Mix it up

With regard to creative portfolios, I try to express the virtues of being just a bit different in order to stand out. For you, it helps to establish a bit of differentiation from the next candidate. For me, it breaks up the monotony of looking at a billion books.

Kudos to Nick Ciffone for providing something just a bit left of an ordinary portfolio website. Nick sent me a link to his YouTube page, his entire book presented via couple of short videos. 

First, it is always fun to see someone's face in person and hear them talk. You can't really do that unless you have an in-person interview or chat with them over the phone. Very helpful to get a glimpse of Nick without all the hassle of setting up a meeting. Next, I was able to sit and "watch" his portfolio without having to click through pieces and parts. 

I appreciate the short explanation of the work, the music and seeing the visuals scroll before me. Refreshing format, which I am sure a lot of recruiters like me appreciate.

The Value of LinkedIn

LinkedIn is my friend. A good friend, in fact.

As a recruiter, I've found it's a wonderful tool to use to dig around and find all sorts of leads. It's six degrees of separation at its finest. I know that it's grown at an incredible rate over the last few years, meaning lots of folks have come to value it as much as I have.

My first impression years ago was that it'd be a business-y site. A place where engineers and developers and "business" people would connect. By that I mean, non-creatives. So happy now that our industry has embraced it as well. I can search art directors or writers, narrow by location and find a slew of potential candidates. The great thing from there is I can find others who are connections of these candidates, and go deeper and deeper into their networks.

Not sure about other recruiters, as for me, I am on LinkedIn everyday. I look at the news feed, I check open jobs (see if any competitors around me are hiring), I see who it suggests I might want to connect with. And, I search for candidates. It's not always for active, open jobs but I do like to keep ahead of the curve and get a few names for future reference.

I have noticed one thing that surprises me. I see a huge percentage of creatives that don't have links to their portfolio on their profile. My advice: you should, you should, you absolutely should. I've also seen a chunk of creatives who have a link on their profile that says "my company" and when you click it is their employer's website. Do you really need to be promoting them instead of you?

If you know how many people (read= recruiters) troll around on LinkedIn, you'll then appreciate the value of having your portfolio at the ready, even if you aren't looking for a new job. Don't pass on any opportunity to get your name and work out there, someday it'll be worth it.

Glamour Don't

Let me stress this point, and if I've written about this topic before you'll now know why I feel this is so important.

Do not. Do not. Do not set up a portfolio website where each individual piece of work has to be opened separately (translate: slooooooowly).
This is killing me.

I've stepped up the amount of portfolios I have been looking at this past couple of weeks, so I am seeing all sorts of varieties of portfolio websites and how people feature their work. If anyone one wants to make a fortune, they should interview 10 creative recruiters, ask them what the best portfolio format is, then sell that as a template to the entire creative community.

Back to the don't. Some people (who shall remain nameless) show pdfs of every piece of work they have done in thumbnails. Then you click on the thumbnail and the work pops up and enlarges. Just the one. You then have to click that pop up closed and click on the next pdf. And so on, and so on.

Some of you are smart enough to have a similar set up but when you click open one, there is a magic NEXT button and you can click through the entire set of work. Thank you for that.

It is exhausting to click each file. On top of that, there are some where the pdf doesn't just pop up it kind of pops up a gray box that magically resizes it self before your eyes, then the work shows. Multiply this by 10, 15, 20 pieces of work and you'll get my drift.

Make showing your work easy for the recruiter. There are 100's more books they have to look through and don't make frustration be the reason yours gets tossed.

Happiness

Sometimes portfolios make me happy for reasons other than the good work inside. Now, don't get me wrong, I love love love when the work inside is great. But sometimes a book will affect me for other reasons right when I land on the site, before I see even one lick of creative which is cause for genuine happiness.

Like a really, really cool format.

Like a fun, sparky style.

And, like this recent one, a thoughtful insight into others' creative work.

Michael Wilson's portfolio made me instantly stop and call him up. Not send him an email. We're talking serious dialing of a phone. I really, really liked how he presented his work and wanted him to hear firsthand how it impacted me.

