THE MCGUFFIN!

DESIGNING A DIGITAL PORTFOLIO
CHAPTER FIVE
ORGANIZING YOUR WORK



In design, organization is usually isn't beneficial to the creative process. However, with your portfolio, you best be organized.

Baron gives us FIVE DISCIPLINES:
GROUP
NAME
SHOW
WEED
BACKUP

Group
It's a good idea, when starting to get organized, to keep your files in folders. Makes them easy and fast to find, and also can help you remember what the file is.

Name
Untitled.jpg is not gonna work. Give your files names, it's not only fun, but it's better than having to constantly open files trying to find the one you're looking for. If you have variants of the same file name them simmilarly. For example:

Kitten_Black.jpg
Kitten_Tabby.jpg
Kitten_Calico.jpg

Show
Most of today's operating systems (mac and pc) have the ability to use thumbnails in folders. Which is incredibly easier than just seeing the file name. Seeing a small preview of the file helps the organization process.

Weed
Like the dandylions in your lawn, you must get rid of the weeds in your work. Even though they look pretty, have a yellow flower, everyone has seen them before, and really you just want a nice clean beautiful lawn that will make your neighbor jealous. Showing your best of the best of your work makes you look better. The audience viewing your portfolio will only be shown these works and will have a better view of you.

Backup
The computer gods KNOW when you have your files saved in only one place. Do not test their hand. Save in multiple locations. Save on disks. Save on another computer. Save EVERYWHERE.

Did you ever hear about Jimmy and his After Effects file? One stormy night, Jimmy spent many hours completing his motion graphics project. A project he had been working on for MONTHS. Growing weary with the hour, he went to bed. Little did he know, that the single place he saved his After Effects file was.... CURSED! D: Out from the computer came a low voice "SAAAAVE MEEEE...saaaaave meeee!". Jimmy ran to his computer, but when he tried to open the file it was CORUPTED! "NOOOOOOOO!"


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HOW TO BE A GRAPHIC DESIGNER WITHOUT LOSING YOUR SOUL
CHAPTER 9
THE CREATIVE PROCESS



'Industriousness, dedication, and love of your craft' are what Shaughnessy claims to be the vital three qualities of a graphic designer. What he's missing is: a well powered computer with all of the necessary programs that'll cost you thousands.

Voice. Another element to a good happy healthy designer. You have to have a solid idea of what design is about. Also, a good idea of cultural trends, history, and modern design. But most of all...you must have confidence!

"I have confidence in sunshine,

I have confidence in rain.

I have confidence that spring will come again!

Besides, which you see

I have confidence in me."

But for real, if you don't believe yourself to be a good designer, it ain't gonna fly. The determination that confidence gives you when working on a project is invaluable. If what you're working on doesn't look good, confidence will keep pushing you to complete it because you believe you can create great work.

THE MCGUFFIN!!

Yes, the McGuffin was code for a dramatic device that Alfred Hitchcock made up. For example, the McGuffin in Psycho was when Janet Leigh stole the money in the beginning.

Desgin needs something similar. Something compelling that catches the audience's eye. So go out! Find your McMuffin! ..I mean McGuffin!

FARM GROWN CD'S

DESIGNING A DIGITAL PORTFOLIO
CHAPTER FOUR
FORMAT



In this chapter, Cynthia Baron describes the different mediums you can use to present your portfolio.

ZIP DISKS
I’m so happy she agrees with me…
ZIP DISKS WERE NEVER GOOD (EVER) NOR ARE THEY GOOD NOW
Maybe ten years ago a handful of people owned zip drives, but even the people who owned them didn’t like them.

Here are their contributions and ways of helping you save your data:
The disk its self is HUGE.
Very fragile.
If you save it on one operating system, it will not work for another.
Sometimes saves, sometimes doesn’t. Unrelyable.
A single zip disk costs about $10
You don’t own a zip drive.
No one owns a zip drive.



CDs
Much better than zip disks.
Can save more data.
A bit fragile, but for the most part durable.
A single CD costs less than a dollar.
You own a CD drive.
Everyone owns a computer with a CD drive.

"I recommend that you keep your template on a CD-RW to make it easy to update as you complete new projects."

I totaly disagree. CD-RWs are very unrelyable. It’s a bonus that you can constantly rewrite on them… but its happened to myself and a lot of my friends where the data becomes corrupted on one of the rewrites. Also they’re more expensive. You’re much better off just buying a thumb drive or just use multiple CDs.

WHY USE SOMETHING IF IT ‘MIGHT’ NOT SAVE.
It’s like using a parachute that might not open. If you want to take that chance, have fun on the way down.


MINI CDs
Awww! So cute!

Pretty much the same as CDs, you can even use them in a normal CD drive. The only way they differ is that they hold less data (and smaller and cuter). Which is fine becuase you are just submitting a portfolio and most likey will fit on one of these.

