
Project Seven // Networking and Interviewing
By now, you have had a general overview of the graphic design marketplace. Additionally, you have been asked to identify specific potential employers. We have discussed the interview process, which by now you should be prepared to engage in. By the time you finish this class, you are going to be armed with a wide variety of marketing, promotional and communications tools with which to begin this process. Additionally, you should also understand the difference between 1) full time (salaried) arrangements, 2) part time or freelance (contract) arrangements and 3) internships. You should also be familiar with the tax, visa and overall commitment implications of each of these arrangements. Before conducting job interviews, you should be prepared to discuss – and negotiate – the following: _ M oney. Designers oftentimes do not enjoy talking about money. Unpleasant though it may be, you will need to do so. Discussions regarding money are typically broken into one of two types:
_ S alary. Before someone offers you a full time position, they are going to ask you what salary you had in mind. Don’t get caught flatfooted with this question, have a figure in your head already. The aiga Salary Survey should give you a realistic starting point, but there are many other variables at play, such as your own skill set, how bad you want this particular job, what kind of company it is, your monthly living expenses, etc. Be prepared to haggle.
_ R ate. If someone is interested in working with you on a part time, freelance (or contract) basis, then they will want to know your hourly rate. Once again, consult the aiga Salary Survey for a general idea. To get a quick idea of how salaries and rates relate to each other, consider the following: There are 50 weeks in a year (assuming two weeks of vacation) at 40 hours/wk = 2000 billable hours in any given year. So if you manage to work all 2000 hours @ $35/hr, you will make $70k/ year (but will have to pay a disproportionate share of your taxes).
_ B enefits. Anything that is not tied directly to your compensation is called a benefit (part time and contract arrangements typically have no benefits associated with them). Common benefits include health (and life) insurance, vacations, parking, professional memberships (like aiga) and profit sharing plans such as a 401-k. Monetarily speaking, health insurance is by far the most significant of these items. And finally: don’t forget your manners. First impressions are everything. For the most part, graphic design is a casual profession. However, you should arrive in “business casual” attire (no jeans, sneakers, hoodies, etc). It is imperative that you are on time, polite and clean. Turn those cellphones off. Leave the triple latte outside. And if you say you are going to do something, then do it. Don’t be flaky. 090512
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Thurs. Dec. 20 2012
due date
Weds. Dec. 19, 2012
Senior Portfolio // Final Review
// wk.09
Last Day of Class // Final Materials
There will be no class meeting on the last day. Our last “class” will be the Spring/Summer/Winter Show. Attendance at this event is mandatory. You must be present at the Show in order to pass this class. Your portfolio and complete systems are due in my office at noon one day before the Show date in order to get your grade. Please read the following list carefully, you will be accountable for all of this information. _ One of your final bound portfolios (which I will keep). mfa students may opt to make a portfolio for Phil Hamlett (but you are required to make him a copy of your Graduate Thesis). You should also make an additional copy so that you can do a drop off and still have a book on hand for interviewing. _ Three full sets of your stationery system: Large outer mailing envelope, with an addressed mailing label and stamp attached; (#10) letter envelopes with stamps and labels (your labels should be addressed to Mary Scott). Each full set should include: two business cards, two copies of your résumé, one of each of your letters, one blank sheet of stationery, one set of library sheets and your worksheets for job search (employer list with all correct information), include your clip or fastener and a set of postcards. If you use a cellophane envelope, please do not seal it. _ A complete set of thumbnails on 11 x 17 Epson heavyweight matte paper. _ You will be given a manila envelope to be used in the School of Graphic Design archive. Please burn and include a cd or dvd that contains the following see the specs on page 22: _ Your entire portfolio as a PDF. _ Your entire portfolio as an InDesign file. _ Your library sheet document (with images), along with a hard copy. _ All of your logos. _ Include all images, per the specs on page 20. Please write your name and semester on the cd or dvd with a Sharpie. Do not attach any decals or labels; disks with labels can damage computers will not be accepted. read carefully: Additional items will be necessary in order to present during the Show: 1. Your portfolio case with an id tag (per your system) containing your final portfolio. 2. At least one sketchbook or workbook. 3. Comps of at least three projects. 4. A copy of your portfolio (see above). 5. Twenty five sets containing your outer envelope, folder, your résumé, your business card, library sheets and shipping label. (No stamps or cover letters of course). 6. Twenty five extra business cards. 7. A nice box (color coordinated with your portfolio elements) to hold all these items during the show. A notebook and pen to keep track of whom you gave your packets to (helpful for follow up). 8. Please no table decorations, food or drink.
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Portfolio Inventory* *in addition: website with imbedded Issuu portfolio, ipad app, phone app portfolio case (can be soft or rigid structure)
book (bound) portfolio
Package
outer envelope
stamp
folder (optional)
Stationery
letterhead/envelope/business card
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library sheets
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Colophon A colophon is a production list. This information may be on the backside of your title page or at the back of the book. It must be in your portfolio.
School: Academy of Art Univeristy, School of Graphic Design Course: Portfolio Seminar (grad) Instructor: Mary Scott Student: (Your name) Telephone: (Your telephone #) Address: (Your address) email: (Your email address) website: (Your website url) Book bindery: Happy Binding Company 100 Hilltop Drive, Berkeley ca 94710 Diemaker: Polymer Engraving, 910 Amphlett Blvd. San Mateo, ca 94404 Photography: (Your name or the photographer you hired) Title of Book: Inbetween Cover Stock: Buckram bookcloth, light grey, Davey Red Label Binder’s board Text stock: Strathmore 80 lb. Recycled Drawing Paper Fonts: itc Franklin Gothic/ Demi and Adobe Garamond Pro Software: Adobe Creative Suite 5.5 Š 2012 All rights reserved. No part of this publication can be reporduced without express permission from (Your name).
