Portfolios were constructed of 2D or 3D printed material, or on millimeter slides. At the end of the day, the actual deliverable object was impor- tant. Today, some old forms may be obsolete, but there is still a need, and a place, to experience the quality of a final printed piece, to touch and smell the final result.
Designing a Digital Portfolio is unique as it offers, with clarity and logic, the. It respects traditional values, while successfully tackling the digi- tal challenge on all issues relating to the choices of structure, content, and delivery.
I believe you will agree that it fulfills a tremendous need. And, hopefully, it will aid you in fulfilling your future potential. The two types of portfo- lios are not actually so different. Both represent the fruits of hard labor. Both are the result of choices made to maximize potential. And poor decisions with either one can spell the difference between long-term success and failure.
Unfortunately, when not actively job- or client- hunting, we tend to ignore our portfolios. Unfortunately, when the market for creatives is inundated not only with xvi Introduction Why you need a portfolio now.
You need one filled with recent work and wrapped in a current approach. You will never know you lost a job. No question about it—creating and maintaining your portfolio is a serious and complex self-marketing issue. It deserves your best effort: creativity, attention to detail, planning, and sometimes time-consuming production.
No excuses! If you have time to do freelance or personal proj- ects for fun or extra cash, you can make time for your portfolio. If you need a portfolio at all, you need a digital version.
But what form your digital portfolio takes depends on a number of factors that center on who you are and what you want your portfolio to do for you. Should you maintain a physical portfolio? A digital portfolio intro- gaining maturity. Having a digital portfolio doesn't have to be hard. Graphic design, architectural —Rita Armstrong walkthroughs, video, and animation are already pro- duced digitally, and the files can be modified for online use; some 2D traditional work can be scanned; and large 2D and 3D work can be photographed.
Plus, today there are a growing number of sophisticated publishing sites, some of which specialize in serv- ing visual creatives, that can make it easy to translate a print-based portfolio into a sleek digital entry.
Your personal expectations depend on your specific creative area. A fine artist working on canvas may need only the simplest presentation on one address. An inter- active designer will definitely need a sophisticated presentation on a personal site and will likely have at least one other outlet. Most important, each version of your portfolio should have different subsets of content or modes of presentation that cap- ture all your targeted audiences.
Knowing yourself, nailing your category, and being familiar with what others in your profession are doing is crucial to fielding the right range of competitive portfolios.
Portfolio expectations vary, depending on the nature of the work you intend to show and who you want to see it. Even in professions where digital portfolios are a standard, some employers or clients will insist on seeing printed work in addition to the digital version. Print designers. A digital portfolio has become a must for making the first cut, but a traditional portfolio of printed samples may still be necessary in order to examine your decisions on typography, paper, ink, and texture.
School applications. Some educators, although they may be perfectly com- fortable with computers, frequently require slides, not CDs or websites, for an admissions portfolio. In some cases, your contractual agreement with a client may pre- vent you from putting a project into a digital portfolio. If you want to show it, you might have to present it in person.
This book is a resource for the creative who needs to develop any form of digi- tal portfolio. It examines the portfolio process from beginning to end with a fresh eye, in the context of the increasingly virtual world most art and design professionals now inhabit. For established professionals, I offer some critical how-tos of digital portfolio development and creation. Perhaps you have been presenting your work for years and have a very good sense of your profession, your skills.
This book will give you a good overview of the portfolio process, lead you through the concepts and issues from basic to complex, and help you to develop a portfolio that is right for you. Either way, this book should make the process of developing your new portfolio a little less painful. Although this book has plenty of useful hints and specific technical how-tos, its focus is on process and results. Design port- folios also carry the most demanding expectations, because the people who judge them look at the thinking behind the portfolio as much as the highlighted work within it.
But, to a less strenuous degree, the same holds true for portfolios in other dis- ciplines. Today, almost every creative professional is expected to have work online. With so many portfolios vying for attention, a portfolio that displayes an understand- ing of basic design principles does a better job of showcasing the work within it. A well-designed portfolio is a way for illustrators or photographers to boost their work out of the excruciatingly competitive world of clip art and stock images.
It raises the visibility and the stock of fine artists. Most importantly, it allows you to show the world that you value and respect your work— the first step in making sure that others do, too.
The self-assessment checklist that follows will help you to think clearly about your abilities, needs, and goals. Not only will this help you develop an appropriate portfolio, but it will prepare you to talk effectively about yourself and your work in an interview.