What he does that is not only unselfish but generally interesting, is show a collection of other people's creative work (before you even click through to anything he's done). And, he gives a short paragraph on why he finds each piece interesting. That enables recruiters like me to get a glimpse into how Michael seeks out creative inspiration, how he describes what he likes and how he is pretty daring to put his personal preferences out for everyone to see and judge. A trait that will serve him well in this industry.

I clicked through 4 or 5 links on that page before I ventured on. And by then, I felt like I already had a nice experience on the site. I learned a few things and saw some really neat stuff I hadn't see out there. Before anything else.

Now, to top it off, Michael had some very nice work to back all this up. I am proud to say he's been hired to be our summer intern this year. So I am even happier than I was before.

Thought and Meaning

A couple of nights ago I attended a Graphic Design portfolio review at Cal State University, Fullerton. Overall, I was pleasantly surprised by the work. There were a few gems amongst them and I am very happy that a local college is producing some worthy design graduates.

A recurring conversation I had that night involved the story and meaning behind what the students had designed. While reviewing a set of logos, I asked one student, "What do those circles mean?" She was silent for 10 long seconds. She didn't know. Or at least didn't know enough to be able to communicate it to me. To end the awkward silence, I suggested what I thought it meant, yet what I think it means and what the designer intended it to mean are two totally different things so that wasn't much help.

We ended up having a long discussion about what the company stood for, its values and reason for existence and how those very important facts tie into the makings of a logo. That holds true for any piece you set out to design. Another student had a random heart beat line going across the spine of a book jacket. Again, I asked "What does that mean?" Silence.

A huge part of finding out about a candidate is learning how they think. I can see your work. I really can't see how you think or got to what you ultimately put on paper. This discovery is fascinating and it is what sets you apart from every other designer. Know why you designed something. Know why you put a circle or a color or a texture into your work. Meaning cannot be extracted from design.

Glamour Don't

This is an entry into the series I call "Glamour Don'ts." Meaning what not to do with your creative portfolio.

It weighs 8 pounds. Eight. Pounds. Maybe that doesn't seem like much when you're talking say, a newborn baby. But in portfolioland, I'm used to measuring in ounces.

If you have a portfolio this heavy, please make every attempt to show the work in person. Carting around your actual print samples (must be a few coffee table books inside this one) is not fun for me. Better yet, take a photo or two and showcase your work that way.

Niceness

I just read a headline on Ad Gabber that said, "Being Nice Will Kill Young Creatives."

The article says, "It's true being nice just to be nice doesn't help anyone. In fact, according to this video for the Denver Ad Club, it can cause a person to drown. Of course, no one in advertising is ever nice just to be nice. In fact, going into advertising offers the perfect platform for a person to rip the shit out of another person and toss it of as simply "critiquing the work."

So, so true. Yesterday I was chatting with another Advertising instructor. He normally rips the shit of of his students with the full intention of making them better creatives. We were talking about how this somewhat harsh method was really for the best of the students. Being tough pushes them and results in better creative. The sucky kids won't care and will end up hating the teacher, but the good ones will care, will work harder and will create better work.

We all know what we mean when we use the word nice. How was your date tonight? Nice. How do you like my new haircut? It's nice. Nice is the word we use when we can't think of something more substantial to say.

Is that really what you want to hear about your portfolio? Sure, being nice to you (with regard to your work) spares everyone's feelings. But, back to the Ad Gabber article -- Being nice will kill young creatives.

Keep that in mind when a creative director or an instructor rips your idea apart. In fact, seek out criticism. I always feel bad when I don't like work in someone's portfolio and they are sitting right in front of me waiting for my response. I will always try to give some suggestions as to how they could rethink or rework or even just start over with their idea. I might feel bad that I didn't praise the work, but I do know better work may come out of my advice.

