Portfolio Do's And Don'ts

We're often warned not to judge books by their covers, but when it comes to creative portfolios, that's exactly what many employers do. And for good reason: How creative work is packaged says a lot about the person who produced it. It shows how the individual thinks and what he or she values. For example, Stefan Mumaw, creative director of The Brainyard, a Costa Mesa, Calif.-based ad agency, recalled a designer/photographer who packaged his photography samples in an elaborate old-fashioned photo case. Each piece was beautifully displayed within a vintage photo frame. But the applicant didn't package his design work with nearly as much care. To Mumaw, it was clear photography, not graphic design, was the job candidate's passion.Hiring managers are always trying to read between the lines when reviewing portfolios. They're less interested in the individual pieces within the book than the impact of the portfolio as a whole. The idea that companies create brands, whether or not they intend to, also holds true for creative professionals: How your work is packaged and presented creates a distinct impression, and it's up to you to make it a favorable one. This means remembering that potential employers are running a business, and you play a role in the success of that business. A recent survey conducted by The Creative Group underscores this point. Advertising and marketing executives were asked to describe what bothers them most when reviewing creative portfolios. The top answer, cited by 38 percent of respondents, was "samples that don't show the value provided to the client or company." Undoubtedly, demonstrating value has assumed increased significance within the marketing community, and firms want assurance that new hires will be results oriented. The problem, of course, is that creative work can be largely subjective, and success difficult to define. This is particularly true for new graduates: How can you prove that a school project met its objectives? While you may not be able to say a direct mail piece generated 5,000 responses, you can describe the rationale behind creative decisions. This information is best conveyed via brief commentary or bullet points within the portfolio.Mini books can be an especially useful tool for showcasing results. Many creatives devote little thought to these pieces, viewing them as shorter, less expensive versions of their portfolios, but mini books have the potential to serve as potent marketing vehicles. Sam Harrison, who has authored several books on creativity and teaches classes at the Portfolio Center, an Atlanta-based graduate studies program for writers, designers and photographers, recommends that creatives view mini books as annual reports of themselves and use them to showcase the outcome of their work. For inspiration, he often has students review compelling annual reports to see how companies have successfully defined their results. Online portfolios are another key job-hunting tool. The hiring managers we work with often will only consider professionals who provide electronic work samples. Your Internet presence doesn't have to be elaborate to be effective: A well-organized Web site that includes a professional biography, work samples, a printer-friendly resume and a partial client list is ideal. Our research shows many employers spend five minutes or less reviewing online work, so make sure your pieces load quickly and contact information is easy to find. In addition to wanting to see a well-executed portfolio, firms also prize flexibility when evaluating creative staff. As more advertising agencies evolve into full-service branding firms, they seek professionals who are comfortable performing multiple functions. That's why it's essential to demonstrate within your portfolio a desire to break new ground. When asked to describe the last book that knocked his socks off, Harrison cited an art director whose samples included a rich variety of print ads, outdoor advertising and alternative media projects. The candidate's clear understanding of 360-degree branding ultimately landed her a job with Crispin Porter + Bogusky, according to Harrison. If your portfolio lacks variety, you may have to take on pro bono projects or find other creative ways to diversify your body of work. When assembling their portfolios, many creatives focus so much on showing their work that they forget about the telling part. But presentation is essential. Never apologize for your samples. If a piece isn't good, it shouldn't be in your book; by including it and acknowledging shortcomings, you'll come across as apologetic and unsure—not the image you want to convey. Likewise, describe creative challenges diplomatically. No employer wants to hear you vent about the client's lack of vision or direction. Most importantly, be sure to explain your creative process, including the reasons behind your design choices. If you haven't presented your work in a while, deliver your pitch to friends who can critique your performance before you present to employers.Most creatives have a good story to tell; it's simply a matter of developing a book that does it justice—both at face value and when reading between the lines.

Brand Marketing

Portfolio Do's And Don'ts

Adweek Staff

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