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Build your portfolio with the work you want to do in the future instead of just using it as a backlog of projects. Your portfolio is not what you did, but what you’re going to do next. Same with calling out what exactly you did on a specific project will make sure that there are no wrong expectations from either side. Also: Self-Initiated projects show a lot more who you are & what you want to do.
As much as your résumé is a summary of your experience, it can also act as a summary of your personality. Write the way you would talk about those experiences.
Include things that make you unique, or be witty — if that’s your thing.
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Only show work you like, or you’ll end up being hired to do things you don’t like.
Sometimes a good album could have been great if they just cut out those 3-4 mediocre songs. Your portfolio is the same thing.
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.
Many young designers tend to “brand” themselves. I’m not a fan. Avoid over-designing it. A resume is meant to communicate clearly and efficiently, not be a showcase for creative excellence.
Be confident, but humble. This isn’t the place for bravado.
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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.
Seek out studios or creatives you’ve always admired, and figure out a way to work or learn from them.
I love getting physical mail.
Apply intelligently. There are no sure-things when it comes to getting a job, but everything you do RIGHT, puts you ahead of someone who did something WRONG.
You have 10 seconds to make a killer impression. Apply intelligently and don’t get weeded out for the wrong reasons.
What connects with people, is you connecting with yourself.
What’s your specialty? Make it clear the type of work you are looking to do.
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 .
Don’t include photos where you are holding something with disgusting, dirty, chewed-off fingernails. Photoshop that shit out.
Don’t put it in a weird box or dumb, tricky things. Don’t show anything with bad craft (glue all over it, mocked up poorly…etc.).
Don’t pretend fake work was real work. Just be real about it. Don’t make any excuses like “the budget was small, so that’s why XYZ was poorly produced”. Don’t show anything you are not totally excited about.
Do edit yourself. Hard.
Your work should show me your level of passion for what you do.
Be short and concise. Clean and minimal.
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Kill it. No mediocre bullshit. Ever.
Don’t ever show any work that you have to make an excuse for. Go ahead and show the concept that didn’t get approved if you believe in it.
Always keep your LinkedIn information up to date and be active in the community. You would be surprised the opportunities that have come out of people finding me on LinkedIn.
Work your ass off, stay persistent, and be nice to people. Most importantly, have a lot of fun.
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Show your work to the person you are presenting to, and not to yourself. Don’t position your work in such a way that you have a clear view of it, but the interviewer has to crane his or her neck to see it.
Unless you are sitting side by side with the person interviewing you, this is disastrous. Your work should be placed directly in front of the viewer, and not sideways. It’s glaringly obvious, but the number of young designers who commit this error is staggering.
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.
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Remember, the person reviewing your resume is very busy and has seen hundreds of résumés.
Please don’t include everything you’ve ever worked on. I’d be more impressed by a good self-initiated project than 400 flyers you designed for MTV. I’m impressed by design skills more than your previous client list. The good stuff will come, I want to see what you’re made of now.
Brevity goes a long way. Concision in your communication is generally always preferred to the long-winded approach.
Don’t wait for job postings to appear. Identify people you admire and studios you’re dying to work for and ask for an informational interview. Then bring your portfolio and a lot of good questions.
If it’s a pet project that doesn’t quite seem to fit in with the rest, why is it there?
DO NOT SEND ME A 50MB PDF VIA EMAIL! Automatic delete…
Don’t be afraid to remove something good in favor of a more well rounded portfolio. I’d rather see a designer’s versatility than see that they’re awesome at one thing.
Neatness. Attention to detail. Lack of waffling. Good ideas. Good execution. Personality. Really, when I think about it, I’m often more interested in the designer sitting in front of me than their work.
Keep it casual. At this point I’m more interested in the person than the work. Keenness, good ideas, great personality. Remember that you’re also bringing something to the table, it’s why they called you in. Don’t forget to ask questions, you’re also there to determine a fit.
Oh, and relax on the compliments! Nobody likes being praised too much.
Edit, edit, edit. Don’t be afraid to cut a project if it is not the direction you WANT your body of work to head in. Even if it flexes some skill or boasts some big brand’s name.
Get a website. Seriously, you need a website! You don’t have to update all 17 social media/portfolio sites, but it doesn’t hurt to be present on several. The majority of my client work comes from the internet. I try to populate & edit each site I use (behance, dribble, working not working, instagram, twitter, Facebook, and my portfolio) with different projects and glimpses of my process. You never know where work will come from. Also, keep that in mind when posting bathroom selfies.
Play with the name of job titles. Studio Intern, you may write Fine Art Studio Assistant. Make yourself sound a little fancier!
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.
Don’t begin your email or a cover letter with “Dear Sir”, “Dear Maddam”, “Dear Hiring Manager.”
A resume should be 1 page, simple, non-cluttered and straightforward. Trim the fat, show only the most important stuff. You will be judged on both the design, how you submitted it and on the content.
Edit.
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Don’t let your résumé run past a single page. No typos. Don’t listen to what they may have told you in your ‘Resume’s for Business Class.’
I once saw a portfolio PDF with 85 projects in it. I stopped paying attention at about 10 and the designer immediately weeded themselves with no chance out because they proved they didn’t understand how humans handle data.
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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.
Don’t assume a resume has to be a piece of paper.
Never exceed 1 page.
I hate “create an identity for a fake company” projects. I also don’t want to see exploratory pages, wherein you examine how you put a single page of type together in black and white.
I want to see projects that tell me who you are as a designer, and I want you to reinforce it again and again.
Don’t feel bad if you don’t get the job, sometimes it’s not you, it’s “them.”
Except for the people on this site, in that case it’s always you.
Portfolio presentation is performance. Consider each piece in your portfolio to be a short story. Write the story about each piece as a script in a beginning, middle & end manner or a context, action, & results approach. Memorize the script. Rehearse the presentation – preferably in front of a mirror – until you can tell each story in a casual, articulate manner.
Passion, knowledge and confidence (and your great work, of course) are the keys to a memorable presentation.
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