ONLY PROBLEM: And its a BIG problem: they won't work in older slot loaded drives. Most likey they will actually destroy them.

YOU: "Have you had the chance to look over my portfolio?"
EMPLOYER: "It destroyed my CD drive."
YOU: "Did it explode?"
EMPLOYER: "Yes, yes it did."

So your best bet is to stay with the good old NORMAL CD. Not a crazy CD-RW or Mini CD like all these damn hipsters are using today. Just the good old CD like they used to make back on the farm.




DVDs
Holds more data.
Can be played on a DVD player.
Great for a portfolio which focuses on motion graphics.
Way cool way to present your portfolio.
Shows the employer you know how to create DVD menus (A project in itself! :D)


LAPTOP
Holds as much as you want.
You controll the presentation.
No question to what the employer sees.

ONLY PROBLEM: It sets high expectations - so you better live up to them. Actually, make that TWO PROBLEMS because you have a very old and slow laptop, it will only add frustration to the employer.


E-MAIL
Great to send a single example of your work as an attachment.
Everyone and their grandmother has e-mail.

PROBLEMS: Its a poor second to having a website. Especially if most of your work is web based. Also, not everyone has a lot of space allotted to their e-mail and may not be able to recieve the attachment.


WEBSITE
You control what goes up there. Works as a project in itself.
Shows your personality.
A must if most of your work is web based.

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THE PDF VS THE JPEG

PDF
^Controlled image
^Hard to steal
^Most people have Acrobat Reader
^Can be scaled to fit any monitor and window size
^And the most important-- It's more fun to say
vMight need a different version of Acrobat Reader
vToo many pages is annoying

JPEG
^Great for photos
^Common format
vCan be stolen easily
vThey don't scale to fit a window

So really, depending on what you're presenting should determine what format you chose.

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HOW TO BE A GRAPHIC DESIGNER WITHOUT LOSING YOUR SOUL
CHAPTER 7
CLIENTS



"I never allow myself to forget that designer and client are locked into a marriage that, like a real marriage, has to be an equal partnership if it is to last and produce any worthwhile offspring."

You cannot be the main one controlling the project, nor can the client. You both have to work together to create the finished product. It needs to be what the client wants, but not so much so that the client is doing all your designing for you.

Shaughnessy sugessts to treat the client with upmost respect but also like a friend. You should always respect their ideas, however, don't be afraid to suggest your own in a polite manner.

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HOW TO BE A GRAPHIC DESIGNER WITHOUT LOSING YOUR SOUL
CHAPTER 8
SELF PROMOTION



Becoming well known, and well liked is vital to any designer. When applying to any job, being already known by the employer is a step in the door.

Shaughnessy states that "...if you have too much fame it boils over and scalds your feet." For anyone reading this book, I don't think we have to worry about that.

Another point made was to keep contact with other designers. Which... really isn't hard if you've made friends in your IDD classes.

SUPER FANTASTIC COMPANY CO.

DESIGNING A DIGITAL PORTFOLIO
CHAPTER III
AUDIENCE



Fantastic. You have decided to create a portfolio! Now you can put in all your spiffy projects and work into a neat and happy bin on the internets. But OH NO! WAIT! Who is going to be looking at your portfolio? You have to figure out exactly who is going to be looking at your portfolio. If you're trying to get a job at a company, you have to tailor your portfolio exactly to that audience.

For example, you probably don't want the same portfolio that was used to get you in college to get you a job at SUPER FANTASTIC COMPANY CO.



Also, if you're trying for a specific job that is looking for a good 3D artist, then maybe its a good idea to put some of your best 3D in your portfolio, hmm?

Your portfolio has to represent who you are. If your forte is in webpage design with CSS code, and that’s what you really want to do as a career, then you have to emphasize this. You don't want a company hiring you, later finding out that the webpage designer they hired doesn't know anything about making them in flash.

How easy it is to navigate your site also impacts different companies in different ways. If you are going for more of a technical job, than artistic, then your portfolio should be very clean, readable, and straight forward. However, a design company would be more accepting of a creative and exciting portfolio that truly shows the individual's artistic talents.


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HOW TO BE A GRAPHIC DESIGNER WITHOUT LOSING YOUR SOUL
CHAPTER 5
RUNNING A STUDIO
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Last chapter was about creating your own studio, and what fun that was. I bet you all thought that was it. No more stuff about studio's after chapter 4. WRONG. Chapter FIVE goes even deeper into the wonderful world of studios.

Focusing more on the business end, this chapter explains how to employ workers, how to assign specific jobs, and how to keep them happy.

One of the problems that comes up is growth. If your company becomes successful will you suddenly have to lose all your free time to keep up with it? Will the publicity go to your head and lose all your friends? Maybe. BUT! A company must grow. Without growth, the company will go nowhere and workers will become tired of restrictions.

