#115 - HOW TO DESIGN A PORTFOLIO THAT WILL GET YOU HIRED

 

SUMMARY

This week David and Marina discuss how to create a design portfolio that will you interviewed and hired. The two cover everything from the critical points most designers overlook and what employers look for in a portfolio to format, binding, book size, graphics, which projects to include, including non-design work, cover design, layout, the order of work, digital formatting, and more. Enjoy and please leave a review if you find episode helpful!



TIMESTAMPS

(05:41) The purpose of the portfolio and how it will be used.

(08:28) Portfolio size: Large or small booklets?

(14:20) Orientation: Portrait, landscape, or square?

(15:43) Exterior packaging: The relationship to the interior and ‘over-designing’.

(20:22) Cover graphics

(26:10) Binding: Perfect, wire-o, spiral, or custom binding?

(28:41) Viewing speeds: Designing for different levels of engagement.

(36:58) Creating an “A-Team” of projects: The number of pages and what projects to include (and not include).

(47:07) The portfolio is an interview slideshow presentation.

(53:32) Reworking old projects to appear more desirable: Graphics, storytelling, and honesty.

(58:21) Text length: The chances of it being read, benefits of long-form writing, and preparing for interviews.

(01:04:52) Including images that belong to someone else.

(01:07:37) Designing a layout: Board layouts, multiple-image and single-image pages.

(01:14:34) Ordering the work to leave a good impression by chronology, scale, and type.

(01:17:47) Titles and labels: Communicating clearly, academic verbiage, and highlighting unique qualities.

(01:20:55) Separating oneself from other successful candidates.

(01:22:44) The interview.

(01:23:44) Work samples and digital portfolios: Emailing work, file sizes, resolution, and sending links.

(01:26:54) Updating the portfolio.

(01:28:55) Key points and summary.


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#116 - ALADDIN! COMPARING 1992 AND 2019 VERSIONS AND THE MOVIES’ RACIAL CONTROVERSY

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#114 - IRISH PUBS, PERCEIVED RACISM, AND THE ARCHITECTURE OF BARS