Mostly, I think I am too nice. I struggle with what to say about a book that I don't think is strong. Usually, it's "you have a good range of work." Which is true without being judgmental. Starting today, I will taper that practice. Of course manners and politeness won't be tapered. But everyone deserves honesty and genuine feedback and maybe my being too nice in that regard is the exact opposite of being helpful.

Spare Me

I highly dislike Carbonmade as a place to house your creative portfolio.

The navigation stinks. If I have to click 100 times up, down and sideways to see all your work, I guarantee I stop after about 25 times (and that's generous).

Please Don't

Please don't name the pdf of your creative portfolio "my work." Or for that matter: portfolio, resume, e-book, my portfolio, me, mine or any un-named configuration of those words.

Today I tried to locate a junior book I was sent quite some time ago. I have a folder on my computer that is loaded with pdfs of books that I need to look at, have looked at, or just generally have stuck there. While searching, I noticed a huge chunk of them are labeled in these crazy generic ways. And yet, to whom does "portfolio" belong to?

I wish I had all the time in the day to open each one of these files, but since it's taken me months to even venture into this folder, you can guess that's time I don't have.

Just your name. That's it. All I need.

Dear Santa. . .

Everyone loves getting presents. There's something about the suspense mixed with anticipation that puts a smile on your face. Certainly a feeling on everyone's mind being that Christmas is 2 days away.

So kudos to Kenna Clark, a jr. writer from Miami Ad School who sent me a present yesterday. I didn't know what was inside, in fact I almost didn't open it thinking it was another student book and could certainly wait until after the holiday break. But perhaps my girlie gift-sensor went off, because I changed my mind and opened the envelope.

It's shape and size gave away there was a portfolio inside, but at this point I really didn't care because I was wrist deep in wrapping paper. Remember everyone loves getting presents. And there it was: a jr. writer portfolio. Complete with a hand-written Christmas card.

However difficult it seams, there are ways to break through the clutter, to get your book to a recruiter and, more importantly, to get them to look at it. Wrapping it up as a present and delivering it 2 days before Christmas is one of them.

Glamour Don't

At some point I am going to publish photos, like Glamour magazine does, showcasing the Dos and Don'ts of creative portfolios. For now, the description of a major don't is all I've got.

First off, a candidate called yesterday and told me he left his book with reception and asked if I could have look. Sure, no problem. And, oh, could he get the book back as soon as possible. Again, sure, no problem.

After that brief conversation I naively equated his urgency to quality and I imagined this guy had scores of recruiters all in line to get a hold of his portfolio.

Yea, well, not so much. First, if you can't respect your resume I have a hard time being open to the work that follows it. This candidate's resume looked like it had be carried around in his back pocket since the 8th grade, was folded into quarters and, as an afterthought, had been shoved into the folds of his work for safekeeping.

Honestly, I wasn't sure what to think. Isn't a resume your calling card? Should I just have been glad to get it no matter what the condition? Maybe I'm being a snob when it comes to the presentation of your work. But, I truly feel like your creative pieces should be presented to prospective employers as the evidence that you are a true creative professional. Now, I don't mean that every book needs to be gilded in gold, but to err on the side of quality and presentation would certainly be a good thing.

Chalk it up to a Don't and take heed.

One I like right now

This book from a Jr. Art Director in Brazil is a good example of what I look for in range of ideas. I like that he stays away from the standard "photo + headline" layout with his Gendai and Lonely Planet pieces. I like that he shows his thinking in unique media placements with his NRDC and Money Gram work.

His resume isn't on his site, but I was impressed by that as well. It shows he is well traveled and well schooled. He has also won some outstanding awards.

All those things together make him an interesting junior candidate, despite what might be a tiny distance problem.

If I can design it. . .

The first gauge I use for judging student/junior work is whether or not it looks like I could have designed it. If the layout is so basic, so un-designed, so could have been done by me, then why the heck is it in your book?

I did not go to art school. I have not studied fonts and typography. I have not taken concepting classes. Yet, I can layout out some copy and a logo. That certainly does NOT make me an art director. You (art directors), on the other hand, have gone to art school or ad school and have studied type, design and layout. That you can (and have) laid out a postcard or two does not mean a thing to anyone who may potentially hire you.