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Portfolio Checklist
// wk.13
Assess where you are at this moment.
One of the main goals of this class is to prepare you for working on a long term project that has several milestones on the journey toward completion. Having taught this class many years, I know each of you finds your own way to negotiate the challenges you face. You are called upon to create a personal, effective and comprehensive compilation of the work you have done in the years you have studied graphic design here at the Academy. As with any “rolling deadline” project, there are different approaches. For example: you might say, “I can’t design until my photography looks good enough” or “I’ve got to figure out these narrative layouts that work with my concept.” In other words, different strokes for different folks. Knowing that you have eight weeks left to complete this transformative task forces you to take stock of where you are. And why is it transformative? I think you know the answer. Review your portfolio as a kit of parts.
Your portfolio is the major component in this kit of parts. The centerpiece if you will. As comprehensive as your book is, it needs to be surrounded by the materials that define you as a graphic designer who knows how to brand something/anything. In this case, it is yourself. To do business, you need a business system, and all the parts that it requires: a résumé, business card, letterhead, envelope, mailing labels, promotional materials, postcards, and a portfolio case with an id tag. These things could be called the “escort” for your portfolio. Your business system is uniquely integrated with the typographic vocabulary of your portfolio. It will set you apart from the newbie that has disorganized and unrelated materials. Review your portfolio content checklist.
The book itself contains the following: cover (material); endsheets; title page; colophon; concept/personal statement; table of contents; interstial pages; project openings with cogent information, i.e. objective/ research/audience/findings/solution; secondary project pages that show concept development, sketches; project overview and specific details. In other words, tell the story of this project to a (hopefully) interested design manager. And of course, acknowledgments at the back of the book to demonstrate that you understand and appreciate the importance of support and know how to acknowledge others. Consider the details.
Good design is the sum of all the details—whether it is typography, photography, composition, the binding materials, the dies, the fit and finish, your color palette etc. Nothing is too small to consider. Evaluate your editorial style.
The words you use. The pictures you take, the process you show, tell everything about you as a designer. Design firms want to hire smart young designers. They do not want to have to babysit (anyone). Being able to communicate in simple direct language how you approach design can make the difference. 090512
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Mood Boards
Mood board #1 Visual style
15 x 12 inches, each module is 4 x 5 inches Flush mounted on foamcore or mat board.
Mood board #2 Typographic style
15 x 12 inches, each module is 4 x 5 inches Flush mounted on foamcore or mat board.
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Portfolio Inventory (supplement) Promotional Postcards
In recent portfolio classes, the development of promotional postcards has proven to be quite beneficial. At the end of the course, you will have yet another tool with which to market yourself. In the meantime, this format can be used to organize your photographic efforts, and to assist in your book layouts as well. Postcards can be oriented vertically or horizontally. Trim size is 5 x 7 (no exceptions). The front may have a single image, or multiple images as well as your name on the front. The image can bleed or have a small border. The reverse should conform to your type and grid system and should contain sufficient project information. The card should be should be formatted to work in the mail (info on left, space for address on right, room for stamp in upper right corner, etc). Or you may choose to have it non-mailable and utilize the entire back as promotion. Your name, email, telephone, website should be on the back. Show samples of your postcard in class session seven. You are to produce twelve sets of eight before the last class session (two sets will be kept by your instructor). 4 inches (leave right half of back side blank for mailing info and postage stamp)
YOUR NAME, TINY, ON FRONT OF CARD
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6 inches
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Payscales/ hourly, daily, weekly, monthly hourly rate
daily rate
MULTIPLY X 8
MULTIPLY X 5
monthly
$100.00
$500.00
$2,165.00
$13.00
$104.00
$520.00
$2,231.00
$14.00
$112.00
$560.00
$2,414.80
$15.00
$120.00
$600.00
$2,598.00
$16.00
$128.00
$640.00
$2,771.00
$17.00
$136.00
$680.00
$2,944.00
$18.00
$144.00
$720.00
$3,117.60
$19.00
$152.00
$760.00
$3,290.80
$20.00
$160.00
$800.00
$3,464.00
$21.00
$168.00
$840.00
$3,637.20
$22.00
$176.00
$880.00
$3,810.40
$23.00
$184.00
$920.00
$3,983.60
$24.00
$192.00
$960.00
$4,156.80
$25.O0
$200.O0
$1,000.O0
$4,330.O0
$30.00
$240.00
$1,200.00
$5,196.00
$35.00
$280.00
$1,400.00
$6,062.00
$40.00
$320.00
$1,600.00
$6,928.00
$45.00
$360.00
$1,800.00
$7,794.00
on an
8
hour work day ,
40
annual rate *
MULTIPLY X 12
$12.50
* based
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hours per week
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Important: Please read and follow instructions Procedure
After you have read this document, please sign your name, and student id number and date. As mentioned previously, you are required to print out this document and bring it to class with you each session. Please make a copy of this page, sign it and bring it to the second class.
_________________________________________________________________________________________ Name student id # date
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