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Something clean, simple, and easy to scan and digest. Being prone to typos myself, I don’t prioritize spelling and punctuation. It can’t be obviously awful, but small mistakes don’t bother me if the experience and education look solid, and it’s presented effectively.
I’m a huge believer in a portfolio that’s easy to change and edit. Like a web site, if it’s not easy to update, in the long run, you never will.You’d wind up starting over again in six months, when you have newer, and better, work.
I always try to include a few actual pieces, along with the portfolio—seeing and holding books or packaging inperson is different from seeing it printed out on paper.
Present the work simply and well.
Show how you took initiative and did more than you were asked…how you made the project way cooler than the brief required.
Show projects that relate to the real world (or even better the studio you want to work for). It may seem awesome to mock up a blind embossed book with one word on the cover, or a logo that is just a hairline slash across helvetica, but it’s hard to know what to do with that skill in a studio that does real, client-driven work.
Don’t bore your interviewer by telling them what you think they want to hear. Its important to be professional but equally important to show your personality. I almost hired a terrible designer just because she had a great story about hanging out with Michael Rapaport.
People who talk too much and think you have unlimited time to spend.
Having said that, I’m very sympathetic to job seekers. It’s not easy, and a certain amount of pushiness is required. I like folks who are determined, and it’s a good sign when they happen to know something about my studio—it appeals to my vanity.
Anyone who has plucked your name out of a list without having done any research is committing a grave, and common, mistake.
You should never make excuses about anything.
Doing this tells the reviewer more about personality issues than anything about the work. Also, make sure you proofread. Typos in the work say one of two things: either you didn’t see the error, or you saw it and decided it was okay to leave it in.
Both of these are unacceptable and will eliminate you as a candidate.
I don’t mind seeing one or two examples of personal work; though I’d much rather see how a young designer tackles an identity for a local dentist, or something equally mundane.
How designers design the everyday is a good measure of their ability. Anyone can makea gig poster look good .
Ninety-five percent of the people who come through my door are students who have little interview experience. So I usually take far too much time—an hour or more—trying to set them on the straight and narrow, as one particular guy did for me many years ago. This is what I learned:
1. Ask how much time you have. This lets the interviewer know you appreciate the value of time, and allows you to then take control as much as possible.
2. Divide your interview into thirds.
First third: Get personally professional. Ask about things you quickly observe in the environment. For example, “Did you climb Machu Picchu? I see that photo… I noticed you love art deco and modernist posters… I see that you collect shrunken heads and Victorian dildos…” Or you can ask about the interviewer’s path to the business, etc.
Second third: Show your portfolio. Never say anything negative about it. And be sure you don’t explain each piece, because the work should speak for itself. Also, if there is a relevant way to bring some of the information gleaned from the first third of the meeting into play, do so, because it shows the ability to connect ideas. When you ask for feedback, make sure to take it professionally, not personally.
Final third: Build your network. If the company you are applying to isn’t hiring, ask for referrals, ask for directions, ask for advice, but make sure not to overcompensate with heaping portions of prattle.
I look at portfolios more quickly than their owners would like. I can usually—almost right away—tell whether or not someone’s work appeals to me. If I’m reviewing in person, I try to say something constructive.
If it’s a drop-off, or something e-mailed to me, I almost always write a note.
Keep it simple. No need for lots of color, personal logos, multiple pages, or strange formats. Good typography and a basic template that is easy to read, easy to share and print will suffice. Remember that a lot of non-designers will read and sort your resume first.
Don’t lump too many things onto one page. Give the work some breathing room. This is especially true of logos, which many students tend to present together on one page. They each represent different ideas, so why show them as a group? This is even more problematic in that truly great logos are hard to pull off, so you shouldn’t be showing a ton of them anyway.
Self-belief is key.
Be proud of your own work and be prepared to tell others why. I think confidence and interest in your own field are crucial – you need to love your work for others to love it too.
Learning how to argument your ideas is absolutely crucial with client work too: if you want to get your visions through with a client, you need to be able to tell them why.
Write a cover letter that actually describes how your experience is relevant to the place you’re applying. Be concise but specific. When it comes to setting up an interview, make yourself available, but not too available. It doesn’t hurt to schedule multiple interviews on one day, and to let your interviewers know that (in the most unassuming way). Look like you’re in demand, even if it’s more illusion than reality. During an interview, follow their lead. Don’t launch into a diatribe if they just want to scan your book quietly and then talk about it afterward. This is partly intuited, but you can also just ask what they prefer to do if it’s not apparent. Lastly, post-interview, send an email thanking them for their time and consideration.
An oldie but a goodie: what you have in your portfolio is what you’re going to get commissioned to do.
A couple years back, I did this personal project of a cityscape and posted it on my website. Soon after, my first building related commission came in and now that’s what everybody wants from me. Now I’m trying to steer away from that and am drawing animals and plants.
Having a profession on “both sides” has taught me a lot about that too: working as a designer who commissions and as an illustrator who gets commissioned. When I’m art directing, the only thing I see is what’s in someone’s portfolio.
It rarely crosses my mind that this person would want to do something else than what’s presented in his or her portfolio.
Pass the beer test.
Be clever and piece together email addresses.
Find out who your heroes are and work for them/with them. Read about how Big Sean got to work with Kanye, then figure out how to work with “your Kanye.”
Put yourself in a position where your heroes can hear you.
Don’t show too much school work, it’s all the same. Take the principles you’ve learned and self initiate something, rebrand Sketchers.
The design of your portfolio is in of itself a piece of your work so don’t use one of those off the shelf templates from Cargo Collective/Squarespace, at the least, modify it.
Don’t make me dig for your contact info.
The work should be current—ideally from the past year. It’s not a retrospective of your time in school, or proof of all of the classes you attended. It’s good to think of the collection of work in the portfolio as evidence of your skills and conceptual abilities.
A resume that is poorly designed tells us that you are not detail conscious, or that you are incapable of making sound judgments about something as marketing- specific as a resume when left to your own devices.
It is easy to overlook, and impossible to dismiss, since your resume, left on the interviewer’s desk, is the sole reflection of you once the interview is over and you have gone home.
Contact the people you want to work with, not just places with job postings.
Personalize your cover letter.
Know shit about the company.
Make sure you thoroughly understand the role: UX is different than UI is different than Communication Design.
Have a personality, be friendly and warm, but not weird.
Follow up once, tops.
Always thank the people for their time and consideration.