Just like men leave a smart awesome woman for a beautiful woman, good creative workers will leave for better companies. ): So when choosing workers, you must always be aware and prepared for the fact that the good ones won't last.
However, this always allows for fresh talent and new ideas, which is just what a design company needs. Something irks me about this though. It conflicts with the first idea too much. If a company is always growing, then a good worker should be content enough to stay. Also, if said worker is really good and you don't want to lose them, then there's that nifty thing called raises. hmm.


CHAPTER 6
WINNING NEW YORK



WOO! NEW YORK IS MINE!!1

What the chapter title really means is: creating work that will 'win' over any company to buy from you.

There're many factors to watch out for. People tend to chose based on taste. So to counter act this, one might show different types of work to a potential buyer.

A little nifty idea Shaughnessy comes up with is whenever writing a letter, it's a super idea to write the address out by hand. It will stand out more than a computer printed one and adds some personality. I agree and disagree with this. It's great to make it stand out, but it might stand out for the wrong reasons. Example:

Employer: "Does this dude not know how to print on an envelope? Not technical enough for MY company!" *throws letter away*

Sculpture Project

For Sculpture 253
Guidelines for the project:
1 - Wood must be cut into 2inch segments
2 - No two pieces can be connected so that they're straight
3 - You're supplied with the wood - have fun looking and paying for a saw and woodglue! :D

I tried to make it look like a Corsair, my favorite plane from WWII.

MY LITTLEST STUDIO

DESIGNING A DIGITAL PORTFOLIO
CHAPTER 1+1=2
ADAPTATION



In your portfolio, you want to get more quality over quantity. First, because having a few great pieces means the person looking at it will choose to look at great ones no matter what. Most likely they won’t even look at your whole site, so putting your best digital feet forward means they’ll see them.

A good idea is to find out what you’re good at, and what you’re not. Otherwise known as: STRENGTHS AND WEAKNESSES. Knowing what you’re truly good at will help you focus on it and work more on it. At the same time, knowing what you’re weak on will help you avoid it (or perhaps work on making it better?) and have a happier and healthier portfolio showing your best work. ^____^

For example, you shouldn’t show all of your Maya work when really, they’re just awful. And your 3D cat looks like 3D crap.

Create your portfolio with a sense of P-U-R-P-O-S-E. Don’t just make one to put your work on the Internet. Put it up to show the world who you are, and what you’re good at. And as a side note: YOU WANT A JOB!!

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HOW TO BE A GRAPHIC DESIGNER WITHOUT LOSING YOUR SOUL
CHAPTER 3
BEING FREELANCE



Freelance work is a good substitute when one can’t find a job in a design firm. Shaughnessy explains that this type of work fits best with two types of designers.

1 – THE KNOW IT ALL
You have specific skills with certain programs and truly have an overall knowledge of the program.

2 – THE LONER
The lone artist who can’t have other people invading his “PERSONAL CREATIVE BUBBLE”. Someone who is comfortable working alone, and creativity works best when alone.

If you happen to come up with a problem in creating your work you can always ask your fellow co-worker for….OH WAIT - THERE WON’T BE ANYONE THERE. You’re all alone in this. Freelance work does have its downsides. If you come across a problem, you better have a good network of tech savvy friends to help you out when Maya is just having ‘one of those days’. Also, it might be hard to keep a steady flow of work.

Freelance does seem like an attractive line of work, but I think the insecurity of a steady flow of work would definitely make me feel uneasy.

However, the benefits are pretty spiffy. You can work at home, and save a bunch on not buying a studio, don’t have to commute anywhere, hours are very flexible, and you designate when you work. Also, once you’ve been freelancing enough, you might get the same clients coming back on a regular basis.

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HOW TO BE A GRAPHIC DESIGNER WITHOUT LOSING YOUR SOUL
CHAPTER 4
SETTING UP A STUDIO



This is probably different from my studio apartment with a bed, kitchen, and everything else crammed into one room, huh? Well, not that different. Instead you can have all your design tools and projects crammed into one room. Studios are meant for one to create in and be surrounded by I-D-E-A-S and A-R-T :D :D :D

A studio brings out a feeling of freedom. You have the privacy and space you need to work on your projects.

You could of course throw that freedom away and work in your studio with a partner, or partners. Which really isn’t such a bad idea for people who creatively work better in a community. This does of course mean that you have to split costs, income, and space. Be careful of who you choose. You want them to have similar ideas in how you both want to use the studio and what to spend money on. You don’t want some funky ‘Odd Couple’ thing going on where one of you is super neat and cranky and the other is crazy and a mess.

Having multiple business partners can work very well because you can each be in charge of a different aspect. For example, creative direction, clients, financial affairs, design, coffee supplier… you know, the important stuff.

Money is a big issue. You don’t want to over borrow or over spend. Basically take a good university economics course for $1,000 and learn how… to save money. Managing your financial situation is key to expanding and getting real profit.

Naming your studio is pretty important. Be sure not to pick something you’ll get tired of or regret later.