You should not be putting pieces like this one in your book. It doesn't prove anything about your skills. It only shows someone asked you put some type on a postcard. And that was only because I was busy and couldn't do it for them.

What makes a "NO"

On my office floor sit four big boxes, each filled to the brim with portfolios. The labels read 'yes', 'no', 'maybe' and 'to be reviewed'. If you think there is some grand filing system for your book when it arrives at an agency, well, sad to say that's about it.

It's subjective to explain what gets a book into my 'yes' or 'maybe' pile, so I thought I'd tell you a few things that guarantee a 'no' (for me).

1. The toss from my chair to the 'maybe' box fell short.
2. Your big, stinkin' heavy portfolio cover knocked my diet coke into my keyboard and then I'm just pissed. And un-caffeineted.
3. You suck.

Obviously I am kidding. But as I went through my 'no' box trying to find some good examples, I am happy to report that I currently don't have any junior books in my 'no' pile. Either they are all backed up in the 'to be reviewed' box or I happen to be pleasantly pleased with the selection of junior candidates graduating into the industry lately.

Which, I am happy to report, I am.

Not Cute

We all know that big, heavy portfolios are a pain; for the person you send it to most of all. If it weighs more than 10 pounds, you might want to think twice about that wooden, laser cut, double-panel cover. I've written a previous post about how bigger is not better.

Now it's time to bag on silly little portfolio I got today. And I emphasize silly and little. I don't have a ruler handy, but it is as tall as my index finger. So, like 2 1/2". Seriously. And what's even funnier is the Magnavision magnifying glass that was included in the package so I can really get a good look.

This is a copywriter portfolio, so try and imagine for a second how small the type is on these pages (hence the magnifying glass). Really? That's how you want me to view your work? Now I might, might, just ever-so-slightly might cut this person some slack if they were a student. Students do all sorts of funky things to try and get their book to stand out and a tiny micro-thing might be something they'd do. But, this writer is 10 years into the business. And, with that tenure, the cutesiness makes me wonder.

Trust your gut

This advice seems obvious: always trust your gut. And, I'll bet it's the advice you will have the hardest time heeding as you prepare and grow your portfolio.

Every single person you show your book to will have a different opinion about your book. I may absolutely love your long-form, stream-of-consciousness copy for the ADHD Foundation and the very next person may hate it. So, so, so many times at an Ad School portfolio show I will be commenting on someone's book and they'll tell me the previous person told them the exact opposite. I say leave this work in, another recruiter will say take it out. I love your logos, another will think they really suck. Well, they'll say it much nicer than that, but you get the gist.

So, above all else, do what feels right to you. If you love the piece that 5 out of 8 recruiters hate, leave it in. Just make sure you can elaborate on why you love it so much. Even if I am not loving a particular piece in your book, if you proceed to tell me the reasons why you feel strongly about it, I will cut it some slack. I love hearing stories about people's work. It means so much more to me to learn about your passion for advertising than it does to love every single piece in your portfolio. Cuz chances are I won't. But I will tell you my honest opinion (thoughtfully disguising the word 'suck' of course) and that gives you the grounds to decide whether or not to take it.

2 pages is all it took

By page 2 I wanted to hire this guy. He has absolutely one of the strongest junior design books I have ever seen. This is exactly what I mean when I say that, for me, strong design will always take precedence over mediocre and even good conceptual work.

Unfortunately, he had no desire to come work in California. (Still perplexed by that: surf, perpetual sun. I mean, really, life here does not suck). Anyway, once he shunned me I still tried to help him find a job. Here is a junior who could easily land a job around 60K, no problem. I thought it a sin that he wasn't at a big name agency. He really wanted to land in Chicago. So I emailed our Y&R Chicago ECD his link. I called a local recruiter and passed on his portfolio. I constantly refer to his design work in lectures I give about junior portfolios.