Self-assessments are subjective, not scientific. It is less important to rack up points than it is to have the right points. In general, solid experience is more valuable than training and can balance some gaps in formal education. Without experience, you should be more flexible in your goals and prioritize your values.
In a down economy, there's always pressure to be employed first and fulfilled second. But compromises are out there. Consider posi- tions that offer the opportunity to learn from experienced professionals, even if those positions pay less than those that reward your technical skills.
Or use the pay from a production job to finally get the formal education. They also have nothing to do with how talented you are. No one has to see these results but you, so be completely honest. Refer to this assessment at many points along your portfolio process: as a reality check against your target audi- ence, as you decide what projects to include in the portfolio, and as you choose the type of portfolio most likely to help you reach your goals. Share Share. Click here to learn Reproduced by permission of Pearson Education, Inc.
Publishing as New Riders. Portfolio of Susana Passinhas, a multidisciplinary designer with My expertise in new media design is in interactive disciplines such as web design,. Informa Ltd tages of a digital portfolio which include the ability to make an process of creating new choices out of a prevailing set 2 Web portfolio creativity as a media- Berkleley, CA: New Riders. Teacher education faculty decided to find another medium for digital portfolio building and set- tled on Lectora publisher.
PowerPoint had limitations and lacked flexibility for the goals set for the project. Digital portfolio as a requirement for their graduating students. While this of a fee. Contact Publisher InformingScience. Berkley, CA: New Riders. Designing a Digital Portfolio, 2nd Edition Peachpit. Interaction design - Wikipedia. Burn Your Portfolio: Stuff they don t teach you in design.
Baron and a great selection of related books, art and collectibles available now at AbeBooks. By using tools like normalize. New Riders has the authors and the books that truly make a difference in your professional life, from web development and design to networking and graphic design. Books Fluid Web Typography The type that designers use can say as much to their audience as the actual wordsBaron, Cynthia. Designing a Digital Portfolio: Voices that Matter.
New Riders Press. Decem-ber, Costantino, Patricia M. Allyn Bacon. October, Heath, Marilyn. The Pros and Cons of Electronic Portfolio. Founder, President, and Publisher. He then took on the additional challenge of starting Sentinel in April In , he announced the addition of another new imprint to the group: The Optimism Press, in collaboration with Simon Sinek. Other readers will always be interested in your opinion of the books you ve read. Whether you ve loved the book or not, if you give your honest and detailed thoughts then people will find new books that are rightPublishing History This is a chart to show the when this publisher published books.
Along the X axis is time, and on the y axis is the count of editions published. Click here to skip the chart. Reset chart or continue zooming in. This graph charts editions from this publisher over time. Click to view a single year, or drag across a range.
Peachpit is a publisher of books focused on graphic design, web design, and development. Peachpit s parent company is Pearson Education, which owns additional educational media brands including Addison-Wesley, Prentice Hall, and New Riders. Peachpit is the official publishing partner for Adobe Syste. Moviestorm is a software application that lets anyone make 3d animated movies on their computer.
Moviestorm software will be great for students interested in interactive storytelling, game design, pre-visualization, filmmaking, and machinima. Digital Arts: Interactive Media students will experiment with this new tool for creative projects.
Hricko, Mary Editor. Search Search. Instructor and design professional Cynthia Baron covers all the facets that artists need to know, from choosing the best work for a particular audience to using various file formats to organizing, designing, and presenting the portfolio. Beautiful full-color illustrations demonstrate her instructions, and case studies throughout portray examples of attractive and effective portfolio design. This book gives artists at any level a creative edge, ensuring that their portfolios get noticed and help them stand out from the crowd.
Rather than enjoying a good PDF subsequent to a mug of coffee in the afternoon, on the other hand they juggled next some harmful virus. View Larger Image. Register your product to gain access to bonus material or receive a coupon. This eBook includes the following formats, accessible from your Account page after purchase:. EPUB The open industry format known for its reflowable content and usability on supported mobile devices.
This eBook requires no passwords or activation to read. Puffball: Mr. IV : Prewar Sets Vol. Designed for the web, and completely free, "Sex" has acted as a real-time archive for a spectrum of creative ideas available to anyone who wants to take the time. The list of artists, designers, musicians, writers, and photographers featured in these digital editions reads like a yearbook of some of the most influential forces of the post-internet era.
I feel like I know her--and Pierre through her. But before I make it all the way up she tries again. Sort of agnostic on the subject. You would do that if you thought Alan had something he was hiding from them. The turning of a newspaper page!
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