I don't know if he ever got the job he wanted in Chicago, but here's the point: If you show your book to a recruiter and it is not a fit, either for them or you, do know that they may be helping you behind the scenes get the job that will be.

Put down the video cam

I disagree with almost every sentence of this video. In short, he says don't put work for big name brands in your book. Your "sneaker" work cannot compare to anything Nike's done so why include it. Don't include work that all your classmates have done, the redundancy is unwelcome. And make sure you have a rounded portfolio, including TV and radio.

Dis. A. Gree.

Yes, you can come up with good student work for top notch brands. I've seen it. And every once in a while, it's refreshing to see that all the ideas in the world haven't been thought up already. Add a fresh, ignorant young mind to a great big well-known brand and guess what? Sometimes an unexpected idea comes out the other end.

One of our current juniors did some rockin ' spec work for Guess shoes that blows away anything that brand has done it a long while. It happens. And when it does, make sure it's in your book.

No, I don't care if your book has the 15th version of Motel 6 Ads that I've seen. I understand that you get school assignments and, well, everyone else in your class got the same exact assignment too.

No, I can't understand TV spots from a junior. No offense, but they probably suck. And moreso, are difficult to comprehend from storyboard frames. Ditto for radio. Stick to the stuff juniors get assigned.

Put work in your book that you are proud of and feel great about. Put work in that shows off your creative talent in the best capacity possible. No matter what the brand or assignment.

Why is Alexis so cool?

See the link to the left that says "I'd hire her on the spot." That's Alexis. First off, it's obviously she spent some cash on her website. Second, the money was well worth it as I tried to hire her at the same time she was swooped up by Tribal DDB in Chicago. Alexis is most likely not worried about that cash outlay anymore.

Her website is a great example of two things: 1) her personality and 2) her personality. Remember a while back I wrote about differentiating yourself from other ad school graduates? This website is a classic example of just that. Alexis is cool, funky and very, very funny. And I knew all this without having met her.

Keep in mind that I was considering her for a position on our Mattel team. Her quirky style was a perfect match for that account. Now, had my opening been on Land Rover or Toshiba she most certainly would not have been a fit. Remember that the next time an agency turns you down. It may only be due to your style vs. client fit.

Back to Alexis' website. She is helped tremendously by some great art direction. Don't discount how that affects a copywriter's book. It is very difficult to extract bad art direction from good copywriting. Try as we might, we recruiters look at the ad as a whole. It is really hard not to. But, what Alexis does best is communicate her personality. The music (push it rocks!), the section "about me" is fantastic and the navigation is easy to maneuver. I think I want to hire her web designer as well!

I always, always go to any "about me" section first. I'm weird that way. But, I really want to know YOU before I see your work. And after reading about Alexis, I just wanted to hang out with her. Her apparent dynamic is refreshing and any agency creative department would be stoked to have her. Kudos Tribal DDB.

Bigger is not better

June means Graduation. I know there are hundreds of about-to-be ad school graduates stressing over their Senior Portfolio Shows right about now. Most likely, they are spending an inordinate amount of time agonizing over what their portfolio cover is going to look like rather than what's inside.

I had an intern last June ask me if I'd review his portfolio a couple of days before his Senior Show. Sure, no problem. He comes back and hands me a 15 pound metal book. I am not exaggerating. He had a piece of metal hand-finished and, although it looked pretty cool, I could not lift it without a struggle. It didn't even fit on my desk without a major disruption of stacks and equipment.

Guys, it's not about the size of your cover. That is not what gets you noticed and, god forbid, what you want to be noticed for should it be obnoxiously obtuse. You could hand me a stack of 8 1/2" x 11" pieces of paper wrapped in tissue for all I care. It's about the work.

I want to be able to look at your work in 3 months or 12 months when an opening comes up. I am sick of looking at the stack of, oh, 200 or so portfolios on the floor of my office. Get a website, make it nice. That's all. And that way I can re-access it from time to time when I am searching for a particular position.

Web links are easy for me to forward to my Creative Directors, easy for me to file away, and keep my office from being the fire hazard that it currently is.